Hank Jones
‘Bop Redux
Muse Records MR 5123

Produced by Fred Seibert, in association with Dick Ables
Grammy Nominee, 1977, Best Jazz Instrumental Performance - Soloist

Hank Jones: Piano
George Duvivier: Bass
Ben Riley: Drums

…..
Hank Jones had been an exemplar jazz journeyman when he took a full time day job in the CBS Orchestra in 1952. This record date, the first after his contract finally expired, was arranged by Muse Records’ owner Joe Fields, and he cordially asked me to handle the production. My primary contribution –-I was a wet behind the ears 26 year old with no particular skills–- was suggesting the jazz standards repetoire as a respite from the relentlessness of the “energy” avant-garde of the previous 10 years. I also chose the engineer and studio, asked Hank to avoid bass solos, named the album after John Updike’s ‘Rabbit Redux,’ and got my partner-to-be and great friend Alan Goodman to write the liner notes.

Hank, George and Ben showed up both day punctually at 10am, in jackets and ties, and played their asses off. The best story? As Hank was working through “Monk’s Mood” he told me he’d learned the piece when Monk asked him to write out the lead sheets, since Monk couldn’t write music.

–Fred Seibert
…..
Credits
Muse Records MR 5123
Hank Jones
‘Bop Redux

Hank Jones: Piano, George Duvivier: Bass, Ben Riley: Drums

Produced by Fred Seibert, in association with Dick Ables
Engineered by Chuck Irwin, CI Recording (110 W57th Street, NYC)
January 18 & 19, 1977

Cover Photograph & Design by Carol Friedman
…..
Liner notes:

From the original release:
Few musicians tour and perform more steadily, in so many far-flung places, than pianist Hank Jones. Yet, he may be completely unknown to people who are aware of jazz primarily through radio and records. An issue of Swing Journal pictured albums of solo and trio dates on Verve, another series of recordings from the mid-fifties on Savoy, Capitol, and other labels, and just a small sampling from his resume as a sideman and accompanist. Almost all of the records are unavailable in the USA.

For fifteen years, he was a staff musician with CBS, and many times, parts written especially for Hank Jones would go to a substitute when Hank was needed for the Ed Sullivan or Jackie Gleason shows, a musical special starring Carol Burnett or Barbara Streisand, or one of the many weekly series on network TV and radio.

Since the CBS orchestra was disbanded in 1973, Hank has been choosing for himself some fascinating assignments: he toured with Benny Goodman (which is something he did years ago), made one album with three other pianists, traveled to Japan many times an recorded albums available in that country with variations of his Great Jazz Trio — a group that usually had included Ron Carter and Tony Williams. When he isn’t flying to another engagement he fits in a nightclub appearance.

This was Hank’s first recording for Muse and was something of a departure from his regular approach to recording. He can reach into a stockpile containing thousands of tunes, but instead selected only two composers to help him dig into bebop. When Hank recorded with Charlie Parker, he had been based in New York for six years, playing piano at the Onyx Club and other 52nd Street haunts, working with swing bands and transitional groups, and touring the world with Ella Fitzgerald and with Jazz at the Philharmonic. But even today, bebop is especially suited to a virtuoso’s art. Hank can play chorus after chorus, always finding a new and curious way to say beautiful things. He breaks time with irregularly-spaced hurdles. Even during short bursts, there is something toward which he is working.

Throughout the album, there are special Hank Jones touches you hardly notice: the delicate filigrees that will sometimes separate introduction from the theme, the way he sustains notes uniformly at the end of repeating phrase. Plenty of Hank’s special touches are right out in the open: for one, his deep appreciation for closely-voiced chords. Like Art Tatum, he constantly shifts heavy handfuls of them as easily as some people swing their pockets. After Ellington, he pays strict attention to the flow of melody and the ascension into song. Although their styles of phrasing are miles apart, he and the late Erroll Garner share a talent for certifying selections. Theirs sound like the first authentic versions. For all of his public performing, Hank plays liek a man who is often alone with music. His improvisations on “Yardbird Suite” and “Confirmation” are stories with the important inner details intact. A moderate tempo swing buoys “Bloomdido,” and Hank punctures “Moose the Mooche” with clean, precise darts to let the song’s inherent humor escape. “Relaxin’ With Lee,” based on “Stompin’ at the Savoy” changes, sums the course of the entire session. Hank Jones is not a musician who plays only when the tapes are rolling. When they are, he can relax with a special, casual attention to business.

