Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Tribute album that focuses more on songs played by Parker, as opposed to focusing primarily on songs composed by Parker. Rein de Graaff - Pianist. Dutch self-taught pianist who's made himself one of Europe's best session players. De Graaff led a trio from 1959 to 1962, then joined The Jazzopters for a year. He then headed his own quartet until 1964, at the same time playing with Erwin Some and Gijs Hendriks. De Graaff formed a new group in 1964 that stayed together until the '80s.
A reissue of the original 1952 Clef recording session, this is one of the few instances in Charlie Parker's later career where he played with something other than a small bebop group. Under contract at the time to Clef's Norman Granz, Parker was encouraged by the label to make recordings that took him out of his familiar settings and put him in with string arrangements, Latin rhythms, and larger band formats. This recording is the result of one of these experiments. Though Joe Lipman's arrangements are stellar, the musicians assembled for the sessions are an odd mix of pop-oriented big-band players and improvisers.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A beautiful late 70s set from reedman Marion Brown – maybe not as all-out adventurous as some of his earliest material, but still filled with a strong sense of spirit and soul! The group here is a bit unusual – as Brown's alto is set up with the guitar of Brandon K Ross, bass of Jack Gregg, and drums of Steve McCraven – in a format that often has the ringing tones of Ross' guitar working nicely with the introspective tones of Brown's alto sax. Some tunes are spacious and have a sense of sonic exploration, others are a bit more swinging, with some unusual rhythmic inflections from the guitar – and McCraven's nicely open sensibilities on the drums. And while the whole thing maybe isn't as all-out avant, the shift is actually a nice one in showing some of Brown's more personal, spiritual currents too.
Big Brass is an appropiate name for the large ensemble arranged and conducted by Ernie Wilkins that accompanies the huge sound of Sonny Rollins. The energy within the leader's gospel-flavored shout "Grand Street" is considerable, while a swinging but no less powerful version of George & Ira Gershwin's "Who Cares" features a choice solo by guitarist Rene Thomas. Also added to this compilation are trio recordings with bassist Henry Grimes and drummer Specs Wright, including a brilliant leisurely stroll through "Manhattan," along with Rollins' tour de force unaccompanied tenor sax on "Body and Soul."
One of the greatest albums ever recorded by pianist Hal Galper – and that's saying a lot, given his huge legacy of records! This set has Hal working in a strongly electric mode – using an electric piano with the same sort of spacious qualities he could bring to acoustic – never jamming as hard as some of his more dynamic 70s contemporaries, but in a really great way that creates a special energy on the record – not just for Galper, but also for the groupmates, who really seem to bring out their best. The lineup includes Randy Brecker on trumpet and Michael Brecker on tenor and soprano sax – both playing in the darker edges of their sound – and the record also features guitar, bass, and drums. Some moments are funky, but the real stand out tracks have an even more special electric vibe – and titles include "This Moment", "Whatever", "Wild Bird", and "Change Up".
A silly title, but a funky little record – one of the only ones we've ever seen from guitarist Jay Berliner, and one of the best cookers from the early 70s Mainstream Records years! The sound here is almost soundtrack funk at points – lots of up-front lines from Berliner on guitar – riffing away over backings that include organ and keyboards from Paul Griffin, congas from Ray Barretto, drums from Jimmy Johnson, and additional rhythm guitar from Cornell Dupree. Wade Marcus arranged, and the sound is tight without being slick – a great sort of Kudu Records-styled groove – and an especially nice setting for Jay's guitar.