Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A stunning setting for this wonderful tenorist – a record that has the great George Coleman blowing with only the piano of Tete Montoliu for accompaniment – with really wonderful results! George has all that full, deep tone we know from his bigger group recordings – and it really seems to set the record on fire from the start, and bring out these bold rhythmic lines from Montoliu, who plays with a blocky sense of power that reminds us of his sublime late 60s album for MPS!
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A late 70s set from tenor maestro George Coleman – who was never recorded often enough! The set has a really timeless quality, quite uncommon for pieces recorded at the tailend of the fusion mad late 70s, and at the cusp of the ultra polished 80s sound. The support players couldn't be tighter – with Billy Higgins on drums, Sam Jones on bass and Hilton Ruiz on piano. The tunes are firmly led by Coleman – who rolls out those great loping lines, that circular sound we wouldn't trade for an other tenor the of period! Includes the title track, "New Arrival", "Lo-Joe", "Autumn In New York", "Apache Dance" and "Blondie's Waltz".
Danger High Voltage is significant in two respects: It is the first release from the Two and Four Recording Company, and it marks the reformation of the George Coleman Octet, which hadn't recorded since its debut in 1977. The horn section consists of Coleman and special guest Ned Otter on tenor saxes, Jim Rotondi on trumpet, Adam Brenner on alto, and Gary Smulyan on baritone.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. George Adams and Don Pullen knock it out of the park on this one – finding great company in each other's presence, and really moving things forward in the process! The set begins with a long track titled "Mingus Metamorphosis", and that really sums up the spirit of the record – an 80s reworking of all the ideas that the players had learned from Mingus, but with an individual, personal sense that's all their own – and very different than some of the more standard modes of the Mingus Dynasty group that continued the legacy in a more direct manner. Adams is bold one minute, lyrical the next – and plays both tenor and flute – alongside Pullen on piano, Cameron Brown on bass, and Dannie Richmond on drums.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A firey session from the quartet of George Adams and Don Pullen – a set that has the group stretching out in some of their most spiritual modes, yet still finding plenty of time to swing as well! Adams is tremendous on tenor – a very fresh voice in the post-Coltrane world, with phrasing that is all his own – even more amplified when he switches to flute – and Pullen's got this ability to go outside, and show his knowledge of the darker corners of the keyboard – yet never let that side of his playing overwhelm things, possibly because the rhythmic accompaniment from Cameron Brown on bass and Dannie Richmond on drums is so strong. Tracks are all long, and very individual – with the group in high spirits on the titles "Earth Beams", "Magnetic Love Field", "Saturday Nite In The Cosmos", "More Flowers", and "Dionysus".
During a three-day period in 1965, trumpeter Chet Baker (who during the era was exclusively playing flugelhorn) recorded five albums for Prestige that were soon forgotten, despite their quality. In 1997, the entire program was reissued on three CDs (which also include Lonely Star and On a Misty Night), showing that Baker was in excellent form at the time. Chet is teamed with tenor saxophonist George Coleman, pianist Kirk Lightsey (in top form), bassist Herman Wright and drummer Roy Brooks; the one-time gathering group on the whole sometimes recalls the Miles Davis Quintet of 1956.