A New 4 CD Remastered Clamshell Various Artists Boxed Set Celebrating The Finest Sounds Of The So-Called "Underground" And Progressive Rock Music Of 1972. Five Hours Of Music Featuring Tracks By Atomic Rooster, Barclay James Harvest, Edgar Broughton Band, Caravan, Curved Air, Emerson Lake And Palmer, Family, Free, Gentle Giant, Hawkwind, Help Yourself, Khan, Lindisfarne, Man, Matching Mole, Nektar, Pretty Things, Procol Harum, Nektar, Rare Bird, Al Stewart, Ten Years After, Thin Lizzy, Uriah Heep, Van Der Graaf Generator, Vinegar Joe, Wishbone Ash, Yes And Many More.
One of the few later recordings we've seen from tenorist Eddie Chamblee – a player who first rose to prominence on the Chicago scene of the 50s, and one who's got a well-bitten style that creates a deeply soulful tone! Eddie's roots are more in swing than bop, but there's also a quality here that recalls some of the earliest soul jazz sides on Prestige – especially as Eddie's working in a combo that includes organ and vibes from Milt Buckner. Other players on the session include Earl Warren on alto sax, Arnett Cobb on tenor, and Buster Cooper on trombone.
Following "Symphony", here's the second album from Clearlight, and clearly the most accomplished effort from this major french band. Delightful Tim Blake's-like synthe, incredible cosmic guitar by the unknown Jean-Claude D'Agostini - another "french Hillage"- while Christian Boulé appears on the fantastic bonus "Sweet absinthe". Cyril Verdeaux adds a unique symphonic touch to the whole thanks to his piano work. Joel Dugrenot on bass, Gilbert Artman on drums and percussions, David Cross on violin are also here, among others. There are also some tensed moments with magmaian influences, which alternate with space cosmic flights. The music is dense and inspired, with psychedelic effects reminding of german prog (the music accelerates as if the tape was played too fast and other kinds of shifts). The bonus on the CD release are wonderful - especially "Sweet absinthe"-, making this album a cosmic rock absolute masterpiece.
Tenor saxophonist Scott Hamilton's debut for Concord alerted the jazz world to the young swing stylist and predated Wynton Marsalis' first record (and the emergence of the Young Lions) by a couple years. Hamilton, who mixed together Zoot Sims and Ben Webster to form his own recognizable tone, already sounded in prime form for this set. Teamed up with trumpeter Bill Berry, pianist Nat Pierce, bassist Monty Budwig, and drummer Jake Hanna, Hamilton essentially launched the revival of mainstream jazz with this record. Highlights include "Indiana," "Stuffy," "Broadway," and "Blue Room," but all eight selections are quite enjoyable.
Clifford Jordan's first date as a leader actually found him sharing a heated jam session with fellow tenor John Gilmore. Backed by pianist Horace Silver, bassist Curly Russell, and drummer Art Blakey, the two saxophonists square off mostly on obscurities (other than Gigi Gryce's "Blue Lights" and "Billie's Bounce"). This was one of Gilmore's few sessions outside of Sun Ra's orbit and, if anything, he slightly overshadows the cooler-toned Jordan.