Reissue with 24-bit digital remastering. Comes with a mini-description. Sweet electric grooving from David Newman – a great little album cut with Roy Ayers on vibes and Pat Rebillot on electric piano – both of whom bring a very different feel to the set than Newman's work of the 60s! The style is warm and tight, but never too smooth – as there's these sharp edges and a slightly sinister undercurrent that you don't really find in some of David's other records of the period. Rhythm is by Ron Carter on bass and Andrew Smith or Roy Brooks on drums – plus added percussion from Armen Halburian, who kicks in a slight Latin essence on some numbers – which adds to the hipness of the grooves. Titles include nice versions of Roy Ayers' tracks "Foxy Brown" and "Sweet Tears", plus the cuts "Brandy", "Song For The New Man", "Baby Rae", and "Let Me Know".
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.
Features 24 bit digital remastering. Comes with a description. The Charles Lloyd Quartet was (along with Cannonball Adderley's band) the most popular group in jazz during the latter half of the 1960s. Lloyd somehow managed this feat without watering down his music or adopting a pop repertoire. A measure of the band's popularity is that Lloyd and his sidemen (pianist Keith Jarrett, bassist Ron McClure and drummer Jack DeJohnette) were able to have a very successful tour of the Soviet Union during a period when jazz was still being discouraged by the communists. This well-received festival appearance has four lengthy performances including an 18-minute version of "Sweet Georgia Bright" and Lloyd (who has always had a soft-toned Coltrane influenced tenor style and a more distinctive voice on flute) is in top form.
Features 24 bit digital remastering. Comes with a description. his 1966 date by Duke Pearson with an octet was originally issued by Atlantic. Reissued by Collectables, this is Pearson in full soul-jazz mode, driven deeply by the blues, with an all-star band (not all members play on all tunes): drummer Mickey Roker; Harold Vick on soprano; James Spaulding on flute and alto; bassist Bob Cranshaw; trumpeter Johnny Coles; tenor George Coleman; guitarist Gene Bertoncini; and Pearson on piano and celeste.
Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.
Features 24 bit digital remastering. Comes with a description. Originally released on Atlantic in 1957, the short-lived bop quintet les Jazz Modes performed excerpts from Frank Loesser's third Broadway musical The Most Happy Fella. This tasteful date features Julius Watkins on French horn (and pre-Thelonious Monk) and tenor saxophonist Charlie Rouse, accompanied by pianist Gildo Mahones, bassist, Martin Rivera, drummer Ron Jefferson, and, for this date only, vocalist Eileen Gilbert was added on "My Heart Is So Full of You."
Features 24 bit digital remastering. Comes with a description. A firey stormer from the great Slide Hampton! The album's one of his few early sides for Atlantic – and like the others, it's a groundbreaking batch of larger group material, with slide out front on trombone, and the rest of the ensemble vamping along like a tight Blue Note combo. Players are excellent – and include George Coleman on tenor, Horace Parlan on piano, Hobart Dotson on trumpet, and Ray Barretto on drums – and Slide makes them come together so tightly, you'd think they were working together every night of the week! Titles include "The Barbarians", "Strollin", "The Jazz Twist", "Red Top", "Slide Slid", and "Day In Day Out".
A great album recorded in 1963 for Atlantic – one of our favorite ever! Jack Wilson's one of our favorite piano players, and we rave about him all the time on these pages – and one of the reasons why we love him so much is that he was often accompanied by Roy Ayers, who started out his career playing vibes in his group! The pair together are a dream, and this album is arguably their best effort – filled with moody modal cuts, and lots of lyrical interplay that hits these beautiful high points, then dives into pits of darkness. Titles include "Harbor Freeway", "De Critifeux", "Corcovado", "Jackleg", and "Nirvana & Dana".
Features 24 bit remastering and comes with a mini-description. Somethin' Sanctified is an album by American jazz trombonist, composer and arranger Slide Hampton which was released on the Atlantic label in 1961. In 1959, trombonist Slide Hampton was known mainly for the excellent arrangements he did for the Maynard Ferguson Band, so it was no surprise that he formed his octet band and began making a serious bid for recognition as a top jazz artist and arranger, recording his first album for the small label Strand. His impact was immediate and in 1960 Slide signed for Atlantic resulting in two studio albums, Sister Salvation and Somethin Sanctified, which were the octets first for the label.
Features 24 bit remastering and comes with a mini-description. The 1960's represented a very interesting time for musicians of all genres; three particular reasons began a trend for future generations of musical artists. The Beach Boys, The Beatles, and The Rolling Stones were the 3 reasons which permanently altered the musical landscape and basically made it impossible for stars of the past to remain economically viable in the present. The only 2 exceptions to the rule of course were Mel Tormé and Frank Sinatra.