Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A direct (musical) descendant of Bird, alto saxophonist Lou Donaldson has often been criticized for commercial concessions or for lack of imagination. Over a span of decades, his sound remained constant, rarely wavering from his initial bop conception. This set of standards is one of Donaldson's best recordings, in part due to the relaxed setting, but also because of the outstanding piano trio accompanying the saxophonist.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Nat Adderley's not actually busking in the subway – but instead playing a smoking little set at the Subway Nightclub in Cologne – working with an excellent group that includes Vincent Herring on alto sax, and some excellent rhythm work from the trio of Rob Bargad on piano, Walter Booker on bass, and Jimmy Cobb on drums! The tunes are all nice and long, and have a stretching, soulful feel that's really great – and which gets past the "classic" soul jazz cliches that can sometimes mar other Adderley albums from later years. Nat's in fine fine form, and Herring seems to help him unwind in a hip groove that's really carried off well – and the album's got a richness that easily makes it one of the best later sessions from Nat you can find! Titles include "The Chant", "Almost Always", "The Big J", "Plum Street", and "The Scene".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. An overlooked gem from reedman Sam Rivers – and a set that's surprisingly soulful, given that most of his other work from this stretch is much more outside! The album's got a laidback groove on most numbers – with rhythm from Daryll Thompson on guitar, Rael Wesley Grant on bass, and Steve McCraven on drums – often in this midtempo mode that has the electric currents providing a subtle bounce, which opens up as Rivers solos on tenor, soprano sax, and flute! The style's a few steps down from funky fusion, but not that far away, either – and Sam proves to be an expressive soloist in the setting, in ways we really wouldn't have expected. Titles include "Swirl", "Chant", "Coral", "Lazuli", "Ripples", "Dandelions", "Devotion", "Beatrice", and "Sprung".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. The Dutch jazz scene had plenty to offer back in the 70s – not just the better-remembered avant jazz from big free jazz musicians, but also some great straight ahead material too! This album's a key set from that wonderful time – and features a combo led by pianist Rein DeGraaf and reedman Dick Vennik – a great player who blows tenor, soprano sax, and flute on the record – with a depth of feeling that has us wondering why he never scored bigger fame on this side of the Atlantic. Even the mellower moments have a nice sort of bite – and rhythms are from Koos Serierse on bass and Eric Ineke on drums – on titles that include the stunning 13 minute title track "Modal Soul", plus "Short Rainbow", "Sweet Basil", "Detour Ahead", and "Lonely Hunter".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Ben Webster plays live in Harlem – not the uptown scene in New York, but the Dutch city that became a surprisingly strong showcase for American players overseas! The date's got that easygoing style of some of Webster's best late live performances – a laidback rhythm trio, and Ben himself blowing these raspy, blue-tinged notes that are full of feeling – even when in a familiar setting – that quality that can make even subtle handling of a standard pop out with such Webster-like charm! The group features Tete Montoliu on piano, Rob Langereis on bass, and Tony Inzalaco on drums – and titles include "Stardust", "How Long Has This Been Going On", "Sunday", "For All We Know", and "Perdido".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Lionel Hampton was always at his best in a concert setting and this 1979 performance in Haarlem, the Netherlands, is not exception. Fronting a tentet consisting of both veterans and younger musicians, the vibraphonist's energy is contagious to both his band and the audience. The opener, "Glad Hamp" is a furious reworking of the chord changes to "I Got Rhythm," showcasing trumpeter Joe Newman.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A killer Dutch duo from the end of the 70s – tenorist Harry Verbeke, who's got a bold, clear sound – and pianist Rob Agerbeek, who's been making soulful sides from the 60s onwards! The pair get great accompaniment here from drummer Billy Higgins and bassist Herbie Lewis – the last of whom may be at his best here – with these well-placed, well-rounded lines that help the record groove right from the start – and which give the record a nice bounce, even in gentler moments – followed up strongly by Agerbeek and his strong sense of chord progressions. Most tunes are familiar, but get nice readings by the group – and titles include "Gibraltar, "Holy Land", "Soul Sister", "No Me Esqueca", and "No Problem".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the most hard-edged albums we've ever heard from pianist Kirk Lightsey – thanks to the presence of Jerry Gonzalez on congas, which really adds a nice extra bite to the record! The whole lineup is great – and includes Santi Debriano on bass and Eddie Gladden on drums – but it really seems to be Jerry's percussion that kicks the whole album into gear – bringing up a bit more bottom than usual in Lightsey's work on the keys, and giving even the mellower moments a Latin current that really keeps things fresh – and which we would have liked to hear more from Kirk over the years. Titles include "Habiba", "For Albert", "One Finger Snap", "Blues On The Corner", and "Eighty One".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. George Adams and Don Pullen knock it out of the park on this one – finding great company in each other's presence, and really moving things forward in the process! The set begins with a long track titled "Mingus Metamorphosis", and that really sums up the spirit of the record – an 80s reworking of all the ideas that the players had learned from Mingus, but with an individual, personal sense that's all their own – and very different than some of the more standard modes of the Mingus Dynasty group that continued the legacy in a more direct manner. Adams is bold one minute, lyrical the next – and plays both tenor and flute – alongside Pullen on piano, Cameron Brown on bass, and Dannie Richmond on drums.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A firey session from the quartet of George Adams and Don Pullen – a set that has the group stretching out in some of their most spiritual modes, yet still finding plenty of time to swing as well! Adams is tremendous on tenor – a very fresh voice in the post-Coltrane world, with phrasing that is all his own – even more amplified when he switches to flute – and Pullen's got this ability to go outside, and show his knowledge of the darker corners of the keyboard – yet never let that side of his playing overwhelm things, possibly because the rhythmic accompaniment from Cameron Brown on bass and Dannie Richmond on drums is so strong. Tracks are all long, and very individual – with the group in high spirits on the titles "Earth Beams", "Magnetic Love Field", "Saturday Nite In The Cosmos", "More Flowers", and "Dionysus".