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.
Curtis Fuller is definitely smoking here – finding a way to fit his soulful trombone style to a sweet electric groove for the 70s – all at a level that makes the album one of his best from the decade! The drums are great – handled by Billy Higgins throughout, in a way that can be stone funky at some points, and nicely fluid at others – which Fuller matches with a combo that includes Cedar Walton on acoustic and electric piano, Bill Hardman on trumpet, Jimmy Heath on tenor and soprano, Earl Dunbar on guitar, and Mickey Bass on drums! The whole set is a wonderful step sideways for most players – a great way to reinvent their soulful styles of the 60s, but without going for any modes that are slick and commercial.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the first Dutch bands - if not the first - to perform purely Brazilian music, but not with the bossa nova's until then, but with his own compositions that radiate power and are compelling. Founders Josee Koning (vocals) and Peter Schön (keyboards, compositions) devise as a trademark for this approach: two percussionists on stage, live and in the mix on the record.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. This is a fun quartet playing a very nice combination of Bossa-Samba-Jazz. Their version (Chick de Ipanema) has a fantastic incidental combination of two of the most amazing Bossa songs of all times in the same song; Girl from Ipanema and Summer Samba in a smooth and subtle way that will blow you away. Their other renditions to Bossa classics are amazing. Check them out, you'll love them.
Reissue with the latest 2017 remastering. Comes with a description written in Japanese. Earl Hines had many years of music under his belt when he cut this session in the mid 60s – yet his sense of creative improvisation was more than sharp enough to warrant the promise of the title! The set features Hines alone at the keyboard, in a wonderfully well-recorded setting – working this amazing magic on his solo performances, which really transform the tunes into something new entirely – piano explorations that almost make you feel like you're finding Earl in the back room of some small club, after hours – working out all sorts of new ideas, without having to worry about commercial considerations at all.
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.