The idea for reuniting this seminal '70s fusion group first came in 2015, when the lineup for a previously booked one-week engagement at New York's The Blue Note club unexpectedly fell through. Rather than cancel, Coryell suggested bringing most of the 11th House's original members back together—trumpeter Randy Brecker, drummer Alphonse Mouzon and bassist John Lee, who replaced founding bassist Danny Trifan for the group's second album, Level One (Arista, 1975)—along with, Coryell's son, guitarist Julian Coryell, replacing Mike Mandel due to the keyboardist's ill health.
This reissue is unrelated to another V.S.O.P. set simply titled A Jazz Band Ball. Terry Gibbs on vibes and marimba matches wits and creativity with Victor Feldman and Larry Bunker, both of whom double on vibes and xylophone. Assisted by pianist Lou Levy, bassist Max Bennett and drummer Mel Lewis, the intriguing frontline essentially plays bop, but with a great deal of color. The interaction between the vibraphonists, who are all featured and occasionally trade off, is the main reason to acquire this very interesting set.
Strange as it seems, the main criticism about this CD and about Kenny Burrell's playing during the past couple decades is that he is often overly tasteful. On this set (which has six unaccompanied guitar solos, four duets with bassist Ray Drummond, and three trio numbers with Drummond and drummer Yoron Israel), Burrell is so loving of the melodies that he adds very little of himself other than his beautiful tone. Although the tunes are superior, none of these versions are definitive and the mellow results rarely rise above the level of background music.
Don Patterson (1936-1988) wasn't the most distinctive organist to follow on the heels of Jimmy Smith's success. But, like Larry Young and Shirley Scott who also played piano first, Patterson was undoubtedly one of the more melodic and lyrical of organ practitioners. What's more, while his more popular peers ventured into soul jazz, funk and pop, Patterson stayed firmly rooted within the bop tradition. He recorded a whopping 15 albums for Prestige between 1964 and 1969, then recorded only five more for the Muse label until his final 1978 album, recorded a decade before his death.
This Savoy CD is a duplicate of the original LP although it lacks the fine liner notes included on the Arista/Savoy 1978 LP. The four selections (which unfortunately total under 34 minutes) are excellent, particularly a fun version of Horace Silver's blues "Opus De Funk" in which vibraphonist Milt Jackson, flutist Frank Wess and pianist Hank Jones have a long tradeoff. The quintet (which also includes bassist Eddie Jones and drummer Kenny Clarke) swings nicely throughout the three blues and lone ballad ("You Leave Me Breathless"). This is not essential, but it is enjoyable music.
ONE WAY GLASS is a very different kind of RPM compilation. Instead of the usual cross-section of Sixties collectables, this unique 3-CD set takes a fresh look at British music from the late 60s through to the mid-70s, with an eye on overlooked dancefloor-friendly finds. The rhythmic backbone of One Way Glass lies in Progressive Rock outfits who - every so often - would emulate their jazz heroes and record funky sides tucked away on albums or B-sides. Many of these tracks (Jonesy, Hardin & York) have been known to collectors of Funky Breaks for years.
A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more. Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).