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jasapaal
 Into the Rhythm
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1930-1970: Count Basie - Legendary Radio Broadcasts |
Swing, Basie Count |
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 Artist: Count Basie Album: Legendary radio broadcasts Label: Storyville Year: 1930-1970 Release: 2008 Format, bitrate: MP3@320 kbit/s Size: 170 mb Repost by request! It was in the 30ies and 40ies when the radio was the most important media before television took over. There were many different radio broadcasts all over USA. Live programs from different concerts and studio recordings. Count Basie had nightly broadcasts from Reno Club in Kansas City. When John Hammond heard a broadcast he went to Kansas City to hear the band in person. He then decided to bring it to New York City where they opened at the Roseland. To be regular featured on the radio was the best promotion an artist could get. Storyville has found many fine radio programs with various artists that will be released in the Legendary Radio Broadcasts series. |
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1960: Art Farmer/Benny Golson Jazztet - Blues March |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Art Farmer / Benny Golson Jazztet Album: Blues March Label: Jazz Time Records Year: 1960; release: 1993 Quality: FLAC Size: 239 mb (with all covers) Total time: 39:56 AMG Rating:   Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable. ~ Scott Yanow, All Music Guide |
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1989: Mose Allison - My Backyard |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Mose Allison Album: My Backyard Label: Blue Note Year: 1989 Quality: mp3@320 kb/s Size: 97 mb (with covers) Mose Allison's career in his golden and quite fruitful years has yielded many surprises and challenges, not the least of which is this delightful offering. He continues to write attractive, bouncy, and fun tunes carried by his signature roiling piano style and sly lyrics. For this effort, producer and Allison disciple Ben Sidran hooked him up with musicians from the modern New Orleans jazz scene, including Astral Project members -- the extraordinary drummer John Vidacovich, tenor saxophonist Tony Dagradi, and guitarist Steve Masakowski. Veteran bassist Bill Huntington rounds out this very talented ensemble that happily works with Allison step by step to produce some of the singer/songwriter/instrumentalist's most enjoyable music, a tall order but easily recognizable once the listening commences. John D. Loudermilk's "You Call It Joggin'," with the retort "but I call it runnin' around," is one of the all-time classic skeptical lyric lines, as applicable to contemporary lifestyles as anything in the urban lexicon. His revisit of "That's Your Red Wagon" is another timeless tale of emotional baggage; Percy Mayfield's "Stranger In My Own Hometown" is purely autobiographical; while "Sleepy Lagoon" is an easygoing, romantic fantasy theme. Of the eight Allison originals, "The Getting Paid Waltz" depicts every musician's nightmare playing in a nightclub, impatiently waiting for the cheapskate owner eventually to pay up. "Was" is a light waltz for has-beens; "Sentimental Fool" talks about the paradox that he "messed around and got humanized"; and the New Orleans shuffle "Big Brother" -- including smart tradeoffs with Dagradi -- is a post-technology cautionary tale, even more relevant in modern times with the advent of Skype, Twitter, and Facebook. A statement on the music industry and jazz in particular, the slinky "Long Song" delineates in four minutes what need and not need be present in popular commercial or creative progressive music, and is a perfect companion to his song "My Top 40 Hit Record." Allison is always a delight to hear, a consistently marvelous piano player, and in very good company with this expert band that suits his style and personality perfectly. My Backyard is one of the best records of his career. ~ Michael G. Nastos, All Music Guide |
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1960: Nat Adderley - That's Right!: Nat Adderley & The Big Sax Section |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Nat Adderley Album: That's Right!: Nat Adderley & The Big Sax Section Label: Riverside/OJC Year: 1960 Format: Flac Size: 217 MB AMG Rating:  Nat Adderley has seldom played with more fire, verve, and distinction as he does on That's Right! It places him in the company of an expanded sax section that includes his brother Cannonball on alto, Yusef Lateef on tenor, flute, and oboe, Jimmy Heath and Charlie Rouse on tenor, and baritone saxophonist Tate Houston. Solos crackle, the backing is tasty and stimulating, and the eight songs range from brisk standards to delightful originals. This CD reissue, despite lacking any new or alternate material, is most welcome due to the full, striking sound that the big reed section provides.~ Ron Wynn, All Music Guide |
