One of the greatest albums ever recorded by pianist Hal Galper – and that's saying a lot, given his huge legacy of records! This set has Hal working in a strongly electric mode – using an electric piano with the same sort of spacious qualities he could bring to acoustic – never jamming as hard as some of his more dynamic 70s contemporaries, but in a really great way that creates a special energy on the record – not just for Galper, but also for the groupmates, who really seem to bring out their best. The lineup includes Randy Brecker on trumpet and Michael Brecker on tenor and soprano sax – both playing in the darker edges of their sound – and the record also features guitar, bass, and drums. Some moments are funky, but the real stand out tracks have an even more special electric vibe – and titles include "This Moment", "Whatever", "Wild Bird", and "Change Up".
A silly title, but a funky little record – one of the only ones we've ever seen from guitarist Jay Berliner, and one of the best cookers from the early 70s Mainstream Records years! The sound here is almost soundtrack funk at points – lots of up-front lines from Berliner on guitar – riffing away over backings that include organ and keyboards from Paul Griffin, congas from Ray Barretto, drums from Jimmy Johnson, and additional rhythm guitar from Cornell Dupree. Wade Marcus arranged, and the sound is tight without being slick – a great sort of Kudu Records-styled groove – and an especially nice setting for Jay's guitar.
Although Albert King is pictured on the front cover and has the lion's share of tracks on this excellent compilation, six of the fourteen tracks come from Rush's shortlived tenure with the label and are some of his very best. Chronologically, these are his next recordings after the Cobra sides and they carry a lot of the emotional wallop of those tracks, albeit with much loftier production values with much of it recorded in early stereo. Oddly enough, some of the material ("All Your Love," "I'm Satisfied [Keep on Loving Me Baby]") were remakes – albeit great ones – of tunes that Cobra had already released as singles! But Rush's performance of "So Many Roads" (featuring one of the greatest slow blues guitar solos of all time) should not be missed at any cost.
The liner notes for Barry Guy's extended composition/improvisation Folio (a printer's term for a piece of paper folded in half to create four pages) refer extensively to Nikolai Evreinov's 1912 play The Theatre of the Soul, in which three aspects of the soul are introduced by a pretentious professor who claims the Self as Trinity: Rational, Emotional, and Eternal (or subconscious). Performed a scant five years before the Russian Revolution and simultaneously as Freud's big exposition of the Id, the Ego, and the Superego, the play is one of those moments where history seems to be suggesting bits and pieces of itself. What that all has to with Guy's piece is ponderous at best and known only to Guy. Even Brian Lynch's liner essay is speculative and academic.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Tribute album that focuses more on songs played by Parker, as opposed to focusing primarily on songs composed by Parker. Rein de Graaff - Pianist. Dutch self-taught pianist who's made himself one of Europe's best session players. De Graaff led a trio from 1959 to 1962, then joined The Jazzopters for a year. He then headed his own quartet until 1964, at the same time playing with Erwin Some and Gijs Hendriks. De Graaff formed a new group in 1964 that stayed together until the '80s.
The Bootleg Series Vol. 13: Trouble No More 1979–1981 is a set of recordings from 1979 to 1981 by Bob Dylan, set to be released on Columbia Records/Legacy Recordings on November 3, 2017. It showcases the music Dylan wrote and performed during the so-called Christian period, covering the albums Slow Train Coming, Saved and Shot of Love.