These excellent, rare 1956 Stockholm studio sessions feature pianist Freddie Redd in a trio setting with bassist Tommy Potter and Joe Harris, drums. They had been chosen by Swedish trumpeter Rolf Ericson, who was commissioned to find US jazz musicians for a tour. This release includes the complete LP Freddie Redd in Sweden plus, as bonus tracks, the pianists first US trio session in 1955 with John Ore and Ron Jefferson; and the only two recorded live tracks from this Swedish tour.
This jazz-themed performance release travels back to June 13, 1980 at Stockholm's famous Jazz and Blues Festival, where The Gerry Mulligan Quartet (comprised of baritone sax player Mulligan, bassist Peter Axelsson, drummer Ronnie Gardener and pianist Don Trenner) headline a live set before an enthusiastic festival audience.
Features 24 bit remastering and comes with a mini-description. This is a good introduction to the remarkable Lars Gullin, a masterful baritone sax player, writer, arranger, and a key figure in Sweden's jazz scene. Lars Gullin Swings (East-West, 1958) feature Swedish baritone master Lars Gullin improvising with an all-star cast of jazz compatriots. Whether he is performing in a quartet, quintet, sextet, octet or big band setting, the Mulligan-influenced Gullin wails throughout. Gullin’s tone on the “big horn” is light and agile; his solos flow with a wealth of unending invention. These albums are extremely rare and if you were lucky enough to find them, would carry a very hefty price tag on the collector's market.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that.