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1951: Gerry Mulligan - Mulligan Plays Mulligan |
Music » Jazz » BeBop » West Coast Jazz |
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 Artist: Gerry Mulligan Album: Mulligan Plays Mulligan Label: Presige/OJC Year: 1951 Quality: mp3@320 Size: 79 mb (with covers) Playing Time: 38:13 Repost on Rapidshare! Gerry Mulligan's first session as a leader and one of the first to showcase his baritone was recorded in New York shortly before he relocated to Los Angeles and formed his famous pianoless quartet with Chet Baker. There is a piano on this set (George Wallington) but Mulligan's writing (all seven selections are his) for a two-baritone nonet that also features trumpeter Nick Travis and tenor-saxophonist Allan Eager is already in his influential "cool style"; best-known among the originals is "Bweebida Bwobbida." Two numbers on the CD reissue feature a smaller unit out of the group with "Mulligan's Too" being an extended workout for the leader and Eager. ~ Scott Yanow, All Music Guide |
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2003: Benjamin Herman - Plays Jaki Byard (ft. Pierre Christophe) |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Benjamin Herman (ft. Pierre Christophe) Album: Plays Jaki Byard Label: Challenge Year: 2003 Format, bitrate: Mp3@320 kbps Size: 115.54 MB AMG rating:  Repost with link on Rapidshare Although the late Jaki Byard recorded extensively as a leader and soloist, as well as composing a fair body of original music, he is remembered most for his work as a sideman with the likes of Charles Mingus and Eric Dolphy. Alto saxophonist Benjamin Herman sought to correct this oversight by dedicating most of a CD to Byard's songs, accompanied by pianist Pierre Christophe (who studied with Byard for four years in New York), bassist Jos Machtel, and drummer Joost van Schalk. "Tribute to Jimmy Slide" makes for an impressive opener. Byard's tribute to the well-known tap dancer was first conceived as a piano solo, but Christophe adapted it for the quartet, with the pianist incorporating some of Byard's keyboard techniques without sounding like a clone. "D.D.L.J." was written for Byard's two daughters and wife (he is the "J"); Herman's alto sax easily negotiates the demanding changes in this uptempo piece. "Aluminum Baby" is a jaunty but easygoing ballad, complete with an amusing reference to "Satin Doll," while "Two-Five-One" is a hard bop masterpiece devoured whole by the quartet. Herman soars in the deceptively funky blues "Out Front," while Christophe detours into a hilarious Erroll Garner-tinged solo for a time. Byard, who was occasionally known to pick up and play an alto sax during a recording session or concert, would have been pleased with Herman's interpretation. "Sagapo" is the least eclectic of the Byard compositions heard on this disc, though that hardly means it is easy to play. The relaxed groove within "Strolling Along" (aka "Just Rollin' Along") is the perfect choice for wrapping the date, with outstanding solos by both Herman and Christophe. Christophe composed the lovely, relaxed ballad "Never Again," though all he admitted to the leader of the date was that he had a major hangover when he wrote it! The sound on this hybrid Super Audio CD is amazing, but better still is that it features musicians who not only had the foresight to explore the music of the late Jaki Byard, but are also able to meet it head on. ~ Ken Dryden, All Music Guide |
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1973: Jimmy Heath - Love and Understanding |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heath Album: Love and Understanding Label: Muse Year: 1973 Quality: mp3@320 kb/s Size: 89 mb (with covers) This is one of Jimmy Heath's more unusual and versatile records, and fortunately it has been reissued on CD. Heath switches between tenor, soprano and flute on a diverse program (five originals plus Duke Ellington's "In a Sentimental Mood") that ranges from hard bop to light funk and R&Bish jazz. Heath's sidemen (trombonist Curtis Fuller, cellist Bernard Fennell, keyboardist Stanley Cowell, electric bassist Bob Cranshaw and drummer Billy Higgins) sound quite inspired by the material and Heath plays at his most inventive throughout the underrated set. ~ Scott Yanow, All Music Guide |
