Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Blue Train" for the first time in the world. Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train – Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry – touching upon all forms in between.
This highly successful blowing session works because of overlapping links among players and material. Bassist Teddy Kotick and drummer Nick Stabulas were frequent partners, in the groups of leader Phil Woods and others. Kotick and pianist Red Garland also had working experience with Charlie Parker, whose compositions are heard here as well as those of Woods, who then and now was one of Jazz’s leading Parkerites.
This long-out-of-print CD has finally been reissued and it's a must-have for Phil Woods fans, or for anyone interested in an excellent example of post-Parker be-bop saxophone. The sound quality is excellent, the rhythm section is very competent and Phil is at the top of his game on a nice mix of standards and originals. It's easy to see why he has been the benchmark for jazz alto for decades. His swing and inventiveness are nicely showcased as he eases his way through the list of tunes. If one were to buy one or two CD's that best show Phil Woods' ability to create meaningful jazz, this one would have to be high on the list for consideration. Don't miss it!
Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. Mid-'80s big band recordings featuring the arrangements and compositions of David Matthews, mixing swing, bop, soul-jazz, and fusion influences. There's a blend between acoustic and electric, standards and originals, and tightly crafted ensemble-dominated arrangements and straight blowing material.
Legendary blues guitarist/songwriter/vocalist Elvin Bishop returns to Alligator Records with CAN'T EVEN DO WRONG RIGHT. With his ''so-loose-they're-tight'' road band behind him, along with friends Charlie Musselwhite and Mickey Thomas, Bishop has created one of the best albums of his career. CAN'T EVEN DO WRONG RIGHT finds Bishop playing, writing and singing some of the most spirited and distinctive blues and roots music today. The CD proves that Bishop is as vital and creative an artist now as he was when he first hit the national scene in 1965 with The Paul Butterfield Blues Band. He is as slyly good-humored and instantly crowd-pleasing as he was when he was scoring Southern rock-styled hits during the 1970s. For five decades, he has never stopped touring or releasing instantly recognizable music featuring his groundbreaking playing, easygoing vocals, witty lyrics and good-time humor.
Yeah, All Rise: A Joyful Elegy for Fats Waller is a tribute to the great stride pianist, but in Jason Moran's hands, it's not what one would expect. This album isn't full of stride piano, but it is full of Fats Waller's larger persona as a performer. Waller mixed jokes and comic routines, and did whatever he could to connect with his audience in his act, and if his piano playing was the hinge, it sat on a door that opened straight to the dancefloor. This album had its beginnings when Moran was commissioned by the N.Y.C. performing arts venue Harlem Stage Gatehouse to create a tribute to Waller as part of its Harlem Jazz Shrines series.
Beginning with 2005's Identity, trumpeter Jeremy Pelt began exploring '70s and '80s funk and fusion sounds inspired by the works of such luminaries as Herbie Hancock and Miles Davis. He continued these funk and electronic explorations on such albums as 2007's Shock Value: Live at Smoke and 2013's Water and Earth. While Pelt has also split his time playing and recording more straight-ahead post-bop albums, his 2014 album, Face Forward, Jeremy, combines the best of his acoustic recordings with the electronic-jazz hybrid sound of Water and Earth. Here, Pelt is joined by his longtime ensemble featuring pianist/keyboardist David Bryant, saxophonist Roxy Coss, bassist Chris Smith, and drummer Dana Hawkins.