It is on the three ballads by Thelonius Monk that Hank uses his position as chief soloist and keeper of the chords to particular advantage. His overview of the keyboard and closeness to Monk’s compositions allow him to range generously through the pieces. When Hank thought to record one of them at the session, he remembered as well his own long-term involvement with the tune: back in 1946 or ‘47, Monk phoned him to ask if he would write down a song that had just been composed. The song turned out to be “Monk’s Mood,” one of his rough-hewn gems. Compared to Monk’s version, where every phrase is a jagged chant, Hank takes liberties with the rhythm, hangs onto the passing tones before letting them gently resolve, and in the process strokes the song into something more symphonic.

His partners here, Duvivier and Riley, came to the project with distinguished pedigrees. George Duvivier worked in many orchestras and bands during the forties, performed with Bud Powell on some of Verve recordings, and through the years has appeared with symphonies in New York, Philadelphia, Boston, Cleveland, and with singers all over the world. Another studio veteran, he has played on three TV networks.

Ben Riley sifted through a score of bands from the late fifties, with Nina Simone, Kenny Currell, Randy Weston, Sonny Rollins, and others, before settling in with Monk in the sixties. He has taught in elementary school and junior college on Long Island, in addition to appearing with Ron Carter and recording with the New York Jazz Quartet, Alice Coltrane, Kenny Burrell, and many others.

Hank Jones shows no signs of slowing down his hectic pace, which is as limitless as his beboping abilities. One hopes for more “redux”-ing of the jazz traditions he has known, for many more years of his warming touch and quiet finesse.

Few musicians tour and perform more steadily, in so many far-flung places, than pianist Hank Jones. Yet, he may be completely unknown to people who are aware of jazz primarily through radio and records. An issue of Swing Journal pictured albums of solo and trio dates on Verve, another series of recordings from the mid-fifties on Savoy, Capitol, and other labels, and just a small sampling from his resume as a sideman and accompanist. Almost all of the records are unavailable in the USA.

For fifteen years, he was a staff musician with CBS, and many times, parts written especially for Hank Jones would go to a substitute when Hank was needed for the Ed Sullivan or Jackie Gleason shows, a musical special starring Carol Burnett or Barbara Streisand, or one of the many weekly series on network TV and radio.

Since the CBS orchestra was disbanded in 1973, Hank has been choosing for himself some fascinating assignments: he toured with Benny Goodman (which is something he did years ago), made one album with three other pianists, traveled to Japan many times an recorded albums available in that country with variations of his Great Jazz Trio — a group that usually had included Ron Carter and Tony Williams. When he isn’t flying to another engagement he fits in a nightclub appearance.

This was Hank’s first recording for Muse and was something of a departure from his regular approach to recording. He can reach into a stockpile containing thousands of tunes, but instead selected only two composers to help him dig into bebop. When Hank recorded with Charlie Parker, he had been based in New York for six years, playing piano at the Onyx Club and other 52nd Street haunts, working with swing bands and transitional groups, and touring the world with Ella Fitzgerald and with Jazz at the Philharmonic. But even today, bebop is especially suited to a virtuoso’s art. Hank can play chorus after chorus, always finding a new and curious way to say beautiful things. He breaks time with irregularly-spaced hurdles. Even during short bursts, there is something toward which he is working.

