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!
Reissue with the latest remastering. Comes with liner notes. A double-length, ultra-cool set from saxophonist Phil Woods – yet another aspect of his great body of work from the 70s, and a live date that features Woods at the head of a sextet! The group here features acoustic piano, electric guitar, bass, drums, and percussion – all used in ways that are often a bit more organically building and spacious than some of Phil's more intense Rhythm Machine albums – showing a new sensitivity in Woods' music, but one that still has plenty of room for searing, searching solo moments! Titles include "Django's Castle", "A Little Peace", "Brazilian Affair", "I'm Late", "Superwoman", "High Clouds", "How's Your Mama", and "Rain Danse".
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Pounding! This is the long-awaited re-release of a lost session that Blakey recorded in 1958, with a triple-drum rhythm group that included himself, Philly Joe Jones, and Roy Haynes – plus some additional conga work by Ray Barretto. Unlike other Blakey "drum orgy" sessions, though, this one's got a much straighter jazz feel – with plenty of solo space for trumpeter Lee Morgan and pianist Bobby Timmons.
New Remaster. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A blinding session by Blakey! Truly one of his all-time great ones, and a record we've been putting on the turntable for 20 years, still always with new delight! The session was recorded in 1961 – when Blakey was working with Bobby Timmons, Lee Morgan, and Wayne Shorter (who's especially fantastic here!) For some incredibly odd reason, the session was not issued at the time – and only came out briefly at the end of the 60s. It's amazing, though – and features 6 stunning tracks that will forever restore your faith in jazz, even at your darkest moments. Includes "Ping Pong", "Roots & Herbs", "Master Mind", "Look At the Birdie", and "United".
New Remaster. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. One of the last great acoustic sessions before Stanley Turrentine's big electric run of the 70s – a laidback, open-ended session that really paves the way for the energy of his records on CTI – even though none of the players is plugging in at all! The tracks are all nice and long, and have these beautiful solos from Stan – played with all the bite of his early Blue Note years, but a bit more fluidity too – which makes for a great match for the album's warm piano work from Cedar Walton. Thad Jones plays fluegelhorn on most tracks – and the quintet also features Buster Williams on bass and Mickey Roker on drums. Titles include "Stella By Starlight", "Six & Four", "Quittin' Time", and "Get It".
Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. One of the coolest, hippest albums on Blue Note from organist John Patton – a set that really shows the Hammond giant taking on a new sense of direction – especially in his rhythms! The album's one of a few of John's to feature great drums from the massively overlooked Hugh Walker – a player who could really open up a tune, while still letting it swing – creating this sense of space that's really filled up by Patton's broad colors and tones on the keyboard, and by some mindblowing work on tenor sax by the equally overlooked Harold Alexander! The tunes have an open, flowing feel that's almost more in Larry Young territory – yet still retains the soul of Patton's other work too – and titles include "Soul Man", "Chittlings Con Carne", "Ding Dong", and "Congo Chant".
Features SHM-CD format and the latest 24bit 192kHz remastering. As Lee Morgan's career moved from hard and post-bop to soul-jazz, Delightfulee serves as a further bridge in a half-and-half fashion. Four of the seven cuts feature his potent quintet with a young and emerging tenor saxophonist, Joe Henderson, as his front line mate, McCoy Tyner ever brilliant on piano, and Billy Higgins firing up the rhythm as only the drummer could. The remainder of the date consists of tracks orchestrated by Oliver Nelson featuring an 11-piece ensemble. There are two selections that feature versions of compositions with both configurations.
This difficult to find recording is worth the search; it contains some of the finest recorded work of Al Haig's enigmatic career. Haig was an important figure in the early development of bebop piano and can be heard as a sideman on many seminal recordings from the 1940s, including Salt Peanuts and Hot House. His refined classical technique was relatively unique at the time, and he was admired as a superb accompanist. Between the mid-'50s and the early 1970s there is a curiously large gap in his recorded output evidently due to personal problems. In fact, Al Haig Today! appears to be his only release as a leader during the '60s.