I was refreshingly suprised the first time I heard this album. I had been bored with most of my music collection when I stumbled upon this "nugget of pure gold". What's even more exciting is when you find out more about the man himself. Gil Melle is a true original, still going strong. His art will surely last the test of time. I write this based on my somewhat worn vinyl copy of "Primitive Modern". I found it in a thrift store for 50 cents and have thanked the powers that be every day that I had such luck. As the quote above indicates, Gil Melle and his outfit were serious about rhythm and doing interesting things with rhythm. Listen, for instance, to "Ironworks."
Baritonist Gil Melle's recordings are usually a bit unusual and this CD reissue is no exception. Melle's nine compositions are performed by one of three sextet/septets featuring either Art Farmer, Kenny Dorham or Donald Byrd on trumpets, Hal McKusick or Phil Woods on alto, guitarist Joe Cinderella, bassist Vinnie Burke, drummer Ed Thigpen and sometimes either Julius Watkins on French horn or Don Butterfield on tuba. The charts are unpredictable and often dramatic, looking ahead toward a musical future that never occurred. Watkins takes solo honors during his three appearances.
The story of Blue Note Records, the jazz label that was home to such greats as Miles Davis, John Coltrane, Herbie Hancock, Thelonious Monk, Art Blakey, Dexter Gordon and Sonny Rollins.
Blue Note Records was founded in the 1930s and has played a vital role in the development of jazz for more than 60 years.
Digipak edition of this great Jazz title features the two albums recorded by trumpeter Kenny Dorham's Quintet featuring Jackie McLean on alto sax. Features the complete albums Matador (1962), which was recorded in New York and Inta Somethin' (1961), recorded live at the Jazz Workshop in San Francisco.
Christine Perfect's (or McVie's) earliest work on the Blue Horizon label is as bluesy as it is dated. While it never offers a dull moment, with McVie singing with a convincing amount of energy, "The Complete Blue Horizon Sessions" never offers the later songwriting chops McVie would later gain in Fleetwood Mac…
Otis Redding’s third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding’s versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, “A Change Is Gonna Come” and “Shake,” are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it’s useful to hear the songs from those sessions juxtaposed with each other, and with “Wonderful World,” which is seldom compiled elsewhere.