Throughout the album, there are special Hank Jones touches you hardly notice: the delicate filigrees that will sometimes separate introduction from the theme, the way he sustains notes uniformly at the end of repeating phrase. Plenty of Hank’s special touches are right out in the open: for one, his deep appreciation for closely-voiced chords. Like Art Tatum, he constantly shifts heavy handfuls of them as easily as some people swing their pockets. After Ellington, he pays strict attention to the flow of melody and the ascension into song. Although their styles of phrasing are miles apart, he and the late Erroll Garner share a talent for certifying selections. Theirs sound like the first authentic versions. For all of his public performing, Hank plays liek a man who is often alone with music. His improvisations on “Yardbird Suite” and “Confirmation” are stories with the important inner details intact. A moderate tempo swing buoys “Bloomdido,” and Hank punctures “Moose the Mooche” with clean, precise darts to let the song’s inherent humor escape. “Relaxin’ With Lee,” based on “Stompin’ at the Savoy” changes, sums the course of the entire session. Hank Jones is not a musician who plays only when the tapes are rolling. When they are, he can relax with a special, casual attention to business.

It is on the three ballads by Thelonius Monk that Hank uses his position as chief soloist and keeper of the chords to particular advantage. His overview of the keyboard and closeness to Monk’s compositions allow him to range generously through the pieces. When Hank thought to record one of them at the session, he remembered as well his own long-term involvement with the tune: back in 1946 or ‘47, Monk phoned him to ask if he would write down a song that had just been composed. The song turned out to be “Monk’s Mood,” one of his rough-hewn gems. Compared to Monk’s version, where every phrase is a jagged chant, Hank takes liberties with the rhythm, hangs onto the passing tones before letting them gently resolve, and in the process strokes the song into something more symphonic.

His partners here, Duvivier and Riley, came to the project with distinguished pedigrees. George Duvivier worked in many orchestras and bands during the forties, performed with Bud Powell on some of Verve recordings, and through the years has appeared with symphonies in New York, Philadelphia, Boston, Cleveland, and with singers all over the world. Another studio veteran, he has played on three TV networks.

Ben Riley sifted through a score of bands from the late fifties, with Nina Simone, Kenny Currell, Randy Weston, Sonny Rollins, and others, before settling in with Monk in the sixties. He has taught in elementary school and junior college on Long Island, in addition to appearing with Ron Carter and recording with the New York Jazz Quartet, Alice Coltrane, Kenny Burrell, and many others.

Hank Jones shows no signs of slowing down his hectic pace, which is as limitless as his beboping abilities. One hopes for more “redux”-ing of the jazz traditions he has known, for many more years of his warming touch and quiet finesse.

–Alan Goodman

…..
From the 1997 reissue:
There are certain artists who are in complete command of their powers. They take the less obvious route, stunning you with nuance, suggestion and subtlety rather than relying on flash. The great English actor Paul Scofield comes to mind, so does the painter Mark Rothko. So, too, does Hank Jones.

Adjectives such as “elegant” and “immaculate” always pop up when Hank’s playing is discussed. Possessed of as much technique as any of the other gians of modern jazz piano, Hank has always dispensed it with restraint. When other pianists cite their favorite players, Hank Jones is always on everyone’s short list.

Because the songs on the two albums contained herein draw on the bebop tradition, they’re especially easy to listen to together. But in reality any two Hank Jones records go well together. Simply stated, he’s one of the ones.

Keep A Light In The Window
Joel Dorn
Spring ‘97
…..
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

Hank Jones
Groovin’ High

Produced by Fred Seibert

Hank Jones: Piano
Sam Jones: Bass
Mickey Roker: Drums
Thad Jones: Cornet
Charlie Rouse: Tenor Saxophone

As soon as we saw the incredible reaction to our first release with Hank Jones, Bop Redux , in 1977 it was clear to Muse Records’ founder Joe Fields and me we needed to record a sequel. Hank’s absence from the scene for 25 years (in the CBS Orchestra) had only made him better, and the yearning for the emotion and craft of originators of bebop was burning a hole in the hearts of 70s jazz fans. We moved recording from my base at CI Recording in Manhattan (the former Mercury Records studios) to Rudy Van Gelder’s in Englewood Cliffs, New Jersey, the most famous studio for jazz in the world.

