Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A really unusual album from the mighty Hammond giant John Patton – as the set features two tenor players in the group, both of them great! The tenor's no stranger to the sublime keyboard work of Patton – but here, the great one gets help from both Fred Jackson and Harold Vick – both of whom are at their early 60s soul jazz best, able to play with a hard edge, but also some surprisingly complicated moments too – which really fits into the spirit of Patton's overall groove!
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. One of the greatest albums ever from Blue Note tenor giant Hank Mobley – a set that really explodes in all the new directions Hank was taking in the 60s! Mobley in the 50s was already the stuff of legend – a tremendous soloist on tenor, and every bit his own man – firmly focused forward with a voice that was already tremendous – but which was turned towards a lot of new ideas with records like this!
Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes!
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Although it was scheduled for release two times, Memphis to New York Spirit didn't appear until 1996, over 25 years after it was recorded. The album comprises the contents of two separate sessions – one recorded in 1970 with guitarist James "Blood" Ulmer, drummer Leroy Williams and saxophonist/flautist Marvin Cabell; the other recorded in 1969 with Cabell, Williams, and saxophonist George Coleman – that were very similiar in concept and execution.
This first album embraces some of Artenovum's best works recently presented by Freebeat Music Records. It also includes some previously unreleased tracks. Songwriter and producer Frank Doberitz a.k.a. Frank Borell is well known for his unique sound and is part of a new generation of modern chillout music scene and appears on over 300 compilations such as "island of chill" with his top sellers "wellness feeling @St.Tropez", "Mauritius I c u again" and "Isla margarita" which is listed in the iTunes electronic Charts since 7 years. Artenovum, his new project, has found a niche somewhere between Enigma, Mike Oldfield and Schiller and presents a new trip through a fantastic world of space night sound like the earlier TV shows. He is also well played in some of specialized radio shows…
All the rave reviews about this album are justified; this is a superb, sizzling, and very soulful live recording from 1970. According to the liner notes this recording was made "almost as an afterthought" by Blue Note. But afterwards, the label decided not to release the show, keeping it in the Blue Note vaults until it finally saw the light of day in 2000. But patience is rewarded; this is a fantastic album.
Recorded in 1970 but not released until 1996, Live At the "It Club" shows the Three Sounds pulling out funky, gritty rhythms out of their basic bluesy hard-bop sound. The group's funky influences are most noticeable in the rhythm section of drummer Carl Burnette and bassist Henry Franklin, who had been playing with Harris for only a short time when this set was recorded. The rhythm section pushes Harris, making the music loose and swinging – the groove matters more than anything on the album. Occasionally, the energy of the Three Sounds lags, but Live at the "It Club" is an enjoyable piece of grooving soul-jazz.