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2010: Mose Allison - The Way Of The World |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Mose Allison Album: The Way Of The World Label: Anti Year: 2010 Quality: mp3@320 Size: 77 mb Mose Allison basically retired from studio recording after 1998’s dynamite Gimcracks and Gewgaws. Retired, that is, until producer Joe Henry met him in 2008 and dogged him until he graciously caved in. He coaxed Allison into his basement studio and cut the seven originals and five covers that became The Way of the World with a host of players from his own stable in five days. At 82, Allison is as smart, cagey, and inventive as ever. All but one of these cuts feature his weathered but still wiry dry baritone voice that exudes a trademark jazz singer cum beat poet’s phrasing. For anyone who’s seen him in the last decade -- or heard his jaw-dropping Live in London recordings -- his keyboard skills are sharp as an Argentine stiletto: give a listen to the lone instrumental, “Crush.” Allison's elastic harmonic sense is as beautifully unruly as Monk's, yet his improvisational ideas are carried by a nimble-fingered force worthy of Bud Powell. The opener, “My Brain,” is a smoking rewrite of Willie Dixon's “My Babe.” Allison reflects on the ever-changing intellectual capabilities of his gray matter while punching up the piano's middle register. The blues have been at the heart of Allison’s piano attack (Back Country Suite, 1957), though he’s always wedded them to swing, rag, and bop. Henry underscores that with subtle touches: the strummed Gypsy swing mandola on the ironic betrayal anthem “I Know You Didn’t Mean It” that engages with a knotty bluesed-out piano break and a warm tenor solo -- à la Ben Webster -- and “Everybody Thinks You’re an Angel,” a waltz with a Weissenborn guitar, follows a similar principle to delightfully different ends. On “Modest Proposal” Allison humorously asserts the compassionate idea that perhaps God is so weary he deserves a vacation. It’s a strutting piano-and-vocal number, where Allison's saloon-singer irony might scandalize a preacher but makes the congregation laugh. The elegant parlor ballad “Once in a While” and the shuffling, not brokenhearted blues of “I’m Alright” also stand out. The latter’s addition of electric guitar, mandola, and saxophone might seem like frills for an Allison session, but sound perfectly balanced and natural. On the final track, Buddy Johnson's WWII-era pop tune “This New Situation,” Allison duets with daughter Amy; the two swing beautifully together. The Way of the World is not a comeback album; Henry had a nagging suspicion that Allison might have something new to say and Allison obliged. In the process they created a gem of an album that proves the pianist and songwriter still has many tricks up his elegantly tailored, eternally hip sleeve. ~ Thom Jurek, All Music Guide |
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1974: Jimmy Heath - The Time And The Place |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heath Album: The Time And The Place Label: Landmark Year: 1974; release: 1994 Quality: mp3@320 Size: 120 mb (with covers) Although this 1994 CD looks like a reissue, the music was actually released for the first time 20 years after it was recorded. Jimmy Heath, who is heard here on tenor, alto, soprano and flute, played at his prime throughout the 1970's although he tended to be somewhat overlooked in popularity polls. Heath was stretching himself during the era as can be heard on these obscure pieces; five of his originals plus Kenny Dorham's "No End." Although essentially bop-based, Heath was open to the influences of the avant-garde and fusion and, with a flexible group also including trombonist Curtis Fuller, guitarist Pat Martino, pianist Stanley Cowell, bassist Sam Jones, drummer Billy Higgins and percussionist Mtume, Jimmy Heath consistently takes adventurous yet logical solos. Worth checking out. ~ Scott Yanow, All Music Guide |
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1963: Jimmy Heath - Swamp Seed |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heat Album: Swamp Seed Label: Riverside/OJC Year: 1963 Format, bitrate: Mp3@320Kbps Time: 37:18 Size: 88 Mb with covers This is a delightful if underrated set that was reissued on CD in 1997. The multi-talented Jimmy Heath has many consistently rewarding and distinctive tenor saxophone solos; he also contributed three of the seven pieces and arranged all of them for a group also including trumpeter Donald Byrd, two French horns, Don Butterfield's tuba and a rhythm section that has bassist Percy Heath and (on three numbers) drummer Albert "Tootie" Heath. The music is straight-ahead but contains some unpredictable moments. Highlights include Heath's versions of Thelonious Monk's "Nutty" and "More Than You Know." ~ Scott Yanow, All Music Guide |