The moment of discord with Hank came when I insisted he replace his choice of drummers (Billy Hart) with a more bop era specific pick (Mickey Roker could take the booking), in keeping with the tunes, and my interest in “authenticity.” (I still think that I was right, though in retrospect, I can’t believe I overrode the ultimate musician, HJ. I would never do it today.)

The moment of discord with the record company came when I casually mentioned Dizzy Gillespie had stopped by to groove on the session (Hank performed two of Dizzy’s tunes on the date).

“Why didn’t you have him play?!” Joe demanded. “He’d double the sales of the album.”

“Dizzy didn’t have a horn, only a Jew’s harp,” I protested.

“So?!!!”

Joe was right. 

–Fred Seibert

…..

Credits
Muse Records MR 5169
Hank Jones
Groovin’ High

Hank Jones: Piano, Sam Jones: Bass, Mickey Roker: Drums, Thad Jones: Cornet, Charlie Rouse: Tenor Saxophone

Produced by Fred Seibert
Engineered by Rudy VanGelder, VanGelder Studios, Englewood Cliffs, New Jersey
January 25, 1978

Original Release 1979, Cover Photograph by Carol Friedman, Cover Design by Ron Warwell

Muse Records Discography

…..

LINER NOTES

From the original 1979 LP release: 

The title of this album is more than appropriate. Not only does Groovin’ High refer to the track that is the album’s centerpiece; the phrase itself neatly encapsulates the original sass and vigor that surrounded the emergence of bebop. And bebop would seem to be what this album is all about.

For the matter, “groovin’ high” even describes the prevalent attitude of the selections within: tough and tuned-in, vigorous and ariba. There are no ballads (the Afro-Cubanism of Algo Bueno and the unusual samba treatment given Sippin’ at Bells are as close as things get to the vaunted “change of pace”), and though this quintet walks the fine line between hot and cool that was also a bop trademark, solid up-tempo blowing is the order of the date.

Despite all this, an even more appropriate title, albeit an awkward one, would be Bebop Redux Revisited. This is part two of the mission set forth in Hank Jones’ earlier Muse LP, ‘Bop Redux (MR 5123). As pointed out on that album, Jones is so vastly diversified— having been the perfect accompanist on countless jazz dates for 35 years, having worked as a network staff musician, having christened the piano chair in his brother Thad’s big band, having most recently keyed the ensemble in the hit musical Ain’t Misbehavin’ — that pinning down one particular direction for a given recording is never easy. The purpose on ‘Bop Redux was to concentrate on the essence of bebop, which few understand better than Jones, and to jump into that arena with unbridled conviction. Groovin’ Highrepresents an extension of that purpose, incorporating horns to form the pure, streamlined combo that bebop, incidentally, set forth as the model for jazz instrumentation.

Hank Jones brings a little something special to the practice of bebop, a reflection of his earliest influence (Teddy Wilson, Fats Waller) and of his first experiences after arriving in New York in 1944. Bud Powell and Al Haig had captured his ears, but his work wasn’t concentrated only on the new music; most of his first gigs, in fact, found him in swing and swing-bop transitional groups, where the light, graceful touch and crisply defined phrasing he had already developed were put to good use. Unlike many of those with similar backgrounds, though, Hank retained this light lucidity of tone— something that most of the boppers replaced with variations on Powell’s riveting, hammering force. And as Hank has steadily added to his harmonic sophistication and brought his sense of melodic subtlety forward to the realm of high art, he has also further freed his buoyant touch, dispatching his improvisatory messages with a still more clearly focused tone.

