Junior Junior Mance

Pianist Junior Mance originally released these albums in 1967-1968 on the Atlantic label; they were then combined in 2000 for the first time on CD by the Collectables label. Harlem Lullaby is a haphazard recording with a revolving-door rhythm section that is marred by Mance's insistence to occasionally utilize a harpsichord instead of piano. By contrast, I Believe to My Soul is a horn-laden affair with Mance sticking to piano; appearances from David "Fathead" Newman, Frank Wess, and Joe Newman also help make this the better date of the two. Neither album is essential, but they will be of interest to collectors of mid-'60s mainstream soul jazz.

Pianist Junior Mance originally released these albums in 1967-1968 on the Atlantic label; they were then combined in 2000 for the first time on CD by the Collectables label. Harlem Lullaby is a haphazard recording with a revolving-door rhythm section that is marred by Mance's insistence to occasionally utilize a harpsichord instead of piano. By contrast, I Believe to My Soul is a horn-laden affair with Mance sticking to piano; appearances from David "Fathead" Newman, Frank Wess, and Joe Newman also help make this the better date of the two. Neither album is essential, but they will be of interest to collectors of mid-'60s mainstream soul jazz.

At age 33 for this one, Mance (piano), with Bob Cranshaw (bass) and Mickey Roker (drums), has all the jazz and blues bases covered, going back to boogie and stride, through swing and bop, with a couple of more modernistic numbers rounding out this complete overview of classic American soul-based black music. Mance evokes wonderfully patient, romantic notions on "Creole Love Call," with creamy, molasses-like melodicism stirred by Roker's expert brush work. "Yancey Special" has Mance digging in and getting down as Roker shuffles along. "In the Evening" is much more tinkling and upbeat here than Leroy Carr wrote it, whereas the hard-swinging "Jumpin' the Blues" is as much fun to hear as it must have been to play…

The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining - and oddly satisfying - as the music itself. Released on Blue Thumb in 1970 on multi-colored wax, this session, was it not for a very real economic necessity due to Buddy Guy's feud with Vanguard Records, would never have happened. It appears that Vanguard wouldn't pick up the tab for Guy to fly to New York to mix an album he'd cut with Junior Mance and Gary Bartz - also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow, who jumped at the chance. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19, they mixed this album and the Vanguard date…

Veteran pianist Junior Mance has worked and recorded with Jazz greats like Lester Young, Coleman Hawkins, Dizzy Gillespie, Cannonball Adderley, Lionel Hampton, Art Blakey. He accompanied singers like Dinah Washington and Aretha Franklin. Since the late 1980s he has been an acclaimed member of New Yorks New School and has given piano lessons to rising stars like Brad Mehldau, Larry Goldings and Stephen Scott. On "Nadja" Mance shows his gentle lyrical and thoughtful side as well as his blues-drenched and soulful take on bop and hard bop. The Junior Mance Trio delivers classicism the way it’s supposed to be! Clear, unpretentious, prodigiously swinging piano improvisations on standards and originals.

Cut at the 1974 Montreux Jazz Festival with Stones' bassist Bill Wyman anchoring the rhythm section, the set captures some of the ribald musical repartee that customarily distinguished the pairing of Buddy Guy and Junior Wells, though they certainly break no new ground as they roll through their signature songs.

Junior Mance feat. David "Fathead" Newman - Live At The Top (1968) {2012 Japan Jazz Best Collection 1000 Series WPCR-27179}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 211 Mb | MP3 @320 -> 87 Mb
Full Artwork @ 600 dpi (png) -> 197 Mb | 5% repair rar | 24-bit remaster
© 1968, 2012 Atlantic / Warner Japan / WEA / Rhino | WPCR-27179
Jazz / Soul Jazz / Bop / Piano / Saxophone

Features 24 bit remastering and comes with a mini-description. This recording comes from three live gigs Junior Mance played at one of New York's better jazz watering holes, the room at the top of The Gate, during September 1968. The four cuts on the album were selected from ten tunes actually taped, but which never made it to the final release. If any of the six that ended up on the cutting-room floor came close to these performances, then some awfully good jazz was wasted. Right from the first track, it's clear this is going to be a top-quality and high-energy outing.

Junior Mance & Joe Temperley - Monk (2003) {Chiaroscuro Records CR(D)370 rec 1996, 2000}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 434 Mb | MP3 @320 -> 157 Mb
Full Artwork @ 300 dpi (jpg) -> 9 Mb | 5% repair rar
© 2003 Chiaroscuro Records / SOS Productions | CR(D)370
Jazz / Bop / Piano / Saxophone / Clarinet

The Floating Jazz Festival, which takes place aboard the Queen Elizabeth II (previously held on the SS Norway), has been a regular source for outstanding live sets on the Chiaroscuro label. These excerpts from performances by Junior Mance and Joe Temperley are no exception, as they devote an entire program to works by Thelonious Monk. Accompanied by the highly in-demand young bassist Peter Washington and grizzled veteran drummer Mickey Roker, they've got a couple of surprises in store.

Junior Mance - Happy Time (1962) {Jazzland OJCCD-1029-2 rel 1999}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 261 Mb | MP3 @320 -> 103 Mb
Full Artwork @ 300 dpi (jpg) -> 7 Mb | 5% repair rar
© 1962, 1999 Jazzland Records / Fantasy | OJCCD-1029-2
Jazz / Bop / Mainstream Jazz / Piano

Pianist Junior Mance was in excellent company on this inspired 1962 session with bassist Ron Carter and drummer Mickey Roker. Its unfortunate this trio only recorded together on this one date as their unity propels the blues, gospel, and bebop ideas Mance consistently feeds them. The program is highlighted by three Mance originals "Out South," "Taggie's Tune," and the torrid joy of the opening theme "Happy Time," along with versions of "Jitterbug Waltz," "Tin Tin Deo," and Mance at his soulful bluesy best on Clark Terry's "The Simple Waltz."