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jasapaal
 Into the Rhythm
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1962: McCoy Tyner - Inception |
Music » Jazz » BeBop » Post-bop |
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 Artist: McCoy Tyner Album: Inception Label: Impulse! Year: 1962; release: 1997 Format mp3, bitrate: 320 kb/s Time: 32:50 Size: 75 Mb AMG Rating:  REPOST with a new link from Mr.jazzamba Those familiar with the dense, percussive style that pianist McCoy Tyner has cultivated since the 1970s onwards may be surprised by what they hear on Inception. Like Reaching Fourth and Nights of Ballads and Blues, this album gives listeners the chance to hear what a very young Tyner sounded like outside the confines of the classic John Coltrane quartet of the early '60s; it reveals a lyrical approach to jazz piano that seems a far cry from Tyner's mature style. The choice of material is fairly evenly split between modal pieces like "Inception" and more harmonically involved tunes like "Speak Low," and the pianist's treatment of both demonstrates the extent to which his early work was rooted in bebop. Tyner had yet to develop the massive orchestral sound and highly distinctive vocabulary of modal licks that would mark his later style, and throughout this album he spins dizzyingly long and singing lines with an exquisitely light touch. The irresistible rush of forward momentum that he maintains on tracks like "Effendi" and "Blues for Gwen" is breathtaking, and there is an exuberant, almost athletic quality to much of his solo work. Bassist Art Davis and drummer Elvin Jones provide superb accompaniment throughout, and they lay a solid rhythmic foundation for Tyner's sparkling melodic flights. The pianist's penchant for drama, which asserts itself more strongly in his later work, is on brief display in the original ballad "Sunset"; his skills as an arranger, though evident on several tracks, are perhaps best illustrated by the intricate contrapuntal treatment of "There Is No Greater Love." ~ Alexander Gelfand, All Music Guide |
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2006: Larry Coryell - Live From Bahia |
Music » Jazz » Fusion |
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 Artist: Larry Coryell Album: Live From Bahia Label: Rhino/Cti Records Year: 1992 Release: 2006 Format: flac Time: 51:30 Size: 360 MB(flac, cue + log) Repost with a new flac link from mr. hungaropitecus Nice Afro-Latin set with Coryell on acoustic guitar, recorded in Bahia. The assembled cast includes drummer Billy Cobham, alto saxophonist Donald Harrison, and several Brazilian musicians, notably vocalist Dori Caymmi. ~ Ron Wynn, All Music Guide Two years before the release of Paul Simon's GRACELAND and the accompanying increase in awareness of world music, Larry Coryell travelled to Brazil and created this low-key recording in Brazil, which features many native performers--including vocalist Dori Caymmi who is featured on several cuts. Coryell is backed by a 9-piece band, including drummer Billy Cobham (who worked with Miles Davis and John McLaughlin) and saxophonist Donald Harrison, who should have gotten co-billing on this CD in that he has has many solos as Coryell himself. Overall, this is a fairly laid back affair. Coryell does a nice job of blending the local musical influences, but except for the 9-minute "Vera Cruz" that closes the album, the music seldon catches fire. Instead, it too often becomes little more than pleasant mood music. ~ Steve Vrana (Aurora, NE), Amazon.com |
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1980: Keith Jarrett - G.I.Gurdjieff: Sacred Hymns |
Music » Classical music |
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 Artist: Keith Jarrett Album: G.I.Gurdjieff: Sacred Hymns Label: ECM Year: 1980 Format mp3, bitrate: 320 kbps / Flac Time: 52:47 Size: 127 Mb (covers) / 183MBRepost with new link (Flac quality) from ladykiller Here we have simplicity itself: a series of piano transcriptions of some solemn, now-dark, now-affirmative religious hymns by one Georges I. Gurdjieff, with none of the usual flourishes and heady flights generally associated with Keith Jarrett's solo records. Jarrett assumes the proper devotional position, playing with a steady tread but always with attention to dynamic extremes, producing a gorgeously rich piano tone with plenty of bass. The whole record has a serene dignity, even at its loudest levels, that gets to you, and that should be enough for the devout Jarrett following. As for others — well, it's definitely not a Top Ten choice for a basic Jarrett collection. ~ Richard S. Ginell, All Music Guide |
