In 1975, Poco left Epic Records after six years and jumped to ABC Records. Less than a year later, Epic released this 38-minute live album recorded at a series of November 1974 shows. By this time in their history, Richie Furay and Jim Messina were long gone, and steel guitar player Rusty Young and guitarist Paul Cotton were the dominant musical personalities in the group, between them providing all but one of the songs represented here.
This two-LP set, which was released in 1976 as part of United Artists' Blue Note reissue series, brought back trumpeter Freddie Hubbard's early album Hub Cap, a sextet session with tenor-saxophonist Jimmy Heath, trombonist Julian Priester, and pianist Cedar Walton. Although that session (comprised of four Hubbard compositions, one of Walton's songs, and Randy Weston's "Cry Me Not") is excellent, it is the full album of previously unreleased material from an all-star quintet that is of greatest interest. Hubbard teams up with fellow Jazz Messengers Wayne Shorter (on tenor), Walton, bassist Reggie Workman, and (in Blakey's spot) drummer Philly Joe Jones for some advanced hard bop. Highpoints include the fiery "Philly Mignon" and a strong version of "Body and Soul."
Excellent addition to any Progressive-Rock music collection.
A hugely successful album on its release, “How Dare You” spawned two monster hits “I’m Mandy Fly Me” and “Art for Art’s Sake”. I remember I hardly had this off the turntable at the time. Each song is a gem, there is no filler on this brilliant album.
This gargantuan package – a ten-LP set now compressed into a chunky six-CD box – once was derided as the ultimate ego trip, probably by many who didn't take the time to hear it all. You have to go back to Art Tatum's solo records for Norman Granz in the '50s to find another large single outpouring of solo jazz piano like this, all of it improvised on the wing before five Japanese audiences in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo. Yet the miracle is how consistently good much of this giant box is.
This special edition of the 1976 album will contain new Steven Wilson stereo remixes on CD 1, although this is of the version of the album re-recorded for a TV Special. Only five multi-track master tapes for the actual album could be located and new stereo remixes of those tracks are also appended on the first disc. The second CD consists of a complete flat transfer of the original stereo mix, and eight bonus tracks (seven of which are 2015 remixes). This bonus material includes two unheard songs: Salamander’s Ragtime (not related to album track Salamander), and Commercial Traveller. A third outtake Advertising Man was planned to be included but was not sufficiently complete to merit inclusion.
If Venus and Mars had the façade of being an album by a band, At the Speed of Sound really is a full-band effort, where everybody gets a chance to sing, and even contribute a song. This, ironically, winds up as considerably less cohesive than its predecessor despite these efforts for community, not because Wings was not a band in the proper sense, but because nobody else in the band pulsed as much weight as McCartney, who was resting on his laurels here…
An all-star cast assists Maynard Ferguson in this disco-tinged big-band outing. Ferguson's trademark trumpet playing is featured in all its screaming glory, and Mark Colby contributes a couple of high-energy sax solos. "Primal Scream" and "Invitation" sound as though they were lifted right off the mid-'70s disco dancefloor, complete with T.S.O.P.-type strings and pulsing rhythms. "Pagliacci," too, has the disco beat pounding underneath a Jay Chattaway adaptation of an operatic melody, with Bobby Militello featured on an energetic, overblown flute solo. Chick Corea's "The Cheshire Cat Walk" sounds like latter-day Return to Forever, as Corea's synth trades licks with Ferguson's horn over a familiar RTF rhythmic/chordal bassline sequence. The final cut, Eric Gale's "Swamp," stands out because of its reggae beat.