Features 24 bit remastering and comes with a mini-description. Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style.
Features 24 bit remastering and comes with a mini-description. One of Slide Hampton's first albums – and a massively hard-wailing set that will make any doubters sit up and take notice! The set really packs a punch – as Slide leads a hip group that features Freddie Hubbard, Richard Williams, Bernard McKinney, and George Coleman through some tightly woven arrangements that manage to swing with the grace of small combo work, yet wail with the intensity of a big band. Great solos pop out all over the set – and there's a soul jazz groove that makes the album sound like a classic Prestige session. Titles include "Asseveration", "Hi Fly", "Sister Salvation", and "A Little Night Music".
Features 24 bit remastering and comes with a mini-description. A seminal album that defined the fresh sound of a whole new generation in jazz – that "third stream" movement that was different from the cool jazz of the west coast, and the fire of New York! The style here follows that same mix of jazz and higher-concept elements you'd hear on other Modern Jazz Quartet albums for Atlantic – but the music is expanded here with some great help from outside parties too.
Movie themes, along with songs from Broadway, have long been fodder for jazz musicians. This United Artists LP features Jerome Richardson leading his working quintet during a live engagement, though the venue is unidentified. The extended workout of Duke Jordan's "No Problem" (from the film Les Liaisons Dangereuses) showcases Richardson's robust baritone sax and Les Spann on flute, with the leader adding a tag at the end on piccolo. Richardson switches to tenor sax and Spann to guitar for a rather brisk arrangement of "Moon River." "Tonight" (from West Side Story) is a bit unusual in that it features both musicians on flute.
Features 24 bit remastering and comes with a mini-description. A rare 50s performance – featuring a smoking version of "The Afro Suite" – plus some more boppish numbers too! Dizzy Gillespie was recruited as a special guest to perform on March 13, 1955, in concert with the Orchestra (a Washington, D.C., big band), a date that was recorded by Bill Potts and not initially released until 1983 by Elektra Musician. Although there was only a brief rehearsal of Gillespie with the band prior to their performance of the trumpeter's "The Afro Suite" (which includes "Manteca" plus a trio of pieces written in collaboration with Chico O'Farrill), they provide excellent support for this extended work, which features the composer extensively.
One of the sweetest, funkiest 70s sets from reedman David Fathead Newman – an album that has the saxophonist blowing over some great arrangements from William Eaton – who brings in a full sound that almost gives the album a soundtrack sort of vibe! Newman's tenor, alto, and flute get plenty of solo space throughout – and the richer arrangements by Eaton really bring in a strong set of feeling to the record – a depth that David wouldn't have been able to achieve on his own, and which really seems to influence the level of his solos. Other players are great too – and include Richard Tee on organ, Cornell Dupree on guitar, and Bernard Purdie on drums – and the set includes a number of tracks by Allen Toussaint, including "Yes We Can Can", "Happy Times", and "Freedom For The Stallion". Other titles include "Missy", "You Can't Always Get What You Want", and "Seems Like I Gotta Do Wrong".