The jazz tones here are mighty nice — on a record that sparkles with some of Buddy DeFranco's best music ever ! As with other Verve dates from the time, this DeFranco outing's got a rhythmic pulse that really gets things going — a sense of swing that's nice and lean, but quite powerful too — pushing Buddy past any cliched clarinet modes of the 50s, into a realm that really unlocks new sax-like sounds in his horn! The piano has a lot to do with the record – played here by either Kenny Drew or Sonny Clark — with bass from Milt Hinton or Gene Wright, and drums from Art Blakey and Bobby White.
Sonny Stitt goes Latin – and the results are tremendous! The set's still got all the soulful feel of the best Stitt sessions for Roost, but it brings in some nice Latin rhythms too – inflecting things with that blend of soul jazz and congas you might find over at Prestige or Blue Note, yet also taking things further, too – given the Roost/Roulette connection to the New York Latin scene! Sonny plays both alto and tenor, and gets jazzy accompaniment from Thad Jones on trumpet – but the rhythm section is the real charmer here – and features a young Chick Corea on piano, Larry Gales on bass, and the trio of Willie Bobo, Patato Valdes, and Chihuaua Martinez on percussion! Most tunes are originals – a great change from the usual Latinized standards you might find on a set like this – and Stitt's got this nicely exotic tone in his reeds which is a further highlight of the record – almost a Yusef Lateef inflection at points.
Within a refined setting of easy listening pop ballads and lightly funky up-tempo selections produced by Al McKay, Henderson proves himself an assured vocalist with mastery of clarity and phrasing. The problem here is the material isn't challenging enough – it's often formulaic and derivative of other early-'80s releases. Even a contribution from Stevie Wonder, "Crush on You," wanders into oblivion. But the singer's debonair tone and elegant, polished diction makes the weaker sound stronger. A perfect example is the mid-tempo "I'd Rather Be Gone," which suffers from a sleepy melody and clichéd rhythm arrangement.
‘Ichigo Ichie’: “Treasure every encounter for it will never recur.” Two hours of live Camel from the tour no one thought would ever happen! ‘Ichigo Ichie’ was recorded in Tokyo at the Ex-Theatre in Roppongi during May 2016, the line-up of this event was: Andrew Latimer (guitars / vocals / flute / recorder), Colin Bass (bass / vocals), Denis Clement (drums / recorder) and new member Peter Jones from Tiger Moth Tales (keyboards / vocals / penny whistle). Released on 25th January 2017.
Features 24 bit digital remastering. Comes with a description. Originally released on Atlantic in 1957, the short-lived bop quintet les Jazz Modes performed excerpts from Frank Loesser's third Broadway musical The Most Happy Fella. This tasteful date features Julius Watkins on French horn (and pre-Thelonious Monk) and tenor saxophonist Charlie Rouse, accompanied by pianist Gildo Mahones, bassist, Martin Rivera, drummer Ron Jefferson, and, for this date only, vocalist Eileen Gilbert was added on "My Heart Is So Full of You."
Features 24 bit digital remastering. Comes with a description. A firey stormer from the great Slide Hampton! The album's one of his few early sides for Atlantic – and like the others, it's a groundbreaking batch of larger group material, with slide out front on trombone, and the rest of the ensemble vamping along like a tight Blue Note combo. Players are excellent – and include George Coleman on tenor, Horace Parlan on piano, Hobart Dotson on trumpet, and Ray Barretto on drums – and Slide makes them come together so tightly, you'd think they were working together every night of the week! Titles include "The Barbarians", "Strollin", "The Jazz Twist", "Red Top", "Slide Slid", and "Day In Day Out".
A great album recorded in 1963 for Atlantic – one of our favorite ever! Jack Wilson's one of our favorite piano players, and we rave about him all the time on these pages – and one of the reasons why we love him so much is that he was often accompanied by Roy Ayers, who started out his career playing vibes in his group! The pair together are a dream, and this album is arguably their best effort – filled with moody modal cuts, and lots of lyrical interplay that hits these beautiful high points, then dives into pits of darkness. Titles include "Harbor Freeway", "De Critifeux", "Corcovado", "Jackleg", and "Nirvana & Dana".
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the more freewheeling groups we've ever heard recording for the Timeless label – especially during the 80s stretch in which this set was recorded – a free-thinking quartet that features Urs Leimgruber on soprano, tenor, and bass saxophone – plus Don Friedman on piano, Bobby Burri on bass, and Joel Allouche on drums! Leimgruber's sound really sets the tone for the record – with moody passages some stretches, or a bolder attack at other moments – then supported strongly by Friedman's piano, really gets a lot of freedom here. All tracks are long, and very different than usual for Timeless.