The Jazz Crusaders – Old Socks New Shoes New Socks Old Shoes (1970)

Jazz Crusaders – Old Socks New Shoes New Socks Old Shoes (1970)
Originally released as Chisa #804 (Motown distribution)

This reissue, Verve Originals, EU release, 2008

01 – Thank You
02 – Funny Shuffle
03 – Why Do You Laugh At Me
04 – Jackson!
05 – Rainy Night In Georgia
06 – Golden Slumbers
07 – Jazz!
08 – Time Has No Ending
09 – Hard Times
10 – Way Back Home

Wayne Henderson – trombone
Wilton Fedder – sax, bass
Joe Sample – electric piano
Stix Hooper – drums

with Arthur Adams, Freddie Robinson – guitars

I have spent quite a few hours wondering why it is that when I feel like total shit, putting on virtually any (Jazz) Crusaders record cheers me up. Something about their records are just comfortable in an early-to-mid 1970s way, like hearing John Sebastian sing the theme to “Welcome Back, Kotter” and forgetting there was an illegal disgusting war going on somewhere in Asia. Their soul-jazz fusion had a playful plaid-and-corduroy mainstream sensibility to its execution, enough so to make it sometimes pass from one ear and innocuously out the other if you aren’t particularly tuned in. But when you pay closer you begin to understand more about whatever it is that makes these records so *warm*, and I suspect it’s because that ‘whatever’ involves layers of complexity and texture tucked away in the shag carpet.

Recorded at Wally Heider’s studio in San Francisco, this album is neither their best nor their worst. This is the last time they would release an album as the JAZZ Crusaders before simply dropping the ‘jazz’ and becoming simply “The Crusaders.” Actually if they lost it unintentionally, it would have been pretty easy to figure out how to go back and find it, as they left it on the second cut of Side Two (track 7 on the CD), the most unimaginatively-titled “Jazz!”. Wayne Henderson was apparently prone to exclamatory punctuation in 1970 (Jackson!). “Old Socks News Shoes New Socks Old Shoes” is also one of only two of their albums to be released on the Chisa label.

The album is peppered with instrumental covers of songs that had just been recently huge hits, “Thank You” (Sly Stone), “Rainy Night in Georgia” (Brook Benton, written by Tony Joe White), and “Golden Slumbers” (The Beatles). One could almost say that the band sounds more inspired interpreting this material than their own compositions on this album. “Rainy Night in Georgia” is lusciously laid-back, with an opening percussive section that reminds me, oddly enough, of Jaki Liebezeit’s drumming for Can. In fact Stix Hooper keeps this up throughout the entire sound, with the ending coda winding down in a pattern of psychedelic raindrops courtesy of his drumming and some strummed guitar appregios (courtesy of either Arthur Adams or Freddie Robinson, or both). “Golden Slumbers” kind of steals its thunder, however. I personally find this track far superior than their more famous Beatles cover, Eleanor Rigby (which, in spite of being a very peculiar choice for a soul-jazz instrumental treatment, would be turned into an epic running around 15 minutes for their live gigs..) The Crusaders put more, I don’t know, *pathos* into this reading, it’s suitably sad, melancholic and triumphal in all the right measures to make it a fitting tribute to one of Lennon & McCartney’s best tunes, rather than just cheese. The Crusaders frequently run the cheese gamut from Stilton to fondue without ever becoming overly-processed. And for this they must be respected. Must! The song ‘Hard Times’ is almost unrecognizable as the Ray Charles hit from ten years previous. The original compositions from the Crusaders seemed to be in a sort of limbo in this period, and Henderson and Sample would find their footing again over the next few albums. But all the tracks are good, with the aforementioned “Jazz!” being the one near throw-away, a basic electric hard-bop number that seems to exist only to remind us of the band’s origins.

Donald Byrd – Ethiopian Knights (1972) SBM CD Pressing

This is not a repost. I got hold of a the Super Bit-Mapped (SBM) Remaster of this album from the late 90s and figured I would share it here. Probably not great propaganda for my own vinyl rips, because I think this remaster probably sounds better than my nth-generation Blue Note repressing. But don’t judge me — I have some tasty vinyl treats coming up soon that really do sound lovely! You can see the original description for this album here

Donald Byrd – Ethiopian Knights (1972) SBM REMASTER in 320kbs

Donald Byrd – Ethiopian Knights (1972) SBM REMASTER in FLAC LOSSLESS AUDIO

Donald Byrd – Ethiopian Knights (1972) vinyl rip


Donald Byrd
“Ethiopian Knights”
Blue Note BST 84380Recorded at A&M Recording Studios
Recorded: August 25th & 26th, 1971
Remix at: Van Gelder Recording Studios
Pub. by Elgy Music Pub. Co. BMI

Producer – George Butler
Engineer – Henry Lewy
Engineer [Remix] – Rudy Van Gelder
Liner Notes – Bill Quinn
Photography, Artwork – Norman Seelf
Album Design – Dave Bhang

VINYL TRANSFER TECHNICAL INFO: Blue Note repress -> Pro-Ject RM-5SE turntable / Sumiko Blue Point 2 cartridge / Pro-Ject Speedbox power supply -> Creek OBH-18 MM Phono Preamp -> M-Audio Audiophile 2496 soundcard. Recorded at 24-bit / 96 khz resolution to Audition. Click Repair on very light settings to remove some clicks and pops, some clicks removed manually in Audition. Track splitting in Adobe Audition 3.0. Dithered to 16-bit using iZotope M-Bit noise-shaping. Converted to FLAC using DbPoweramp. ID tags done with Foobar2000.


HOLY CRAP look at that lineup!

I am not sure why this album is not better known. In fact it is almost downright ignored. No doubt it has been eclipsed by the masterwork `Black Byrd` that would come the following year. That´s too bad, as this is a critical ‘transition period’ album, between the Bitches Brewish explorations of ‘Electric Byrd’ and the trademark production and super-tight arrangements of the Mizzell Brothers on ‘Blackbyrd’ and ‘Street Lady’. (Incidentally, although he is not credited on the album, Larry Mizzell claims to have worked on this.. I’m not sure what I think of that, though..)

This album is much looser than what came before or after in Byrd’s body of beautiful booty-work. The two long tracks that make up the bulk of it are built on simple funk riffs around which the whole band vamps and takes solos. Drummer Ed Greene, while he definitely has chops, is not a jazz drummer in the strict sense. He was as session guy who played on some fabulous records by the likes of Eddie Kendricks and Lamont Dozier, and his style only adds to the album’s charm. Because he IS surrounded by some serious jazzista heavy-hitters: the inimitable Bobby Hutcherson on vibes, Harold Land on tenor, and from The Crusaders (formerly Jazz Crusaders), Joe Sample and William Felder.

I am not entirely convinced that this vinyl rip has many advantages over the remastered CD version released in the late 90s. {Years-later edit: no, I’m certain it really doesn’t.  In fact you should probably just seek out the SBM remaster, and you don’t have to look far…}