Big-toned tenor saxophonist Joe Lovano is a truly unpredictable talent, constantly pushing into new directions and contexts for his playing. On FOLK ART, his 21st recording for Blue Note and first album of entirely original material, Lovano debuts a new band, Us Five. With two drummers, Lovano can utilize and explore both funk and Afro-Cuban rhythms and work them into a context that includes hard bop and the post-John Coltrane era innovations. Simply put, this is a powerful, rhythm-charged session where leader and band push the envelope without leaving the audience behind.
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Hardly a free for all at all – as the album's a masterpiece of focus and direction, and a classic set from the sextet lineup of the Jazz Messengers! The album's a real feather in the mid-60s cap of Art Blakey –and features an expanded sound from the quintet era of his group – with a sublime horn lineup that features Wayne Shorter on tenor, Freddie Hubbard on trumpet, and Curtis Fuller on trombone – all gliding along these soaring piano lines from Cedar Walton! Reggie Workman works some real magic on bass, too – and the tracks are all very long – with titles that include "Free For All" and "Hammer Head" – both written by Shorter – plus "The Core", by Hubbard, and a beautiful version of Clare Fischer's "Pensativa".
One of a number of Art Blakey albums titled after "Night In Tunisia" – and most likely the best! The tune is a perfect fit for the Blakey Jazz Messengers format – long, rhythmic, really stretching out, yet allowing plenty of space for the horn players to solo. Players include Bobby Timmons on piano, Lee Morgan on trumpet, and Wayne Shorter on tenor – a killer lineup that's in really classic form here – driven on nicely by Blakey's drums and bass work by Jymie Merritt. Titles include "Night In Tunisia", with Blakey thundering through impeccably – plus the tracks "Yama", "Kozo's Waltz", and a version of Timmons' great "So Tired".
Drummer Art Blakey led many great editions of the Jazz Messengers from the inaugural mid-'50s sessions until his death in the '90s. While arguments rage regarding which was his best, there is no doubt that the 1960-1961 unit figures in the debate. This wonderful six-disc set, notated with care and painstaking detail by Bob Blumenthal, covers studio and live sessions from March 6, 1960, to May 27, 1961, with the same personnel on all but two songs. Producer Michael Cuscuna used only first issue dates, and while he included some alternate takes, he did not litter the discs with second-rate vault material. They smoothly detail the band's evolution, cohesion, and maturation. This set, as with all Mosaic boxes, goes beyond essential. Get it post haste.
This 1961 session is less well known than many of the other Jazz Messengers' Blue Note dates from the same period. THE WICTH DOCTOR is, however, a strong outing by the legendary group in its most prolific period. Featuring the classic lineup of Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt, Blakey and his Messengers groove hard on cuts like Morgan's title track and the rhythmic "Afrique." Shorter and Morgan make a grand team as always on tasty arrangements like Shorter's "Those Who Sit and Wait," working together on the melody and then blowing tremendously powerful solos.
THE COMPLETE QUARTETS WITH SONNY CLARK includes the albums NIGERIA, GOODEN'S CORNER and OLEO as well as 3 additional tracks. This two-disc set gathers together the cuts for three Blue Note sessions teaming Grant Green with Sonny Clark. The first, NIGERIA, was originally release posthumously in 1980 and features Green's only collaboration with drummer Art Blakey. GOODEN'S CORNER and OLEO were both only released in Japan in 1979 and 1980, respectively. The latter two sessions featured Louis Hayes on drums along with Sam Jones, the bassist for all three albums. Luckily these sessions have been carefully restored and release for all to hear.
Larry Carlton and Steve Lukather share the stage once again in this exceptional live recording at the famous Blue Note in Tokyo Japan. This 7 song concert features amazing tunes such as the famous Robert Johnson Crossroads and The Beatles While My Guitar Gently Weeps. The talent level of these two legends when paired together is unparalleled.
Jazz has always had a soft spot for pop music. Icons like trumpeter Louis Armstrong blessed the masses with his positivity and raspy voice in 1967's "What a Wonderful World" and saxophonist John Coltrane transformed Rodgers and Hammerstein's 1960 musical smash "My Favorite Things" into a swinging affair. Fast forward to 2014 as singer, songwriter and producer Jose James continues the practice with a fine rendition of 1972's "Simply Beautiful" by the one-time prince of R&B, vocalist Al Green.
The 1988 edition of The Jazz Messengers, which drummer Art Blakey had been leading for 33 years, showed a great deal of promise. Comprised of trumpeter Philip Harper (soon to form The Harper Brothers), trombonist Robin Eubanks, the tenor of Javon Jackson, pianist Benny Green and bassist Peter Washington, this band (whose average age without counting Blakey was around 25) performs one original apiece by Green and Jackson along with five older songs on this enjoyable release. The music may not have contained too many surprises or been startlingly new, but the results are quite pleasing.
After the unqualified critical, chart, sales, and Grammy successes of the Robert Glasper Experiment's two Black Radio albums, remixes, and singles, the need to explore was requisite. ArtScience is a reflection of the qualities and musical interests that brought this band together. Their seamless meld of contemporary jazz, hip-hop, neo-soul, pop, and rock has influenced a host of artists following in their wake. This album marks a new modus operandi: it's the first time the band has written and produced collectively. (Even the two covers here were arranged by the unit.) It's also a first in that there are no guest vocal cameos. The set was recorded in New Orleans over two weeks apart from the endless touring and hustling solo careers of its members.