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 SHM-CD format and the latest 24bit 192kHz remastering. One of the most dynamic albums that Andrew Hill ever cut for Blue Note – a record of long tracks, played by a largeish group who seem perfectly suited to Hill's most creative musical ideas! There's an approach here that almost predates some of the more righteous soul jazz ensemble sides of the 70s – as Hill's piano leads a octet that features Freddie Hubbard on trumpet, John Gilmore on tenor and bass clarinet, Cecil McBee and Richard Davis on basses, Joe Chambers on drums, and Nedi Quamar and Renaud Simmons on percussion. The percussionists roll out with quite a bit of presence in the set – not so much as on some of the Art Blakey percussion sides for Blue Note, but more with a pronounced sense of "bottom" that you might not always hear from Hill – an earthy, sometimes organic way of riffing that then allows freer solo work from the horns and piano on the top!
Two years after the death of his mentor and boss, John Coltrane, and just before signing his own contract with Impulse!, Pharoah Sanders finally got around to releasing an album as a leader apart from the Impulse! family. Enlisting a cast of characters no less than 13 in number, Sanders proved that his time with Coltrane and his Impulse! debut, Tauhid, was not a fluke. Though hated by many of the jazz musicians at the time – and more jazz critics who felt Coltrane had lost his way musically the minute he put together the final quintet – Sanders followed his own muse to the edges of Eastern music and sometimes completely outside the borderlines of what could be called jazz. That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Odyssey of Iska was the outcome of the second recording session with Shorter that was produced by Duke Pearson (Nevertheless Moto Grosso Feio was issued not until 1974.) Despite Ron Carter there was a completely different line-up, although with a similar instrumentation: beside Shorter on saxophones there was no further reed or horn, also no keyboards, but a guitarist, two double bass players (Carter plays also cello on the prior session) and two, respectively four musicians on various percussion instruments including marimba and vibraphone.
It is a well rehearsed story that some of the major innovators of modern jazz were, in the early 1960s, struggling to get recording contracts or gigs in America. This led players like Ornette Coleman, Albert Ayler and Cecil Taylor to try their hand across the Atlantic. These players found a particularly warm reception in Scandinavia, and live recordings from any of these in Sweden or Denmark are well worth looking out for. This nicely packaged reissue captures Taylor’s performances at Copenhagen’s Café Montmartre, with three bonus tracks recorded at Stockholm’s Golden Circle. For fans of Taylor, the material (with the exception of the bonus tracks which have not been previously released) will be familiar from the Live! At the Café Montmartre and Nefertiti: the beautiful one has come. This set comes with a booklet with the sleeve notes from these previous releases, featuring Erik Weidermann’s insightful comments on the performances and the developments of Taylor’s playing.