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1958: Bill Evans - Everybody Digs Bill Evans |
Music » Jazz » BeBop » Cool |
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 Artist: Bill Evans Album: Everybody Digs Bill Evans Label: Riverside/OJC Year: 1958 Release 1991 Format Mp3, bitrate: 256kb/s Time: 49:28 Size: 108,25 Mb AMG rating:  REPOST with a new link from Mr.jazzamba Everybody Digs Bill Evans was a landmark recording for the young pianist and sported a unique album cover, featuring written-out endorsements from Miles Davis, George Shearing, Ahmad Jamal, and Cannonball Adderley. At a time approximate to when Evans was performing with the famous Kind of Blue band of Davis, Adderley, and John Coltrane, and actually departing the band, Evans continued to play the trio music he was ultimately best known for. With the unmatched pair of former Miles Davis drummer Philly Joe Jones and bassist Sam Jones (no relation), Evans was emerging not only as an ultra-sensitive player, but as an interpreter of standards second to none. The drummer is quite toned down to match the dynamics of the session, while the ever-reliable bassist lays back even more than usual, but at the expense of his soul. Of the covers, the solo "Lucky to Me" and the melancholy "What Is There to Say?" with the trio evoke the cool, smoldering emotionalism Evans was known for. He's even more starkly reserved on his solo version of "Young and Foolish." But Evans also knows how to play vigorous bop, tearing up the complicated "Oleo," and he modestly tackles the Gigi Gryce icon "Minority," though if you listen closely, the takes are slightly imprecise and a bit thin.
Evans is hyperactive on a clattery calypso version of "Night and Day," with the melody almost an afterthought, powered by the precise drumming of Philly Joe Jones. Taking "Tenderly" in waltz time, Evans makes this familiar theme inimitably all his own. There are three more solos: two Asian-inspired interludes titled "Epilogue" and the demure and ultimately quiet "Peace Piece," a timeless, meditational, reverent, prayer-inspired composition that, in time, set a standard for chamber/classical European-tailored jazz. In an alternate/second-version bonus track, Evans superimposes this theme under the standard "Some Other Time," and it fits beautifully. Though not his very best effort overall, Evans garnered great attention, and rightfully so, from this important album of 1958. ~ Michael G. Nastos, All Music Guide |
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1961: Dave Brubeck - Time Further Out |
Cool, Brubeck Dave |
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 Artist: Dave Brubeck Album: Time Further Out (remastered) Label: Columbia/Legacy Year: 1961 Release 1996 Format: Losless (FLAC) Time: 47:22 Size: 286 MB (with scans)   REPOST with LOSSLESS links from Mr.hungaropitecus Unlike most sequels, Time Further Out is a worthy successor to Time Out. Among the numbers introduced on this impressive set are "It's a Raggy Waltz" and "Unsquare Dance" (the latter an ancestor of Don Ellis's "Pussy Wiggle Stomp").
The selections, which range in time signatures from 5/4 to 9/8, are handled with apparent ease (or at least not too much difficulty) by pianist Brubeck, altoist Paul Desmond, bassist Eugene Wright and drummer Joe Morello on this near-classic. The 1996 CD reissue adds a previously inissued "Slow and Easy" and a version of "It's a Raggy Waltz" from the Quartet's 1963 Carnegie Hall concert to the original program. ~ Scott Yanow, All Music Guide |
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1985 - 1987: Roy Buchanan - Live (Charly Blues Legends Vol.9) |
Music » Blues » Modern electric blues |
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 Artist: Roy Buchanan Album: Live (Charly Blues Legend vol.9 - compilation) Label: Charly Records Year: 1985 - 1987 Release: 1999 Format, bitrate: Mp3, 256 kb/s Time: 52:17 Size: 91,5 Mb (covers) Repost with new link from Mr. alchemist This is a german live compilation, formerly a legal issue. Excellent sound quality overall, soundboard mono and stereo, but don't look like that all the tracks to be from the same concert. No date given, but from ' 85 / ' 87 Alligator albums era - Francicso J.R. Silva |
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2000: B.B. King - Makin' Love Is Good For You |
Music » Blues |
