A striking little set from vibesman Freddie McCoy – not just for the cool superhero image on the front cover, but also for the tight grooves underneath! The album's one of McCoy's most unified for Prestige – as all tracks feature a core quartet with Freddie on vibes, Charlie Wilson on piano, Steve Davis on bass, and Rudy Lawless on drums – not your usual Prestige players, and all musicians who really make the album sparkle! There's a bold soul jazz vibe running through the set – similar to some of Freddie's other work, but a bit more open too – and titles include a groovy take on "Girl From Ipanema", plus the soul jazz classics "Speak Out, Deagan!" and "Hav' Mercy" – as well as the cuts "Yesterdays" and "Spider Man".
It seems only fitting that the initial new release on the latest revival of the Impulse label features McCoy Tyner and Michael Brecker. When Impulse started out in 1960, John Coltrane and Tyner were the first artists to be signed, and when Impulse was briefly brought back by MCA in the 1980s, two of its most important albums were recordings by Brecker. There are not a lot of surprises on this quartet matchup (with bassist Avery Sharpe and drummer Aaron Scott) except perhaps for how well Tyner and Brecker mesh together.
Chico Hamilton Trio Introducing Freddie Gambrell is an album by drummer and bandleader Chico Hamilton released on the World Pacific label. Freddie Gambrell was a little known West Coast pianist playing at San Franciscos Bop City club when, in 1956, Chico Hamilton heard him for the first time. I was so impressed while listening to him play that I felt I must play with this guywhich often happens to a musician when he hears something that he really digs, especially if he is right there when its happeningand so I did, said Hamilton. Gambrells fresh, lively talent was immediately accepted throughout the jazz scene when his playing was heard on his first album, under Chico Hamiltons leadership.
Pianist Freddie Redd has not recorded all that much during his 45-year career, but most of his records have been special events. This particular set has eight of Redd's tightly arranged compositions being performed by a fine sextet that also features tenor-saxophonist Teddy Edwards, altoist Curtis Peagler and trombonist Phil Ranelin.
Features the latest 24 bit remastering. Housed in one of Blue Note house graphic designer Reid Miles' most delightful covers – a powder-blue image featuring a nattily-dressed Freddie Roach receiving a heaping helping of the soul food in question – the outstanding Mo' Greens Please serves as a stepping stone between the more studied soul-jazz of the organist's label debut Down to Earth and the looser, deeper grooves of the following Good Move!
Freddie Green seldom led sessions and seldom played lead. Instead, he formed part of the classic rhythm section that gave the Count Basie band its steady pulse. This rare date finds Green with tenor Al Cohn, trumpeter Joe Newman, trombonist Henry Coker, pianist Nat Pierce, bassist Milt Hinton, and either Jo Jones or Osie Johnson on drums. Mr. Rhythm, in fact, will remind many of a good Basie set. The steady drums, bass, and guitar on "Back and Forth" and "Something's Gotta Give" push the music forward, swinging ever so lightly. Nat Pierce's minimalist piano work also owes something to Basie.
Completes the Freddie King story, with all of his 1974-75 RSO studio recordings (some with label-mate Eric Clapton) and four jam-packed discs of sizzling mid-'70s live performances. Bear Family's first Freddie King box was one of our best-selling, best-reviewed sets EVER! This is the exciting sequel. Contains Freddie King's acclaimed 'Burglar' album, produced in England by Mike Vernon, as well as rarities and an unreleased version of That's All Right. Most of the riveting live performances on this immense box are previously unreleased, and all are beautifully recorded in crisp, clear stereo. No bootleg quality sound here! …
While organist Johnny "Hammond" Smith never attained the status of Jimmy Smith, he nonetheless fronted first-rate bands and accumulated a fine discography. Recorded in 1961, Opus de Funk brings together two Smith albums in one package, Stimulation and Opus de Funk. Since the same band – vibraphonist Freddie McCoy, guitarist Eddie McFadden, bassist Wendell Marshall, and drummer Leo Stevens – played on both sets, and since both albums aren't very long by contemporary standards, the pair fit snuggly on the same CD. The really unusual element here is the presence of McCoy, because one doesn't usually associate vibes with jazz organ combos.