Ebb Tide

In 1969, Sea Shanties established High Tide as one of Britain's heaviest bands and the choice of George Chkiantz (who had previously worked with Jimi Hendrix and Led Zeppelin) as co-producer for their second album seemed to signal the group's intention to continue in the same direction. In comparison with their hefty debut, however, the self-titled follow-up is a relatively subdued affair. The interplay of guitarist Tony Hill and violinist Simon House is still very much at the core of High Tide's distinctive hybrid of psychedelia, prog, and hard rock, but while Hill lays down his characteristically intricate, searing guitar lines, he forgoes the sort of weighty, molten riffage that made Sea Shanties such a behemoth. Without that overall sonic density, this album fails to engage listeners as readily as its predecessor.

Album LP released in England in 1965 and reissued in Spain in 1972. It brings together 11 tracks, all related to its title, 'Beyond the Sea', among which is one of the great hits of Chacksfield was at the time, 'Ebb tide'. No song has been exclusively associated as a director like this to Chacksfield. His baton is felt in every change of color, in all times and in every melodic passage.

This two-fer assembles two sought-after if vastly different Ted Heath LPs from 1970 and 1963 - even if the pairing makes little sense, their reissue on CD is still cause for celebration. The posthumously released The Big Ones captures Heath at the peak of his alchemical powers, transforming the biggest chart hits of the flower-power era to create singularly outré space age jazz far freakier than anything produced under the influence of psychedelics. Heath's ingenious arrangements seem to reinvent these familiar pop songs from within, often abandoning the melody to seize on a stray idea or subtle nuance - for example, his rendition of the Rolling Stones' "(I Can't Get No) Satisfaction"…

In this final recording with pianist Michel Petrucciani, saxophonist Grossman's usually more extroverted tendencies are willingly sublimated in order to play more romantically inclined mainstream jazz. Many of the tunes are ballads, embellished by Petrucciani's languid or forceful pianistics, while solid bassist Andy McKee and drummer Joe Farnsworth keep the flickering flame alive with their steadying rhythms.
Of course the fire has to be stoked on occasion, and Grossman really digs in on the Sonny Rollins evergreen "Why Don't I?" It's perfectly played, a flawless uptempo swinger with head nodding, bluesy elements. Contrasting easy swing with double timed tenor on "Don't Blame Me" shows Grossman as riled up as he gets on this date…

The blue-eyed soul brother’s Verve and MGM recordings anthologised on CD for the first time, including seven previously unissued masters.

This disc is essential for every Ray Conniff Fan, the music is delightful, romantic and excellent for dance; I rated it with 5 stars because every number in the disc makes me feel that I'm young and fresh! I played it to my mother (she was a really a Ray Conniff fan since 1955) and we thought it was the best example of "The Happy dance years of instrumental music"; My favourite numbers are "Stompin'at the Savoy", "Ebb Tide", "April love" and "I Understand", but every song in this disc is incredible, phenomenal, fabulous and excellent!!; It's Pure Ray Conniff!!!
C. Bellegarrigue