Features 24 bit digital remastering. Comes with a description. Hasaan was an absolutely unbelievable piano player and composer. If you like Monk, if you know of Herbie Nichols, Hasaan was like Monk plus Nichols to the tenth power. He was a legend who made only one record!!! One of the great tragedies in record history. This is really a Hasaan record, his music and leadership. Max Roach lent his name to it to help it get out in the market. I met Roach in the 70's and asked him about Hasaan…he was immediately overwhelmed, and told me that Hasaan was in poor health. This is a unique recording in every sense.
Features 24 bit remastering and comes with a mini-description. A sweet set of ballads from vibist Milt Jackson that we dig as much for the silky smooth orchestrations by Quincy Jones as Milt's agile and crisp approach to the vibes. The strings and horns buoy the group nicely, which also features Connie Kay and under recorded guitarist Barry Galbraith on a number of tunes. Ten mellow numbers: "The Cylinder", "Makin Whoopee", "Alone Together", "Tenderly", "Don't Worry Bout Me", "Nuages", "Deep In A Dream", "I'm A Fool To Want You", "The Midnight Will Never Set" and "Tomorrow".
Features 24 bit remastering and comes with a mini-description. Leo Wright's Atlantic debut, Blues Shout, effectively summarizes his career as a sideman, embracing the expressionist sensibilities of longtime boss Dizzy Gillespie as well as the Latin inspirations of longtime bandmate Lalo Schifrin to create a fiercely modern and uncommonly impassioned sound all its own. Joined by pianist Junior Mance, trumpeter Richard Williams, bassist Art Davis, and drummer Charlie Persip, Wright divides his attention between his signature alto sax and flute, delivering a series of thoughtful and lyrical solos that positively radiate energy. The blues referenced in the title are more a feeling than a sound, underscoring the emotional intensity that bristles below the surface of every note.
Features 24 bit remastering and comes with a mini-description. Sweet silver cycles from Eddie Harris – a wonderful late 60s album that features lots of lines on the electrified Varitone saxophone, mixed with cool contributions from a shifting lineup of soulful musicians! The set's one of Eddie's real classics from the Atlantic years – completely inventive, but never in a gimmicky way – and a really great bridge between late 60s modes of funk, jazz, and soul – at the same level he'd serve up more famously in his collaborations with Les McCann! There's a lot of that same energy here, but the vibe is even tighter – and Harris really blows us away with his great arrangements, which get a slight bit of help from Arif Mardin. Other players include Melvin Jackson on bass, Seldon Powell on reeds, and Joe Zawinul on keyboards.
Features 24 bit digital remastering. Comes with a description. The Jazz Makers: Art Ellefson (tenor saxophone), Ronnie Ross (alto and baritone saxophones), Stan Jones (piano), Stan Wasser (bass), Allan Ganley (drums) recorded in New York, September 23, 1959. What ever happened to The Jazz Makers? In 1959, the British jazz quintet The Jazz Makers came second in the British Melody Maker journal reader’s poll small jazz combo section, beating even the Tubby Hayes and Ronnie Scott’s Jazz Couriers. They first established a US presence in 1958, appearing at the Newport Jazz Festival, and subsequently touring on the same bill as Thelonious Monk, where they caught the ear of Atlantic boss Nesuhi Ertegan. He brought them into a New York studio to record this album, The Swinging Sounds of The Jazz Makers, Atlantic 1333. Ronnie Ross went on to receive a Downbeat magazine New Star award.
Features 24 bit remastering and comes with a mini-description. With Bobby Jaspar (flute) and Frank Wess (flute). This album is top-notch. Piano is by Tommy Flanagan or Hank Jones, and Kenny Burrell plays guitar on the whole album. Tracks include "Ghana", "Connie's Blues", "Sandy", "I'm Afraid The Masquerade Is Over" and "Bag's New Groove". I have a large collection of Modern Jazz Quartet and other recordings that feature Milt as leader, co-leader and sideman, but this is among my favorites. One reason I like this album so much is the way vibraphones and flutes complement one another in the arrangements. Another reason is I am a fan of the great Belgian flautist Bobby Jaspar who is on two tracks.
Features 24 bit remastering and comes with a mini-description. On this inspired release, world renowned pianist Joe Castro is joined by Teddy Edwards, Leroy Vinnegar and Billy Higgins. This soul-jazz recording features the standouts “Groove Funk Soul,” “That’s All,” “Yesterdays” and “Play Me The Blues.”
Features 24 bit remastering and comes with a mini-description. One of Slide Hampton's first albums – and a massively hard-wailing set that will make any doubters sit up and take notice! The set really packs a punch – as Slide leads a hip group that features Freddie Hubbard, Richard Williams, Bernard McKinney, and George Coleman through some tightly woven arrangements that manage to swing with the grace of small combo work, yet wail with the intensity of a big band. Great solos pop out all over the set – and there's a soul jazz groove that makes the album sound like a classic Prestige session. Titles include "Asseveration", "Hi Fly", "Sister Salvation", and "A Little Night Music".
Features 24 bit remastering and comes with a mini-description. Explosion! The Sound of Slide Hampton is an album by American jazz trombonist, composer and arranger Slide Hampton which was released on the Atlantic label in 1962. Big band noise from the daddy of the Trombone. While not likely to launch another swing revival, this CD is a welcome reissue to an artist deserving of more attention. The last swing craze was fueled by the sheer joy and enthusiasm that good big band music can inspire; Hampton’s recordings are no exception. If Brian Setzer ever needs some inspiration, he would be wise to check out these recordings.
Features 24 bit digital remastering. Comes with a description. Because Gary Burton uses four mallets simultaneously, he has long been able to sound like two or three players at once. This remarkable solo set has three selections in which Burton overdubs vibes with piano, electric piano, and organ, but those are far overshadowed by three unaccompanied vibes showcased from the 1971 Montreux Jazz Festival and a slightly later (and very memorable) studio rendition of "Chega de Saudade (No More Blues)." The latter is one of the high points of Gary Burton's career. Wondrous music.