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 Artist: B.B. King Album: Makin' Love Is Good For You Label: MCA Records Year: ; release: 2000 Genre: Soul-Blues Format mp3, bitrate: 320 kb/s Time: 54:49 Size: 126 Mb (full covers) Over the years, the music world has seen its share of over-70 singers who kept performing even though they didn't have much of a voice left: Peggy Lee and Frank Sinatra are among the names that come to mind. But when B.B. King entered his 70s, the veteran blues singer/guitarist could still belt it out with confidence, and he does exactly that on Makin' Love Is Good for You, which was recorded when King was 74. Although this blues/soul effort won't go down in history as one of his all-time classics, it's a respectable CD that finds his voice continuing to hold up well. King's charisma remains, and he has no problem getting his points across on 12-bar blues numbers like "Ain't Nobody Like My Baby," "I Got to Leave This Woman," and Willie Dixon's "Don't Go No Farther," as well as soul offerings such as the title song and an interpretation of Barbara George's 1961 hit "I Know." - Alex Henderson at All Music GuideREPOST with a new links from Mr. djnana |
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1941: Thelonious Monk - The Early Thelonious Monk |
Music » Jazz » Mainstream |
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 Artist: Thelonious Monk Album: The Early Thelonious Monk (compilation) Label: Moon Records Year: 1941, release: 1997 Format, bitrate: Mp3, 320 kb/s Time: 1:11:28 Size: 167 Mb (complete covers) Repost by request This is the beginning. Thelonious Sphere Monk billed with different artists, some famous and most of them unknown. All recordings come from 1941 and all were made at "Minton's Playhouse" in New York City. The sound is fair considering the time when they were made. For collectors, completists & diehard fans only. - Bubu Hans |
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1956: Jane Fielding with the Kenny Drew Quintet - Embers Glow |
Music » Jazz » Vocal Jazz |
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 Artist: Jane Fielding Album: Embers Glow Label: Jazz: West Year: 1956 Format Mp3, bitrate: 320 kb/s Time: 30:53 Size: 63,51 Mb REPOST with a new link from Mr.jasapaal A vocalist who did several combo sessions in the mid and late '50s, though many of them were apparently unissued. Fielding worked with Lou Levy, Red Mitchell, Teddy Edwards, Paul Chambers, Leroy Vinnegar, Kenny Drew and Lawrence Marable, among others. A vocalist who did several combo sessions in the mid and late '50s, though many of them were apparently unissued. Fielding worked with Lou Levy, Red Mitchell, Teddy Edwards, Paul Chambers, Leroy Vinnegar and Lawrence Marable, among others. ~ Ron Wynn, All Music Guide |
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1975:Dexter Gordon - Bouncin' With Dex |
Hard-bop, Post-bop |
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 Artist: Dexter Gordon Album: Bouncing With Dex Label: Steeplechase Year: ; release: 1975 Genre: Jazz/Hard Bop Format mp3, bitrate: 320 kbps / Flac Time: 46:42 Size: 107 Mb (cover) / 204 Mb AMG Rating:  Guest Artist: Tete MontoliuREPOST with FLAC links from Mr. freddie Dexter Gordon thrived on the attention of European jazz fans while living there during the 1960s and early '70s, while he also had a wealth of opportunities to record for labels on the continent. This 1975 session for Steeplechase, one of a dozen he made as a leader for the label in the mid-'70s, finds him in top form, accompanied by pianist Tete Montoliu, along with frequent collaborators Niels-Henning Ørsted Pedersen on bass and drummer Billy Higgins. Gordon's big tone carries the brisk treatment of Charlie Parker's "Billie's Bounce," though he inserts a few humorous quotes into his solo as well. Two versions of the standard "Easy Living" are played at a loping tempo in a heartfelt manner, though the master is a tad better in its execution. The familiar bop vehicle "Four" (usually credited to Miles Davis, though this CD acknowledges Eddie "Cleanhead" Vinson as its more likely composer) explodes in a furious performance. Gordon wrote the Latin-flavored "Catalonian Nights" especially for Montoliu, while the tenorist's "Benji's Bounce" is a lively, thinly disguised reworking of Thelonious Monk's "Rhythm-a-Ning" (which is itself based on the changes to "I Got Rhythm"). ~ Ken Dryden at All Music Guide |
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1969: Count Basie - Basie On The Beatles |
Swing, Basie Count |
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 Artist: Count Basie Album: Basie On The Beatles Label: Happy Tiger/Ocium Year: 1969, release 2002 Format Mp3, bitrate: 320 Kb/s Time: 35:20 Size: 82,6 Mb REPOST with a new link from Mr.Äîêòîð ×ïîê This is second Basie's collection of Beatles songs. This one surpasses the earlier release in both musicianship and by having Bob Florence do the arrangements.
