Reissue with the latest 2015 remastering. Comes with liner notes. One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label.
Janis Joplin's second masterpiece (after Cheap Thrills), Pearl was designed as a showcase for her powerhouse vocals, stripping down the arrangements that had often previously cluttered her music or threatened to drown her out…
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).
Bob Weir never stopped making music but he did back away from his solo career after Heaven Help the Fool, a misbegotten 1978 effort that found the Grateful Dead guitarist attempting to dabble in the sun-splashed surfaces of SoCal soft rock. After that, he retreated to the boogying Bobby & the Midnites, a side project that was abandoned after the Dead scored a hit in 1987 with In the Dark, then after the death of Jerry Garcia, he wandered through several jam bands, settling on RatDog as a vehicle for whatever songs he had. All of this is to say that when 2016's Blue Mountain is called Weir's best album since his 1972 debut Ace – and it is, without question – there simply isn't much competition.
Reissue with the latest DSD remastering. Comes with liner notes. Guitarist Yoshiaki Masuo was only 22 years old when he recorded Winds of Barcelona, his first leader album, in 1969. He had been discovered by the Japanese jazz giant Sadao Watanabe, and had been a member of Watanabe's group for over a year. Masuo, and the fresh, new kind of jazz – sometimes referred to as "pop jazz" – was immensely popular at the time.
Presumably to commemorate his 60th birthday, Hugh Masekela released an album of primarily African works. The album starts with a tribute to Fela, a kindred spirit in African horn playing and a friend of Masekela. After that, it moves on through a number of traditional songs and trips down memory lane. The liner notes give a good deal of background information on each of the songs (always a plus). From time to time, the music seems to slip into something of a contemporary Harry Belafonte-esque sound (which perhaps might not be completely surprising, given the repeated collaborations between Belafonte and Miriam Makeba, coupled with Masekela's marriage to Makeba). Despite (or due to) any such similarities that may arise, this is international pop at its best. Also, the backing vocals of the Family Factory group are exceptional, at the very least.
Reissue with the latest remastering. Comes with liner notes. One of Barney Kessel's greatest albums ever – a rare Italian-only session that has a sparkly Brazilian groove! The record was recorded in Rome in 1970, and it's got Kessel's guitar fronting a combo with organ and some very tight percussion – all dancing around in a fast samba mode that's different from virtually anything else he ever recorded – very groovy, very upbeat, and very much what you might expect when the talents of a west coast guitar giant meets the best of the Italian studio scene of the time! There's loads of original tracks on the set – like "Freeway", "Lison", "BJ's Samba", and "On the Riviera" – and the whole thing has a breezy dancing feel that's really wonderful!
Reissue with the latest remastering. Comes with liner notes. One of JJ's best from the late 50s – a tightly crackling hardbop set, recorded very much in the manner of his classic JJ Inc album! The sound here is a bit more compact overall – with some shorter tracks that really allow Johnson to display his keen sense of economy on his horn, while working in a burning mode that recalls some of his best bop sides from the early years – particularly his work on Blue Note.