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1961: Mose Allison - V-8 Ford Blues |
Cool, Hard-bop, Allison Mose |
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 Artist: Mose Allison Album: V-8 Ford Blues Label: Sony Year: recorded in 1961, reissued in 2004 Format, bitrate: mp3@320Kbps Time: 00:38:42 Size: 88,63 MB AMG rating: Repost on Rapidshare! Besides cool playing and his uniquely smoky singing, Mose has great taste in material. "Hey Good Lookin'" fits right in with revisited versions of "I Love the Life I Live," "I Ain't Got Nobody" and "Baby Please Don't Go," complete with what the singer himself calls his distinctive "involuntary groan" during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio. This album was released with two others in a delightful 1994 collection called High Jinks. ~ Mark Allan, All Music Guide |
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1957: Prestige All Stars - Earthy |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Prestige All Stars Album: Earthy Label: OJC/Prestige (Limited Edition) Year: 1957 Quality: mp3@320 Size: 85 mb (with covers) AMG Rating:  This January 25, 1957 jam session by the "Prestige All-Stars" features Art Farmer on trumpet, Al Cohn on tenor sax, Hal McKusick on alto sax, Kenny Burrell on guitar, Mal Waldron on piano, Teddy Kotick on bass and Ed Thigpen on drums. While it's not an earth-shattering date, what makes this blowing affair better than average is the original (though simple) compositions -- two each by Mal and Hal, and one by Kenny Burrell. |
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1970: Buddy Guy - Buddy and the Juniors |
Music » Blues » Acoustic blues |
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 Artists: Buddy Guy, Junior Wells, Junior Mance Album: Buddy and the Juniors Label: Verve Year: 1970 Quality: flac Size: 268 mb (with covers) The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining -- and oddly satisfying -- as the music itself. Released on Blue Thumb in 1970 on multi-colored wax, this session, were it not for a very real economic necessity due to Buddy Guy's feud with Vanguard Records, would never have happened. According to producer Michael Cuscuna's liner notes on the CD reissue, Vanguard wouldn't pick up the tab for Guy to fly to New York to mix an album he'd cut with Junior Mance and Gary Bartz -- also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow; he jumped. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19 they mixed this album and the Vanguard date! While an acoustic pairing between Guy and Wells is a natural one, adding jazz pianist Mance -- a Chicago native whose early influences were the boogie-woogie recordings of Meade "Lux" Lewis and Albert Ammons -- to the mix was risky in terms of interpersonal dynamics, but in retrospect, proved a brilliant idea. The proceedings are informal and raw with plenty of fireworks. The first two tracks -- "Talkin' 'Bout Women Obviously" and "Riffin' [aka A Motif Is Just a Riff]" -- were the last two recorded. They're blazing, hairy, on-the-spot improvisational duets between Wells and Guy: the former offers lyrics in a back-and-forth extemporaneous style; the latter develops in intensity as it goes on. The playing by Guy and Wells is inspirational. "Buddy's Blues," the first interplay of the trio, has Mance digging deeply into the Otis Spann tradition, just rolling inside it, accenting lines, punching chords, and offering beautiful tags to Wells' harmonica lines. Wells' vocal on "(I'm Your) Hoochie Coochie Man" meets Guy's six-string head-on, with Mance comping and popping a melodic fill underneath each sung phrase. He introduces "Five Long Years" as a piano blues that gets countered in exponential grit by Guy's vocal and Wells' punchy harp; he shuffles, fills, trills, and blows straight at the the keyboard, creating a forceful gale of dialogue. On the slippery boogie-woogie set closer, Wells' "Ain't No Need," the listener grasps the deep communication of this trio. Given how earthy, informal, and joyful this acoustic session is, it conveys everything right about Chicago blues. ~ Thom Jurek, All Music Guide |
