Reissue with latest 2014 DSD remastering. Comes with liner notes. A wonderful bit of soul jazz – much less trippy than some of Charles Lloyd's later work, and handled with a soulful flair that's a mix of Coltrane spiritualism, with an even larger dose of the sort of post-Trane experiments in jazz that would crop up during the early 70s on smaller independent labels – a scene that Lloyd really influenced with albums like this! The record's quite advanced for its time – and features Charles' tenor and flute next to piano by Don Friedman, bass by either Richard Davis or Eddie Khan, and drums by Roy Haynes or JC Moses – on titles that include Lloyd's classic "Forest Flower", plus "Little Peace", "Love Song to A Baby", "Sweet Georgia Bright", and "Bizarre".
Reissue features the latest DSD / HR Cutting remastering and the high-fidelity SHM-CD format (compatible with standard CD player). Comes with a description. Features the original LP designs. In a perfect world, Curtis Peagler's Modern Jazz Disciples would have had a longer run and built a much larger catalog. But regrettably, the Cincinnati quintet is only a small footnote in the history of hard bop and gave listeners only two albums. The first was this self-titled LP, which was recorded for Prestige's New Jazz subsidiary in 1959. The Modern Jazz Disciples shows the late Peagler, who turned 29 that year, to be a hard-swinging alto saxman in the Charlie Parker/Sonny Stitt/Cannonball Adderley/Phil Woods vein – his hot-blooded solos on tracks like "A Little Taste," "Slippin' and Slidin'," and the standard "After You've Gone" make this record well worth the price of admission.
Art Pepper mostly sticks to standards on this Discovery LP, but he brings out new life in the veteran songs, particularly on such ballads as "Round Midnight," "What's New" and "Besame Mucho." With the assistance of pianist Russ Freeman, bassist Bob Magnusson and drummer Frank Butler, the great altoist (who is heard just prior to signing an exclusive contract with the Galaxy label) is also in top form on such pieces as "What Is This Thing Called Love" and "I'll Remember April." An excellent (if not quite essential) release.
Reissue with DSD remastering. Comes with liner notes. Right from the start, a vastly different Weather Report emerges here, one that reflects co-leader Joe Zawinul's developing obsession with the groove. It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the "Boogie Woogie Waltz" and proceeding through a variety of Latin-grounded hip-shakers. It is a record of discovery for Zawinul, who augments his Rhodes electric piano with a funky wah-wah pedal, unveils the ARP synthesizer as a melodic instrument and sound-effects device, and often coasts along on one chord.
Although he was very active in France during the 1950s and '60s, violinist Stephane Grappelli recorded relatively little until 1969. This Atlantic LP from 1962 finds Grappelli in good form in a quintet with guitarist Pierre Cavalli, performing a Django-dominated repertoire that is not all that different from what he would be playing 30 years later.
Features 24 bit digital remastering. Comes with a description. An unusual global session for Atlantic Records – an album that has John Lewis presenting work by three other musicians that he feels are ripe for wider discovery! The set's got some killer work from Rene Utreger – a key Parisian player in the postwar years, working here with dexterity that's almost at a Bud Powell level! Dick Katz is also featured on the set – with some nice colors and tones in the mix, similar to some of the work he'd go onto do for Atlantic and other labels. And perhaps the least known here is the British player Derek Smith – stepping out with a lyrical style that's captured surprisingly well here – and which makes the record a key addition to Smith's catalog.
While it's true that Grover Washington, Jr.'s first album as a leader was the wonderful Inner City Blues album on Creed Taylor's Kudu label, the sessions included here predate it and feature Washington Jr. in the role of sideman to Charles Earland, Johnny "Hammond" Smith, Boogaloo Joe Jones, and Leon Spencer Jr.. The nine cuts included here were recorded between September 1970 and August 1971. Most of them are straight-ahead blowing B-3 dates where the emphasis on groove and grit is equal and pervasive. While there isn't a weak track here and Washington's playing is deeper in the register than in his later material, there is one irritating factor about the assemblage of the album.