Reissue with the latest remastering. Features original cover artwork. 35 years after first officially forming The Jazz Messengers, drummer Art Blakey entered his final year still at it. Due to the many promising young players around at the time, Blakey expanded The Messengers from its usual quintet or sextet into a septet for this fine recording session. In addition to trumpeter Brian Lynch, pianist Geoff Keezer and bassist Essiet Okon Essiet, this version of The Messengers had two tenors (Javon Jackson and Dale Barlow) and a pair of alternating trombonists (Frank Lacy and Steve Davis).
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. This obscure live CD features the underrated tenor saxophonist Teddy Edwards in top form stretching out on three standards ("Lady Be Good," "Oleo" and "Georgia") and his own "Good Gravy." Joined by a Dutch rhythm section (pianist Rein De Graaff, bassist Henk Haverhoek and drummer John Engels), Edwards builds up his solos expertly and plenty of sparks fly. Recommended.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. The lesser-known third album by Cedar Walton's landmark Eastern Rebellion combo – one of the most important indie soul jazz groups of the late 70s, still going strong on this set! The lineup is still the same as on the second set – with Bob Berg on tenor, Curtis Fuller on trombone, and the wonderfully solid team of Billy Higgins and Sam Jones on rhythm. However, the sound here is slightly different – with a more conscious sense of disharmony at times – creating an unsettling edge that replaces the warm, fluid feel of earlier records. The change shows that Walton and the group were still growing and searching – and titles include "Incognito", "Firm Roots", "Seven Minds", and "Never Never Land".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A bold statement by one of the best underground jazz players of the 70s! Carter Jefferson cut his chops with Art Blakey in the years after Blakey had Billy Harper in the group, and as a loose way of describing him, Jefferson has a very spiritual post-Coltrane sensibility that closely resembles Harper's playing at times. Carter's recorded here in two different groups – one with Terumasa Hino on trumpet, and one with Shunzo Ono on trumpet – and the session has a nice spiritual edge, and lots of good original compositions. Tracks include "Why", "Rise Of Atlantis", "Blues For Wood", and "Changing Trains".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Out of hundreds of jazz CD's I own or have heard, this will always rank in my top ten. Recorded in 1981 with the awesome lineup of - Art Blakey (drums), Charles Fambrough (bass), Wynton Marsalis (trumpet), Bill Pierce (tenor sax), Bobby Watson (alto sax), and James Williams (piano). A little over 42 minutes long, this disc is as perfect as it gets and there is absolutely no filler! It's incredible to hear Blakey play… he is so good that he keeps a perfect rhythm going but then inserts offbeat syncopated and ghost beats on top of it. His style of playing always amazes me. Of course the rest of the band kick serious tail also and never miss a beat. Great tunes, outstanding arrangements, awesome solos, what else is there?
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A beautiful big band set from the great Art Blakey – but one that's got all the sharp focus of his small group sides by the Jazz Messengers! The lineup here is a great one – that very vibrant early 80s version of Blakey's group with Bobby Watson on alto sax, Bill Pierce on tenor, and James Williams on piano – augmented by Kevin Eubanks on guitar, Valerie Ponomarev on trumpet, and the Marsalis brothers rounding out the set with some extra horn work! The sound is strong and proud, and handled by Blakey with a tightness that's similar to his smaller group work of the time – but with a power that's simply incredible – especially when Watson's presence is made known on his tunes "Wheel Within A Wheel", "Linwood", and "Bit A Bittadose". Also features a take on Williams' "Minor Thesis".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Dizzy Gillespie meets the Phil Woods Quintet – a group that already has a great trumpeter in the form of Tom Harrell – which makes the album here a double-horn delight! Dizzy's on trumpet throughout, and Harrell plays both trumpet and flugelhorn – and the pair work well with Woods' alto in the front line, sharing back and forth, and creating a lively interplay between the different voices of their instruments. Dizzy is impeccable – as he always is at this point in his career – and rhythms are nice and tight, thanks to piano from Hal Galper, bass from Steve Gilmore, and drums from Bill Goodwin. Titles include a great reading of Galper's Loose Change" – plus "Terrestris", "Love For Sale", "Oon Ga Wa", and "Whasidishean".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. The second trip into the studio for Cedar Walton's mighty Eastern Rebellion ensemble – and every bit as great as the first! This time around, the lineup's a bit different – with Bob Berg in on tenor, and Curtis Fuller expanding the group on trombone – but the groove is still the same – wonderfully in the pocket soul jazz, swinging with a gentle and fluid glide that's really tremendous. The work ranks up there with the best of Walton's recordings ever – and the tunes are all originals with a rich imagination for tone, soul, and color – and plenty of space for strong solo work. Titles include "The Maestro", "Sunday Suite", "Ojos De Rojo", "Fantasy In D", and "Clockwise".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A seminal work in the development of the career of Cedar Walton – the formation of his excellent Eastern Rebellion ensemble, a group that became a platform for soul jazz expression for the next two decades! The group on this set features George Coleman on tenor, Sam Jones on bass, and Billy Higgins on drums – all working in territory that Walton and Clifford Jordan were exploring heavily at the time – long, drawn-out soul jazz tunes – frequently built upon modal rhythms, and touched with traces of post-Coltrane blowing. The key factor, though, is that the work's never too outside, never too overindulgent – just hard-swinging soul jazz, in a 70s expression of the older Blue Note ideal! Titles include "Bolivia", "5/4 Thing", "Mode For Joe", and "Naima".
The title certainly gets it right – as the set's one of the best (and one of the few) albums that trombonist Curtis Fuller cut in the 70s – a searingly sharp session that really shows a change from some of his Blue Note modes of the 60s! There's a current of righteous energy that moves through the set – and which maybe ties the sound more strongly to the sort of underground soul jazz work being recorded by the Black Jazz label of the period, or maybe like some of the hipper currents over at Prestige – such as Joe Henderson's albums. George Cables plays electric piano on the record – which already sets it apart from Fuller's earlier material – and the tracks are long, loose, and open – and graced with strong solo work from Bill Hardman on trumpet, Ray Moros on tenor, and Bill Washer on guitar. Yet perhaps strongest of all in shaping the record is the work of the rhythm duo Stanley Clarke on bass and Lenny White on drums – both working together here at an early point in their careers, but already hinting at the greatness to come. A very different album for Curtis Fuller.