A sanguine result of all this is Hank’s unusual facility for clarifying and even defining bop lines that may have started out muddy and then grown more obscure. A fine example occurs on ‘Bop Redux: one of the tracks is Charlie Parker’s epic Confirmation, among the most recorded of bop compositions, the bridge of which everyone from Parker on has slid through with nearly reckless abandon. Yet on hank’s version, for what seems like the first tme, the notes are all there, unslurred, and allowing that part of the song to carry all the more weight for its clarity. (Apparently, Hank Jones has long had this ability, as suggested by stories of how he was occasionally employed as a quick-thinking musical stenographer to jot down others’ new compositions.)

None of which should hide the fact that Hank Jones is a consummate craftsman and a hardly-wanting technician; that he is a superb solo player who nonetheless revels in the accompanist’s role, which he fills more ably than most; that his sense of swing is so firmly embedded in the totality of his music that you mostly notice it in retrospect; or that, like Thad, his solos have an uncommon economy about them, almost always giving the impression they have taken you from point A to point B via a combination of the quickest and most scenic routes. (This last virtue became an ethic for the entire session, you’ll notice; the idea was to keep the solos and the tracks short and cogent, striving for the celebrated should of wit.)

Hank’s country stroll of an introduction is a surprising lead-in for Algo Bueno , which swings from its opening chorus into a typically spirited trio performance, including one of the percussive, big-toned solos that has kept bassist Sam Jones so justifiably in demand. Note especially the little off-center denouement he reaches in his second chorus, followed by a wonderful reversion to walking bass lines to close the solo. Still, it’s hard to imagine this episode going so well without the rawboned telepathy of Mickey Roker, the stunning drummer who has anchored Dizzy Gillespie’s bands for nearly a decade. It’s Roker’s trap-set soft-shoe that does so much to enliven the other trio track, Blue Monk; he practically enforces Hank’s strong, bright tempo and tough solo.

Thad’s mildly startling arrangement of Anthropology stems from his work on a remarkable album by Heiner Stadler (Tribute to Monk and Bird, on Tomato) one week before Groovin’ High was recorded. That borrowed one of the several techniques used by Stadler to reshape a number of bop classics, retaining the melody for himself and assigning to Charlie Rouse the bitonal harmony line. The familiar theme cuts through the rhythm section with an almost ragged-sounding alarm before settling into a string of fine solos. Hank, despite the fund of instantly available music at his mental disposal, uses quotes rather sparingly iin his soloing, but don’t miss the touch of Moose the Mooche before he’s gone ten measures.

Sippin’ at Bells, the oft-ignored Miles Davis line, also benefits from the expert rhythmic control of Roker, popping along under his power and displaying Thad— whose solo abilities have been unjustly overshadowed by his imposing big band charts— in one of his favorite muses.) Miles didn’t write it as a samba, but it works as one.) I mean You, frank and feisty, has no choice but to be a showcase for Rouse’s warm, slightly reserved tenor. Rouse was a member of Monk’s working unit for a decade, and listening to him play a Monk song is a bit like getting a phone call from the legendary Mr. Watson, or having Mrs.Wellington serving the beef: it has the inventor’s touch all over it, by virtue of the tenor man’s total immersion in the Monk weltanshauung. Few understand Monk so well as Rouse— or, for that matter, Thad Jones, who took part in several key 1950s sessions with Monk and who lets fly an especially inspired solo on Monk’s martial plan Jackie-ing.

Best for last: the unexpected instrumentation and wholly successful rendering of the title track. Thad mimics composer Gillespie’s tone and a few of his conceits in the process of building a full-bodied and individualistic solo; Hank’s backing is a solo all its own, and Roker leaves no doubt that he is as comfortable with brush business as with riotous stick-wielding. It was producer Fred Siebert’s idea to try out this trio; Hank was at first reluctant, than cautious, but by the time it was finished he confessed it had worked much better than he’d hoped, reminding him in a way of the Benny Goodman trios of the ’30s. That comment is right in line with a man who has expounded, at times brilliantly, on bebop without losing the gentler sensibilities of an earlier time.

Combining them both, as he has done throughout his career, is what Groovin’ High is really all about. 