While my favorite Basie stuff is from the 50's, and the albums he did with Frank Sinatra, these are really good arrangements and the band swings. If you love the music of Count Basie and the music of the Beatles, you will not be disappointed with this CD. This is a great example of late 1960s big band jazz. ~ Amazon.com |
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1972:The Art Ensemble of Chicago - Bap-Tizum |
Freejazz, Avantgarde |
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 Artist: The Art Ensemble of Chicago Album: Bap-Tizum Label: Koch Jazz Year: ; release: 1972 Genre: Avant-Garde Jazz Format mp3,bitrate: 320 kb/s / Flac Time: 43:01 Size: 98,6 Mb / 260 MB AMG Rating:   REPOST with new link from Mr. valor01 This was the Art Ensemble's breakthrough — however short-lived — onto a major U.S. label (Atlantic), as well as a document of the freewheeling band's first appearance at an American festival (the Ann Arbor Blues and Jazz Festival). With activist John Sinclair delivering the introduction, politics is in the air; the crowd is young and predisposed to radical ideas and the Art Ensemble holds back nothing in a chaotic, meandering, exasperating, outrageous — and, thus, always fascinating — performance. The band seems to be clearing its collective throat in the first half of the concert, opening with a battering all-percussion prelude. Roscoe Mitchell and Malachi Favors go at it at length in a staggered, honking tenor sax/bass duet on "Unanka," and Mitchell ratchets up the gears into screeching overdrive on "Oouffnoon." Finally, after a mocking intro by Lester Bowie, the 15-minute "Ohnedaruth" puts the Art Ensemble on full, ultra-colorful, wailing, free-form display (complete with a few vocal obscenities) before signing off with the "relatively" straight-ahead "Odwalla." It is interesting that Atlantic would lease these way-out recordings to Koch at a time (1998) when it was simultaneously putting out new, safer-sounding releases by the current Art Ensemble and its members. - Richard S. Ginell, All Music Guide |
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1976: Ahmad Jamal - Live At Oil Can Harry's |
Music |
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 Artist: Ahmad Jamal Album: Live At Oil Can Harry's Label: Catalyst/P-Vine Records Genre: Piano Jazz Format mp3, bitrate: 320 kb/s Time: 48:07 Size: 110 Mb AMG Rating:  This album recorded live at Oil Can Harry's club in Vancouver, British Columbia (not Sound City, California or Austin, Texas) gives listeners an excellent example of the playing of pianist Ahmad Jamal in the mid-1970s. His group (comprised of guitarist Calvin Keys, bassist John Heard, drummer Frank Gant and Seldon Newton on conga) was temporarily larger than usual, and Jamal stretches out on two originals (including "Effendi") and a lengthy remake of his biggest hit, "Poinciana." ~ Scott Yanow at All Music Guide REPOST with additional links from Gkjoflm! |
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1991: Charlie Haden Quartet West - Haunted Heart |
Music » Jazz » BeBop » Post-bop |
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 Artist: Charlie Haden Quartet West Album: Haunted Heart Label: Verve Year: 1991, release: 1992 Format mp3, bitrate: 320 kb/s vbr Time: 1:05:52 Size: 83,3 Mb (cover) AMG Rating:  REPOST with a new link Charlie Haden loves film as much as music, combining both loves on the critically acclaimed Haunted Heart. Haden led his tremendous group Quartet West through 12 numbers, several, like Cole Porter's "Every Time We Say Goodbye," and Alan Broadbent's "Lady In The Lake," Arthur Schwartz and Howard Dietz's "Haunted Heart," and even the short introduction, with film ties and/or links. Haden transferred vocals on some numbers from Jeri Southern, Billie Holiday and Jo Stafford into the mix without disrupting or disturbing the group framework. Quartet West has emerged as a premier small combo, and Haden nicely paid tribute to the past without being held hostage to it. ~ Ron Wynn, All Music Guide |
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1959: Red Garland & Eddie "Lockjaw" Davis - Moodsville, Vol. 1 |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Red Garland & Eddie "Lockjaw" Davis Album: Moodsville, Vol. 1 Label: Prestige/OJC Year: 1959 Release 1991 Format, bitrate: Mp3, 320 kb/s Time: 40:13 Size: 91,3 mb (complete covers) REPOST with a new link from mister eman In the late 1950s, Prestige started a new subsidiary (Moodsville) that was designed to provide mood music for courting couples. The emphasis on this CD reissue, the very first Moodsville release is on ballads, matching pianist Red Garland, bassist Sam Jones and drummer Art Taylor with guest tenor Eddie "Lockjaw" Davis on three of the eight tunes. Due to the overly relaxed nature of much of this music and the lack of variety, this is not one of the more essential Red Garland sets, but it is still generally enjoyable. Highlights include "We'll Be Together Again," "When Your Lover Has Gone" and "Blue Room." ~ Scott Yanow, All Music Guide |
