This summit recording by pianist John Hicks, drummer Elvin Jones, and bassist Cecil McBee might not always hit the heights, but it still impresses with a fine repertoire and quality playing. John Coltrane's "Cousin Mary" kicks things off with Hicks and Jones matching the vigorous interplay the drummer and pianist McCoy Tyner plied so well in Coltrane's classic quartet, while a faithful reading of the tenor giant's airy ballad "After the Rain" is also included.
Cecil McBee (born May 19, 1935) is an American post bop jazz bassist, described by the Guinness Who's Who of Jazz as "a full-toned bassist who creates rich, singing phrases in a wide range of contemporary jazz contexts." Allmusic called him "One of post-bop's most advanced and versatile bassists"
Features 24 bit digital remastering. Comes with a description. When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable – though young – Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist.
Features 24 bit digital remastering. Comes with a description. Before his great quartet split at the end of 1968, Charles Lloyd took this band literally to the ends of the earth. As a quartet, they had grown immensely from that first astonishing spark when they toured the summer festivals in 1966. Here they are a seasoned unit, full of nuance, elegance, and many surprises, while having moved their entire musical center over to the pursuit of Lloyd's obsession – incorporating the music of the East into Western jazz. This show in Norway, which featured the original band of Lloyd on flute and saxes, Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums and percussion, took the idiom begun by John Coltrane and Yusef Lateef and moved it into places even they hadn't imagined.
Features 24 bit digital remastering. Comes with a description. The first studio date of the Charles Lloyd Quartet, with Keith Jarrett, Cecil McBee, and Jack DeJohnette, was recorded and released just a few days before the band took both the European and American festival circuits by storm. First came Europe, which was just getting the disc as the band was tearing up its stages. While the live dates are now the stuff of legend, it's easy to overlook the recordings, but to do so would be a mistake. Dream Weaver is a fully realized project by a band – a real band – in which each member has a unique part of the whole to contribute.
Still known as Dollar Brand at the time of this recording, Abdullah Ibrahim had his first encounter with a large ensemble on African Space Program, and the results are quite successful. Despite a muddy sound quality, this is music built on infectious themes and played with verve by a fine cast of instrumentalists. The first part of "Tintiyana," entirely written, is redolent of Ellington and Mingus, all churning low tones and percussion. When the second portion begins, the mood turns celebratory with a striding, gospel-imbued theme supporting heroic solos from all involved. Several of the musicians on hand were generally involved with the avant-garde end of the jazz spectrum at the time, and their playing is full of bite and a risk-taking nature that greatly enlivens the proceedings.