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1986: Benny Golson Jazztet - Real Time |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Art Farmer & Benny Golson Benny Golson Jazztet Album: Real Time Label: Contemporary Records Year: 1986; release: 1988 Quality: Flac Size: 279mb (with covers) AMG Rating: This CD features the reunited Jazztet with fine playing from flugelhornist Art Farmer, tenor saxophonist Benny Golson and trombonist Curtis Fuller (who was actually only on the very first Jazztet record); all three veterans are heard in prime form. With the assistance of a supportive rhythm section (pianist Mickey Tucker, bassist Ray Drummond and drummer Marvin "Smitty" Smith), the group performs "Autumn Leaves" and four Golson compositions, including "Whisper Not" and "Along Came Benny." This highly recommended disc is a near-classic that was recorded at the same sessions that resulted in Back to the City. ~ Scott Yanow, All Music Guide |
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1964: Mose Allison - The Word From Mose Allison |
Cool, Hard-bop, Allison Mose |
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 Artist: Mose Allison Album: The Word From Mose Allison Label: Atlantic Year: 1964 Format, bitrate: Mp3@320 + FLAC Size: 75 Mb + 178 Mb + all covers Repost by request! This iconoclastic performer has sometimes been described as a country blues player, perhaps leading to images of a blind man standing on a corner playing a guitar with a bottleneck slide. In reality, Mose Allison is from a much more cosmopolitan tradition, and the country blues adage comes from attempts to describe the sound he gets playing light, swinging jazz with... More a distinctly rural, Southern influence. This album, from one of many he recorded for Atlantic, actually contains examples of him taking material from the real country blues heritage and reworking it into his own style, to brilliant effect. His "New Parchman Farm" is a fantastic piece, as he changes what was once a stark, depressing prison blues into something else again. Perhaps this version would be more suited to white-collar criminals such as the Watergate mob, basking in upper-class prisons complete with tennis courts. At any rate, this is a performance that only the most hardened individual would be able to listen to without a smile cracking their face. Like most of Allison's releases, this one suffers from a handful of tracks that although not quite throwaway, surely lack the substance of the best songs here. ~ Eugene Chadbourne, All Music Guide |
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2001: Esbjörn Svensson Trio - Strange Place For Snow |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Esbjörn Svensson Trio Album: Strange Place For Snow Label: ACT Year: 2001; release: 2003 Quality: mp3@320 kb/s Size: 163 mb (with covers) E.S.T.'s second U.S. outing offers palatable, often lively acoustic jazz with tantalizing electronic flourishes. It's similar in thrust to the trio's 2001 U.S. debut, Somewhere Else Before, but not as strong melodically. Still, leader/pianist Esbjörn Svensson, bassist Daniel Berglund, and drummer Magnus Öström deliver some heated improvisational exchanges, particularly later in the program on the speedy, almost Mehldau-esque "When God Created the Coffee Break" and the post-bop boogaloo blues "Spunky Sprawl." The trio loses their focus at times, like on the overly long "Behind the Yashmak" and the strangely inert "Serenade for the Renegade." But at their best, E.S.T. displays an alluring lyricism and a subtle, creative use of processed sounds. Öström's drum parts, too, are well-crafted and contemporary. (There's a hidden track at the end, and like the one on Somewhere Else Before, it's a bit out of character.) ~ David R. Adler, All Music Guide |
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1959-1961: Slide Hampton Octet - Slide! |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Slide Hampton Octet Album: Slide! Label: Fresh Sound Records Year: 1959-1961 Format, bitrate: Mp3@320 Kbps: Time: 01:12:10 Size: 174 mb In 1959, trombonist Slide Hampton was known mainly for the excellent arrangements he did for the Maynard Ferguson Band, so it was no surprise that he formed his octet band and began making a serious bid for recognition as a top jazz artist and arranger, recording his first album for the small label Strand. His impact was immediate and in 1960 Slide signed for Atlantic resulting in two studio albums, “Sister Salvation” and “Somethin’ Sanctified,” which were the octet’s first for the label.
Both of them are in this set and, as a bonus included here, a previously unreleased gem in a series of broadcast octet performances recorded live at Birdland in 1961. Soloists like Freddie Hubbard, George Coleman, Jay Cameron and the leader were featured, but it’s also worth noting that the octet’s personnel on the live dates differs at times from the studio recordings, including, among others, tenor saxophonist Walter Benton and trumpet player Willie Thomas.