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1958: Red Garland - Manteca |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Red Garland Album: Manteca Label: Original Jazz Classics/OJC Year: 1958 Release: 1991 Format, bitrate: Mp3, 320 kb/s Time: 47:16 Size: 111 Mb (complete covers) REPOST with a new link from Mr. mister eman This is a solid CD reissue that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. In addition to the original five songs, a version of "Portrait of Jenny" from the same date is a bonus cut. A nice, swinging session. ~ Scott Yanow, All Music Guide |
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1973: Duke Jordan - Flight To Denmark |
Music » Jazz » BeBop » Post-bop |
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 Artist: Duke Jordan Trio Album: Flight To Denmark Label: Steeplechase/Video Arts Year: Nov 25 - Dec 2, 1973 ; release: 1973 Genre: Piano Jazz Format mp3, bitrate: 320 kb/s Time: 1:11:44 Size: 170 Mb (full covers) AMG Rating:  REPOST with additional link from Mr.Gkjoflm Upon Duke Jordan's initial visit to Copenhagen, Denmark, followed by his decision to make the move as an expatriate permanent, he was tempted to stay by playing with some extraordinary Scandinavian rhythm sections. Bassist Mads Vinding, one of many skilled Danish jazz bassists, is here on the date performing in fine style. Drummer Ed Thigpen, who left the U.S. to take up permanent residence in Europe, was an even bigger influence in making Jordan's decision a good one, and is an equally skillful musical partner on this date. This is an expanded edition from the previous original issue on the Steeplechase label; a Japanese import with several alternate takes. It's an understated session for the most part, equal parts melancholy and hopeful, as one might expect with the trepidation of leaving home for new, unknown horizons to be discovered in a foreign land. The upbeat songs, as the modal, popping, tom-tom driven "No Problem" (from the movie soundtrack Les Liason Dangereuses) and the famous bop flag-waver "Jordu," bookend the CD. The bulk of the recording showcases the softer side of Jordan, with takes of the somber ballad "Here's That Rainy Day," the slightly brighter "Everything Happens to Me," and two versions of the polite waltz "Glad I Met Pat," dedicated to a nine-year-old girl Jordan knew in New York City prior to her being kidnapped. The pianist employs chiming piano chords for "How Deep Is the Ocean?," is lighthearted in his slight interpretation of the well worn "On Green Dolphin Street," does two takes on the light, bluesy swinger "If I Did, Would You?," and ramps up to midtempo the bluesy original "Flight to Denmark," reflective of the insecurity and consequential optimism that followed his leaving the States. This is Duke Jordan at his most magnificent, with the ever-able Vinding and expert Thigpen playing their professional roles perfectly, producing perhaps the second best effort (next to Flight to Jordan from 13 years hence) from the famed bop pianist. ~ Michael G. Nastos, All Music Guide |
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1954: Sonny Rollins - Moving Out |
Music » Jazz » BeBop |
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 Artist: Sonny Rollins Album: Moving Out Label: Prestige/OJC Year: 1954 Format: FLAC Time: 31:29 Size: 68MB x 3 Time: 31:38 AMG Rating:  REPOST With new link from M-r. canito Sonny Rollins' "Movin' Out" is a classic set of hard bop from the mid-50s. Four of the albums songs feature the personnel of Kenny Dorham, Elmo Hope, Percy Heath and Art Blakey joining Sonny, while on one track, the lenghty ballad "More Than You Know," the band consists of Sonny, Monk, Tommy Potter and Art Taylor. The standout tune on this recording is "Solid," one of Sonny's most covered compositions, and this is the definitive version. But the other songs are no slouches -- the title track and "Swinging for Bumsy" are hard driving, straight ahead boppers, while the high point on the mid-tempo "Silk N' Satin" is a glorious, distant echo-like trumpet line from Dorham. "Movin' Out" doesn't net a fifth star in my opinion because this is very short CD, only around 30 minutes. But the music is excellent, so "Movin' Out" may be short, but it is definitely sweet. Michael B. Richman (Portland, Maine USA) Amazon.com |
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2002: Keith Jarrett - Radiance |
Music » Jazz » BeBop » Post-bop |