- NEIL TESSER

 Produced by Frederick Seibert

Recorded at Van Gelder Recording Studio, Englewood

Cliffs, N.J. — January 25th, 1978

Engineer: Rudy Van Gelder

Cover photo: Carol Friedman

Album design: Ron Warwell

 *does not appear on this album

For free catalog send to MUSE RECORDS, A Division of Blanchris, Inc., 160 West 71st Street, New York, N.Y. 10023

©® 1979, MUSE RECORDS, A DIVISION OF BLANCHRIS, INC.

From the 1997 CD reissue:
There are certain artists who are in complete command of their powers. They take the less obvious route, stunning you with nuance, suggestion and subtlety rather than relying on flash. The great English actor Paul Scofield comes to mind, so does the painter Mark Rothko. So, too, does Hank Jones.

Adjectives such as “elegant” and “immaculate” always pop up when Hank’s playing is discussed. Possessed of as much technique as any of the other gians of modern jazz piano, Hank has always dispensed it with restraint. When other pianists cite their favorite players, Hank Jones is always on everyone’s short list.

Because the songs on the two albums contained herein draw on the bebop tradition, they’re especially easy to listen to together. But in reality any two Hank Jones records go well together. Simply stated, he’s one of the ones.

Keep A Light In The Window
Joel Dorn
Spring ‘97

…..
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

Gunter Hampel, Jeanne Lee, Perry Robinson
Spirits
Birth 007

Engineered by Fred Seibert
…..
Our regular readers/listeners will probably like this even less than the Cecil Taylor post, but that’s OK with me. It’s my first released recording, and I have a certain nostalgic feeling for Gunter, who helped introduce me to avant-garde, free jazz.

And, unusual as the sonics are, I like them too. The radio booth we recorded in was less than 20′x30′, low ceilings, only a little baffling on the walls. The tape machine was anAmpex two track, and the board only had hard left, right, and center inputs, no echo. The mikes were classic RCA ribbons. Somehow, with this music, it all sounds right. To me.

…..
Click on the titles below for MP3 transfers from a vinyl LP.

…..
From the LP jacket:

Birth stereo 007
The Music of Gunter Hampel

JEANNE LEE voice
GUNTER HAMPEL piano, flute, vibrafon, bassclarinet
PERRY ROBINSON clarinet

Photos by (JL) Wilfried Bauer, (GH) Billy Maynard, (PR) Jeanette Hamblin

SPIRITS are excerpts from a live-radio-performance at the WKCR Columbia University Radio Station in New York, August 26, 1971, the program was engineered by FRED SEIBERT

MAILORDER
we record the music in the best studios, but without commercial producers. we have no distribution. you will not find our records at your record dealer! we sell by mailorder and send to the u.s.a., canada, belgium southamerica, england, sweden, danmark, the netherlands, france, austria, switzerland, africa, india, japan, and others.

each album 30 cm stereo $6 inclusiv mail, please send sheque to 34 Gottingen, Philipp-Reis-Str. 10 West Germany
USA: 1370 Prospect Ave, Bronx 59 NEW YORK CITY.

also contact addresses for performances!

…..
Copyrights and masters are owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

Richard Davis
Harvest
Muse Records  MR 5115

Produced by Frederick Seibert
Co-produced & arranged by Bill Lee

……
‘Producing’ the jazz I was involved with was mostly a misnomer, it was actually ‘recording supervision.’ I mean, what was an a rock’n’roll playing, 26 year old kid from the suburbs going to tell a master musician to do? Play faster? Better? The records weren’t always what I would’ve wanted, but they reflected the vision of the artist. That was my job.

