This album has had over three decades to make an impact, and it says something for its staying power that, in the face of more recent, more generously programmed, and better mastered compilations of the duo's work, it remains one of the most popular parts of the Simon & Garfunkel catalog – which doesn't mean it isn't fraught with frustrations for anyone buying it…
No Question About It is the first solo album by flutist Kent Jordan. It was released in 1984 on Columbia Records and produced by Stanley Clarke.
Acoustic magic from Herbie Hancock – proof that he wasn't only cutting electro records in the 80s! The set's got a fluid, open feel that's a bit like some of the VSOP Quintet work – although the group here is slightly different, with Hancock on acoustic piano, Ron Carter on bass, and Tony Williams on drums – plus a young Wynton Marsalis on trumpet – stepping in where Wayne Shorter and Freddie Hubbard left off. The tracks are somewhat sharp-edged and modern, but never in a way that's too outside – more just a continuation of the VSOP mode, with some of the Marsalis love of darker colors and tones. The double-length set has plenty of room for long solos.
"…Simon & Garfunkel never overstate; instead they observe, almost journalistically, enormous life and cultural questions in the process of them being asked. In just over 29 minutes, Bookends is stunning in its vision of a bewildered America in search of itself."
What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space.
Rare 1989 Japanese only 1st issue 17-track promotional sample CD featuring all the hits Brown Sugar, It's Only Rock 'n Roll, Start Me Up, Honky Tonk Woman and Jumping Jack Flash…
A great live date from Bill Evans – one of his essential sides of the 70s, even if you've already got a bunch of other Evans live material! We know what you're thinking: "Do I have this one? Seems to be a lot of tunes here that I've got on other Evans recordings." But take it from us, this set's a real winner – beautifully recorded despite a larger venue performance in Tokyo – and captured with all the grace, poise, and gentle-flowing genius of Evans in his best better-known live dates – a real antidote to some of the other 70s live albums that might have been better left unissued. Everyone's at the top of their game here – Eddie Gomez on bass with those round warm tones, Marty Morrell on drums with his simple spare rhythms, and Evans himself with a sound that's bold then quiet then bold then soft – beautiful throughout, and really setting fire.
Trumpeter Wynton Marsalis's debut on Columbia, recorded when he was only 19, made it clear from the start that he was going to be a major force in jazz. At the time Marsalis (who was originally a bit influenced by Freddie Hubbard) was starting to closely emulate Miles Davis of the mid-'60s and his slightly older brother Branford took Wayne Shorter as his role model. The inclusion of Davis's rhythm section from that era (pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams) on four of the seven selections reinforced the image