An elegant and sophisticated pianist, his encyclopedic harmonic approach and wide range of his repertory made him one of the most distinctive jazz pianists to come out of Chicago, gaining the respect of local and visiting musicians for his notable mastery of the instrument.
Reissue with the latest remastering. Features original cover artwork. A familiar grouping, but one that's presented here in a very different way – as bassist David Williams is up front in the lead, instead of working in his more familiar role in the trio of pianist Cedar Walton! Yet Walton's on board for this debut set from Williams as a leader – as is drummer Billy Higgins – and it's wonderful to hear the way they change things up slightly to give David more time in the spotlight, and to hear the way that Williams hits some of his more lyrical, melodic modes too – qualities that further our love of his talents on the bass, which were already great enough when working behind Walton. Cedar gets in plenty of solos along the way, but often cedes more time to Williams.
Après le succès de L'Affaire Cendrillon, Mary Higgins Clark et Alafair Burke nous entraînent dans une nouvelle enquête de Laurie Moran, productrice de Suspicion, une émission de télé-réalité spécialisée dans la reconstitution de cold cases. …
This 1982 recording features saxophonist Sonny Simmons and drummer Billy Higgins and a smokin' pickup band that included bassist Herbie Lewis and pianist Joe Bonner, and a horn section that added Michael Marcus on baritone, Al Thomas on trombone, and Joe Hardin on trumpet. The opener is "Sparrow's Last Jump," a stomping hard bop workout that features Simmons in top lyrical form and Lewis bowing the entire tune, despite the fact that it's based on hard bop – hell, post-hard bop – changes and is played in 6/8 Mingus tempo! Of course, Higgins is dancing all over the kit and it's obvious that, in his solo, Simmons is reading that frenetic yet seamless dance because he goes over the time signature with his legato phrasing and cascades his arpeggios right through the middle of the intervals. It settles a bit on the title track, where the horns are left out so Simmons is sitting in only the rhythm section. Here, Higgins plays out a double-time rhythm on the ride cymbal before slowing it to four.
More conventional straight jazz set, with some Afro-Latin and Brazilian flavor by Toninho Horta, this time paired with bassist Gary Peacock and drummer Billy Higgins for trio sessions. Horta's playing is competent and sometimes exciting, but it's the interaction of Peacock and Higgins that hold things together.