Eddie Harris and Les McCann's Second Movement is the second and last duet recording by Harris and McCann, and the follow-up to their 1969 "live" recording Swiss Movement. It is among the series from Label M which launched its reissue series from the Atlantic Records' archives in November 2000. The tenor saxophonist and the vocalist and pianist display their brand of showmanship and musicality that rivaled such great pairings as Johnny Griffin and Eddie "Lockjaw" Davis, Shirley Scott and Stanley Turrentine, or Sonny Stitt and Gene Ammons. This CD is a soul/jazz funk workout and features great technology that emphasizes one of their best songs, "Shorty Rides Again.
CD of lounge music directed by Art Greenslade. Features Jon Lord before he co-founded Deep Purple.
The Danish trio (Rune Tonsgaard Sørensen, violin; Ale Carr, cittern; Nikolaj Busk, piano & accordion) returns with their second recording of cross-genre folk music. Guests include a folk choir and The Danish String Quartet. The artists say: "We met by chance one night during a folk festival in Copenhagen. Ale and Rune were standing in the corner of a pub jamming some folk tunes. Nikolaj just came in, sat at the piano and began to play along. The three of us ended up playing together all through the night. That was in 2009. Six months after we met, Rune held his debut concert at the Royal Danish Academy of Music.
Is there a better trio than the Florestan playing today? All three members are consummate artists, outstanding instrumentalists, and ensemble players to the manner born, but it’s the playing of pianist Susan Tomes that carries these performances to their greatest heights. Since the ensemble is perfectly judged by all concerned, it may seem unjust to single out the playing of one member for special comment, but such is the extreme sophistication, the extraordinary subtlety and the expressive range of this artist that I can see no alternative. The tonal control, the exquisite shaping of phrases, the rhythmical suppleness and structural backbone are of an order seldom encountered in the playing even of many famous soloists. But what renders her playing here still more remarkable is the exemplary precision with which it’s matched to the different sonorities and qualities of attack, so-called, of the string players. And what players they are. For all of the above this is not a pianist-dominated performance, except insofar as Schubert wrote the piece that way.
Jack DeJohnette knows how to turn traditions inside out. He can invest light-touch cymbal playing with the feel of pulsing funk. His freer patterns of blast can sound like some of the most refined avant-percussion you've ever heard. Though while DeJohnette is obviously an original, he's not bent on tearing down all the boundaries between jazz sub-genres. His engagement with various aspects of blues and swing flows from an evident reverence for each specific style. Even when pushing his own creative language to new places, DeJohnette manages to keep the inherited forms in view.
First ever CD release for this 1975 instrumental set from Isaac Hayes’ renowned backing band