Gary Williams

Definitive hits collection on 2 CDs plus an additional 3rd disc of b-sides and rarities. Includes the brand new single "Shame", co-written with Gary Barlow. The single marks the first time the two superstars have ever recorded and performed a duet together, and the first time they have written and recorded a song together since Robbie's departure from Take That in 1995.

Gary Bartz - Shadows (1991) {2015 Japan Timeless Jazz Master Collection Complete Series}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 461 Mb | MP3 @320 -> 164 Mb
Full Artwork @ 600 dpi (png) -> 275 Mb | 5% repair rar
© 1991, 2015 Timeless Records / Solid Records Japan / Ultra-Vibe | CDSOL-6328
Jazz / Post Bop / Saxophone

Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. The 90s were a really wonderful decade for reedman Gary Bartz – a time when he seemed to go back to basics, and find a way to open up whole new corners in his music! This album's a key illustration of that moment – as Bartz blows with a sense of darkly brooding power that we never would have expected a decade or two before – this deep sense of pacing and tone that often has us looking to make sure he's not blowing a tenor, instead of the alto and soprano sax listed in the notes.

Considering the extraordinary talent assembled for Tony Williams' second Blue Note date as a leader, this could have been a landmark session. Unfortunately, it's not. Spring isn't totally forgettable; on the contrary, the fire expected by members of the Miles Davis Quintet (Williams, Herbie Hancock and Wayne Shorter), all thoroughly influenced by "the new thing," were unleashed completely from Miles' tight rein. Add tenor saxophonist Sam Rivers and Albert Ayler bassist Gary Peacock into this mix and that influence thrived. However, the five Tony Williams compositions (including the drum only "Echo") often failed to provoke the musicians into reaching crucial unity, making Spring haphazard, falling short of the expected goal.

Considering the extraordinary talent assembled for Tony Williams' second Blue Note date as a leader, this could have been a landmark session. Unfortunately, it's not. Spring isn't totally forgettable; on the contrary, the fire expected by members of the Miles Davis Quintet (Williams, Herbie Hancock and Wayne Shorter), all thoroughly influenced by "the new thing," were unleashed completely from Miles' tight rein. Add tenor saxophonist Sam Rivers and Albert Ayler bassist Gary Peacock into this mix and that influence thrived. However, the five Tony Williams compositions (including the drum only "Echo") often failed to provoke the musicians into reaching crucial unity, making Spring haphazard, falling short of the expected goal.