A brilliant set from Japanese pianist Masabumi Kikuchi – two long, leaping, loping tracks that almost feel like some of McCoy Tyner's best work! Kikuchi plays acoustic piano, and the group's a quartet with Terumasu Hino on trumpet, Koshuke Mine on tenor, Eric Gravatt on drums, and Juni Booth playing some really wonderful bass. Booth's bass leads the tracks with a soulful quality that you don't always hear on Kikuchi's other work – really giving the record a strongly-rooted vibe, while the musicians are still free to really open up and explore. The album's tracks, "East Wind" and "Green Dance", are both excellent examples of the soulful freedoms allowed in the Japanese scene of the 70s – side-long numbers that are different both from contemporary performances on both the US and European scenes of the period.
Reissue with DSD remastering. A real lost treasure from trumpeter Terumasa Hino – a warm and wonderful live set, and one that's neither too free, nor too smooth – just perfectly set up right down the middle to open up on these beautiful long performances! The lineup is all Japanese – a great array of players that includes Shigeharu Mukai on trombone, Hideo Miyata on tenor, Sadao Watanabe on alto sax, Motohiko Hino on drums, and Fumio Itabashi on Fender Rhodes – part of a slightly larger ensemble who can be tight at times, but still allow plenty of room for open freedom on the solos. Hino's only part of the picture, as the other soloists get in some great space too – and the set includes the 23 minute groover "Logical Mystery", the long soulful original "In The Darkness", and a sweet mellow take on "Round Midnight".
Before and After Science is really a study of "studio composition" whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Despite the album's pop format, the sound is unique and strays far from the mainstream. Eno also experiments with his lyrics, choosing a sound-over-sense approach.
John Patton, Grant Green and Ben Dixon were introduced to Blue Note by Lou Donaldson and quickly became the quintessential rhythm section for Blue Note's funkier session. They came together for this, John Patton's first album, with two of the label's tenor saxophonists Fred Jackson and Harold Vick. The double tenors and organ trio make an unbeatable combination for some soulful, swinging music. The title tune and "The Silver Meter" were radio hits that remain among the most popular of Patton's recorded performances.
Since his days with the Bud Powell Trio, drummer Art Taylor was an invaluable member of the Blue Note recording family. A.T.'s Delight is the only album made under his own name for the label and it is a remarkable one. Choosing great compositions by Coltrane, Monk, Denzil Best and Kenny Dorham, Taylor assembled a great quintet fronted by Dave Burns and Stanley Turrentine, often adding Potato's congas to the proceedings. The unique and varied arrangements and great playing pay tribute to the drummer's exceptional song selection.