Not that this artist isn't pretty cool; far from it. Credited either as Bob Hardaway or Robert Hardaway, he spent much of the 20th century at the top of the studio musician scene in Los Angeles, playing a bewildering array of woodwind instruments — even bass clarinet, English horn, and alto flute — on a tall stack of records that stylistically give the impression of having been snatched at random out of a burning used record store, the Partridge Family, Dinah Washington, Bonnie Raitt, and his efforts with the Eddie Shu/Bob Hardaway Jazz Practitioners among them.
Really wonderful work from pianist Bobby Scott – a perfect showcase not just for his young talents as a composer and arranger, but also for a host of key solo performers as well! This full album brings together two previous 10" LP sessions – both of them brilliant, and graced by some of the most modern talents Bethlehem Records had to offer – which makes for extremely fresh sounds from Scott's wonderful music – jazz that's at a level that's really hard to peg – neither west coast cool, nor east coast arranged – but a really special space of its own!
Features the latest remastering. Includes a Japanese description, lyrics, and bonus track(s). Features original cover artwork. One of the few female pianists in 50s jazz – the great Terry Pollard, a player who's usually associated with the Detroit scene, but who works here in a hip west coast setting for Bethlehem Records! The date's got Terry's strong piano in a quintet – with Don Fagerquist on trumpet and Howard Roberts on guitar – both musicians who bring a strong sense of presence to the group passages on the date, but who are also more than willing to step aside and let Pollard really flourish on her solos during some of the album's trio tracks.
Reissue with the latest remastering. Features original cover artwork. A set of folk songs, but handled in a way that isn't folksy at all – thanks to the lyrical genius of Spanish pianist Tete Montoliu! The music here has sources in older tunes from Catalonia – as you'd guess from the title – but Tete's handling of the material is all jazz, all the way through – with a rich amount of solo introspection that really moves the tunes past their simple melodies, in ways that are even more expansive than some of the Scandinavian 60s experiments with folk and jazz! The album's also perhaps one of Montoliu's best-remembered of the 70s – a date that circulated strongly, thanks to Tete's incomparable solo performance throughout – very expressive, but never overdone.