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 Artist: Keith Jarrett Album: Radiance (Live in Japan 2CD) Label: ECM Year: 2002 Release: 2005 Style: Post-Bop/Modern Creative Format mp3, bitrate: 320 kb/s Time: 2:19:53 Size: 325 Mb (full covers) AMG Rating:  REPOST with a new link from Mr.valor01 Keith Jarrett returned to performing and recording solo concerts in 1995 with La Scala (released in 1997) after recovering from an illness. That fine recording followed his manner of working that he had begun on Köln Concert in 1975: That is, completely improvised concerts from beginning to end that had melodic and "motivic" centers. The double-disc set that is Radiance, recorded in Japan in 2002, is a new fork in the road. The work has no conceptual center. Jarrett says he wanted to let some of the music "happen" to him while he sat at the piano, deep in thought. He states: "I wanted my hands (particularly the left hand) to tell me things." And happen it does. Each piece, after the first one, comes out of the work that immediately precedes it. There are 13 linked pieces that mark the Osaka concert spread over the first disc, and one-third of disc two. The effect is startling at first because Jarrett is constantly working with what comes, whether dissonant or assonant; he uses the small essences, quick phrases, and themes that come out of each piece to dig further, to extend wider his discovery. Whispers of many musics enter, from classical and jazz to pop to Latin to folk. Nothing feels like a direct quote, but all of it gels together as elemental. Each piece is an aspect of a transformational construction. Most of the music very is exciting; it walks, then runs on edges before turning and stopping, then dances, crawls and rolls, ever-somewhere just past the reach of what preceded it. Some of Radiance is quiet and lyrical (part three, for instance), because it has been suggested by the intensity of the chaotic and forceful harmonic and rhythmic notions preceding it. Jarrett admits in his liner notes "The listener has to bear with me here. The whole thing is risky, but I've taken you places before and I'm not aiming to disappoint." This is born out in the way the audience responds. Some sections get no applause because of the quick, shape-shifting manner in which Jarrett seemingly careens from one place to the next. But intent listening reveals the sometimes very subtle links between themes, spaces, and harmonic and rhythmic invention. Two-thirds of disc two come from a concert in Tokyo conducted in much the same way, though he includes the first two pieces — a cut from the second-half of the concert and the final track — as the performance's closer. These do not distract from the Osaka gig. In fact they contain a beautiful, if momentarily disjointed flow. This is Jarrett the artist taking chances, lots of them. His process is immediate, poignant, and utterly engaging throughout and marks a new phase in his solo recordings that will spur great interest in any open-minded listener interested in improvisational music. There is a DVD of the Tokyo performance being prepared by ECM for release. ~ Thom Jurek, All Music Guide |
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1960: Horace Parlan, George Tucker & Al Harewood - Us Three |
Music » Jazz |
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 Artist: Horace Parlan , George Tucker & Al Harewood Album: Us Three Label: Blue Note Year: 1960 Format: mp3, bitrate: 320 kb/s Time: 48:39 Size: 94MB AMG Rating:  On this recording made in 1960 during his tenure with Lou Donaldson, pianist Horace Parlan is situated nicely alongside bassist George Tucker and drummer Al Harewood. The trio had its own gig on Sundays at Minton's in Harlem, and had established a repertoire and reputation for being able to lay down both hard bop and soul-jazz stylings with equal verve. (And yeah, that jazz/hip-hop group from the 1990s was named after this disc.) The proceedings here are straight-ahead with some cool soul-jazz touches. Parlan's "Wadin'" moves the off-minor key of "Wade in the Water" and funkifies the rhythm, paraphrasing and improvising as the rhythm section struts it out. On the title track, there is a gorgeous lilt in his playing that corresponds to a behind-the-beat walk by Tucker that makes Harewood slip and shimmy constantly on the cymbals with his brushes. There and on "I Want to Be Loved" as well as "Return Engagement" (another Parlan original), something else starts to creep into his playing: the spacy, spare feel of Ahmad Jamal, who Parlan cited as a contemporary influence. The economy of touch, which stands in stark contrast to the hard bop he played with Donaldson and the energetic music he played with Mingus, is in some ways more complex harmonically, and more emotionally satisfying. This is a fine effort from an underappreciated trio. ~ Thom Jurek, All Music Guide |
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