Capital Sean Mccann

Mother of Pearl is the first duo album from composers Sarah Davachi and Sean McCann. Two people, a couple, recording together at home. A slow, autumnal album made with no preconceptions or planning. Intimate, intended for ourselves.

This groundbreaking jazz synthesizer record is really unlike any other Les McCann ever made. Aside from a three-man percussion section and electric bassist Jimmy Rowser, Layers is entirely electronic, one of the first jazz albums with such an emphasis. According to the liner notes, McCann's ambition was to be the entire orchestra he heard in his head, and to that end the record explores the sonic possibilities of the new ARP synthesizer in great detail, though McCann also overdubs himself on electric piano in spots. The variety of tones on the ARP gives McCann a lot to play with, and he mimics woodwinds, horns, strings, slapped bass, and even the intonations of human speech. McCann's kaleidoscopic array of tonal colors and contrasts gives the album a rich, full sound, as does the recording process - Layers was the first album ever to be recorded in 32-track format…

This edition contains all 1962 collaborations by Joe Pass and pianist Les McCann, who would continue working together the following year. Their 1962 output consists of their participation on Richard “Groove” Holmes LP "Somethin' Special" and on McCann's own album "On Time". Both records appear here in their entirety, as well as two tracks from the second LP that were not included on the original album. As a bonus, the complete LP "Back in Town!". Issued under the name of singer/guitarist Bumble Bee Slim (born Amos Easton), it consisted of two sessions, one featuring Pass, and the other featuring McCann.

One of Les McCann's greatest albums, Much Les encapsulates much of what McCann did best in his early years, while adding a few novel embellishments - like a string section and Latin percussionists - that enhance his core sound. The results are winning, likable, and consistently engaging, making for an underrated classic. McCann is joined on every cut by his trio of the time, bassist Leroy Vinnegar (who contributes "Doin' That Thing") and drummer Donald Dean, who offers solid, laid-back support. However, it's actually the string section that provides the dominant flavor of McCann's accompaniment; of the six tracks, they appear on all three slow songs, plus - in an offbeat touch - the laid-back soul-jazz of "Doin' That Thing," giving it an almost movie soundtrack feel…

One of the most popular soul jazz albums of all time, and one of the best, although Harris (and trumpeter Benny Bailey) had never played or rehearsed with the Les McCann Trio before, and indeed wasn't even given the music. Perhaps that's what sparked the spontaneous funk coming through clearly on the tape of this show, recorded at the Montreux Festival in 1969. It's actually much more of a showcase for McCann than Harris, although the tenor saxist's contributions are significant. The sole vocal, a version of Gene McDaniels' "Compared to What," remains McCann's signature tune.