This excellent 1966 set features a diverse range of ensembles, all lead by trumpeter Freddie Hubbard. The first is an octet, featuring congas and a euphonium; the second, a seven-member group, including the great McCoy Tyner on piano; the third is a sextet that boasts drummer Elvin Jones and Herbie Hancock (who doubles on piano and celeste). James Spaulding lends his alto sax and flute to two of the groups, and Joe Henderson is in two as well (his melodic, yet adventurous, tenor sax playing is especially notable). Also featured are tenor player Hank Mobley, bassist Reggie Workman, pianist Harold Mabern, and drummer Pete La Roca.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. In Blue is the thirty first album by Klaus Schulze. It was originally released in 1995, and in 2005 was the eighth Schulze album reissued by Revisited Records.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Features the latest 24 bit remastering. Housed in one of Blue Note house graphic designer Reid Miles' most delightful covers – a powder-blue image featuring a nattily-dressed Freddie Roach receiving a heaping helping of the soul food in question – the outstanding Mo' Greens Please serves as a stepping stone between the more studied soul-jazz of the organist's label debut Down to Earth and the looser, deeper grooves of the following Good Move!
Otis Redding’s third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding’s versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, “A Change Is Gonna Come” and “Shake,” are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it’s useful to hear the songs from those sessions juxtaposed with each other, and with “Wonderful World,” which is seldom compiled elsewhere.