…..
SIDE A
Forest Flower

This Masquerade

Half Pass 

Three Flowers

SIDE B
Windflower

Passion Flower

A Third Away

Take the A Train

Forest Flower (reprise)

……
Richard Davis: bass
Bill Lee: bass
Marvin Hannibal Peterson: trumpet
Ted Dunbar: guitar
Consuela Moore: piano
Freddie Waits: drums
James Spaulding: alto saxophone, flute

Recorded at CI Recording
110 West 57th Street
New York City
May 3 & 16, 1977

Engineer: Elvin Campbell
Cover photo: Pat Davis
Cover design: Ron Warwell

…..
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

Eric Kloss
Now
Muse Records MR 5147

Produced by Frederick Seibert

SIDE A
1. We Are Together

2. Now

3. Morning Song

SIDE B
1. Hey Hey Whatta You Say

2. Autumn Blue

3. Booga Wooga Woman

…..
Eric Kloss - alto & tenor saxophone
Mike Nock - keyboards
Mike Richmond - bass
Jimmy Madison - drums
Efrain Toro - cowbell

…..
Produced by Frederick Seibert
Recorded January 4 & 5, 1978 at
Van Gelder Recording Studios, Englewood Cliffs NJ, on
June 17th, 1979
Recording Engineer: Rudy Van Gelder
Cover painting and art direction: Tamar Zinn

Muse Records MR 5147

…..
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

Linc Chamberland
A Place Within
Muse Records  5064

Produced by Fred Seibert
…..
A guitarist’s guitarist, a musician’s musician, Linc Chamberland was a well kept secret, cherished by those who knew the secret (like Felix Cavaliere, who recruited him for the jazzy era Rascals). This LP was the first of his two solo jazz dates, both for Muse, and was one of my first professional recordings.
–Fred Seibert

…..

[Click on the track names for LP transfers to MP3]

Linc Chamberland: electric guitar
Dave Liebman: tenor saxophone +, soprano saxophone ++
Lyn Christie: bass
Bob Leonard: drums
…..
Recorded June 16 & 17, 1976
Dimensional Sound, NYC
Engineer: Skip Juried
Art Direction/Design/Photography: Al Wilson

Dave Liebman Courtesy of A&M/Horizon Records

……
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts. 

Eric Kloss & Barry Miles
Together 
Muse Records 5112

Produced by Barry Miles & Eric Kloss
Assisted by Fred Seibert

[Click on the track names for LP transfers to MP3]
 

Eric Kloss: Alto saxophone+, Tenor saxophone++
Barry Miles: Piano*, Electric piano**, Synthesizer***

Recorded July 19 & 20, 1976
CI Recording, New York City
Engineer: Chuck Irwin
……
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

Willis Jackson
The Gator Horn
Muse Records MR 5146

Produced by Frederick Seibert
……
For about a decade (1968-78) the avant-garde in jazz sparked a fashion solo recordings, particularly with not so obvious solo intstruments like saxophones. Wanna be that I was, I loved it, and thought it would be cool for Willis to try it on our second session together. He thought I was crazy, but figured if I was willing to take his warm up and do the work to edit it into something reasonable he’d get off the session a little early and still get paid. –Fred Seibert
……
[Click on track names for LP transfers to MP3]
SIDE A
1. Ungawa

2. You’ve Changed

3. Hello Good Luck

SIDE B
1. The Gator Horn

2. This is Always

3. Gooseneck

Willis Jackson: Tenor saxophone (A) , gator horn (B)
Yusef Ali: drums
Dud Bascomb, Jr.: bass
Buddy Caldwell: congas
[Boogaloo] Joe Jones: guitar
Carl Wilson: organ

…..
Produced by Frederick Seibert
Recorded at Rosebud Studio, NYC
March 8, 1977

Engineer: Richard Alderson 
Assistant Engineer: Eric Bowman 
Album design: Ron Warwell 
Cover photo: Hugh Bell 
……
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

David S. Ware
Birth of a Being
hat HUT Records

Recorded April 14 & 15, 1977
C.I. Recording, 110 West 57th Street, New York, NY 10019 
Engineer: Fred Seibert
LP Released 1979

[Click on the track names for LP transfers to MP3]

David S. Ware: tenor sax, composer
Gene Y. Ashton [aka Cooper-Moore]: piano
Marc D. Edwards: drums

……
Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.