Hampton summed up his overall approach simply. “I tried to get an instrumentation which would be between all the other sizes and yet get a little of each of these sounds.” These recordings show how well he succeeded and how exciting the band was, particularly heard live. ~ Fresh Sound Record |
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2009: Dick de Graaf - Cry Baby! |
Post-bop, Progressive Jazz |
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 Artist: Dick de Graaf Album: Cry Baby! Label: Soundroots records Year: 2009 Format, bitrate: mp3, 320 kbps Time: 55 min Size: 125MB (with autographed covers) Repost with a new link! Dick de Graaf has been one of Holland’s most prominent saxophonists for decades. In recent years he has initiated special projects: ‘The Burning Of The Midnight Lamp’, which was dedicated to the music of Jimi Hendrix, a collaboration with Les Sofas de Bamako, ‘Schubert Impressions’, ‘Istanbul Connection’ and, recently, the ‘small big band’ Clazz Ensemble, a crossover between jazz and contemporary composed music. His new project ‘Cry Baby!’ combines blues and rock with the jazz of today. The project offers a prominent role to young guitar talent Jerome Hol, whose sound is influenced by Hendrix and heavy metal, as well as Pat Metheny and John Scofield. ‘Tenor saxophonist De Graaf has created a nice power jazz album with a star role for young rocking guitarist Jerome Hol’ |
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2006: Dick de Graaf Quartet - Moving Target |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Dick de Graaf Quartet Album: Moving Target Label: Soundroots Year: 2006 Format, bitrate: MP3@320 kbps Time: 0.56:54 Size: 140.71 MB + covers with autograph AMG rating: Repost with new link! On 15-02-2008, i went to a concert of this great saxplayer. During the concert i bought this cd... I am sure you will all like this album! Tenor-and soprano-saxophonist Dick de Graaf debuted 1986 with his LP ‘Hot, hazy and humid’ (Limetree Records). Before he had already wun the Dutch Jazz Competition and he had played an important role as a soloist in a.o. the Amstel Octet and in big bands led by Frank Grasso and John Clayton.
During the last 15 years he has performed at many national and international jazzstages. He played with a.o. Chet Baker, Misha Mengelberg, John Engels, Jasper van ’t Hof, Kenny Weeler, Tom Harrell and Benny Golson and toured festivals and clubs in Europe, South and West Africa, Japan, New Zealand and Canada. Dick de Graaf's Moving Target is well named, as the tenor saxophonist doesn't stick to one style during these 2006 sessions. Leading a quartet with pianist Jeroen van Vliet and bassist Guus Bakker (both of whom double on electric instruments) plus drummer Pascal Vermeer, the leader starts off very much in a post-bop setting with his potent "Cascade." Several of the leader's pieces were inspired by 20th century composer Béla Bartók, including the haunting "Stolen Dream" and the quirky swinger "Why Birds Always Sing" (the latter with de Graaf switching to soprano sax). Van Vliet's hand-muting of the piano strings in the opening to "Handiclap" gives the piece the feeling of a kalimba (African thumb piano), while this percolating composition never loses steam. The switch to electric instruments is a bit uneven, as the lively "Démasqué" works well but "Climate Change" sounds like warmed-over Weather Report from the 1970s. Still, this is a commendable outing by the veteran musician.~ Ken Dryden, All Music Guide |
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1965-1966: Eddie Harris - The In Sound/Mean Greens (2LP-1CD) |
Music » Jazz » Mainstream |
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 Artist: Eddie Harris Album: The In Sound/Mean Greens Label: Rhino/Atlantic Year: 1965-1966; released 1993 Format, bitrate: Mp3, 320 kbps Time: 65:18 Size: 178 MB AMG Rating: Repost by request This CD from Rhino's valuable Atlantic reissue program combines two former LPs from the 1965-1967 period. The In Sound is among tenor-saxophonist Eddie Harris' most significant recordings, highlighted by the original version of his "Freedom Jazz Dance," and including a memorable rendition of "The Shadow of Your Smile," three standards and a blues. Harris is assisted by an all-star rhythm section (pianist Cedar Walton, bassist Ron Carter and drummer Billy Higgins) and, on three selections, trumpeter Ray Codrington. The lesser-known Mean Greens set (comprised entirely of originals except for Harris' high-note treatment of "It Was a Very Good Year") utilizes the same personnel on the first four numbers and is just as exciting with the calypso "Yeah Yeah Yeah" being a high point. The final three performances are more unusual, for Harris switches to electric piano and jams with a Latin rhythm section; included is the original (and somewhat obscure) recording of "Listen Here" which predates his hit version by over a year. Overall this CD is a well-rounded and highly recommended set. ~ Scott Yanow, All Music Guide |
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