Alive! was the album that catapulted Kiss from cult attraction to mega-superstars. It was their first Top Ten album, remaining on the charts for 110 weeks. Culled from shows in Detroit, New Jersey, Iowa, and Cleveland on the Dressed to Kill tour, the record features producer Eddie Kramer doing a masterful job of capturing the band's live performance on record…
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Hardly a free for all at all – as the album's a masterpiece of focus and direction, and a classic set from the sextet lineup of the Jazz Messengers! The album's a real feather in the mid-60s cap of Art Blakey –and features an expanded sound from the quintet era of his group – with a sublime horn lineup that features Wayne Shorter on tenor, Freddie Hubbard on trumpet, and Curtis Fuller on trombone – all gliding along these soaring piano lines from Cedar Walton! Reggie Workman works some real magic on bass, too – and the tracks are all very long – with titles that include "Free For All" and "Hammer Head" – both written by Shorter – plus "The Core", by Hubbard, and a beautiful version of Clare Fischer's "Pensativa".
One of a number of Art Blakey albums titled after "Night In Tunisia" – and most likely the best! The tune is a perfect fit for the Blakey Jazz Messengers format – long, rhythmic, really stretching out, yet allowing plenty of space for the horn players to solo. Players include Bobby Timmons on piano, Lee Morgan on trumpet, and Wayne Shorter on tenor – a killer lineup that's in really classic form here – driven on nicely by Blakey's drums and bass work by Jymie Merritt. Titles include "Night In Tunisia", with Blakey thundering through impeccably – plus the tracks "Yama", "Kozo's Waltz", and a version of Timmons' great "So Tired".
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Witch Hunt" and a track for the first time in the world. On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions.