Features 24 bit remastering and comes with a mini-description. Leo Wright's Atlantic debut, Blues Shout, effectively summarizes his career as a sideman, embracing the expressionist sensibilities of longtime boss Dizzy Gillespie as well as the Latin inspirations of longtime bandmate Lalo Schifrin to create a fiercely modern and uncommonly impassioned sound all its own. Joined by pianist Junior Mance, trumpeter Richard Williams, bassist Art Davis, and drummer Charlie Persip, Wright divides his attention between his signature alto sax and flute, delivering a series of thoughtful and lyrical solos that positively radiate energy. The blues referenced in the title are more a feeling than a sound, underscoring the emotional intensity that bristles below the surface of every note.
Features 24 bit remastering and comes with a mini-description. Playing in the traditional idiom of the lounge setting (Wright on alto sax and flute, Kenny Burrell on guitar, Gloria Coleman on organ, and Frankie Dunlap on drums) could be fairly boring and pat, not to mention little more than background for some prime rib and a bottle of Blue Nun. Wright steers his group away from that with balance, control and unmatched intuition from all his players.
Features 24 bit remastering and comes with a mini-description. When Ray Charles' musical director has the words "blues" and "soul" in large type on the covers of his own releases, there's a strong chance that's what the listener will find inside. The Mr. Blues set from 1968 is Crawford and a small horn section playing rocking blues riffs with a crack rhythm section. Instrumental R&B doesn't get much hipper. Crawford's tough but lyrical sound – informed by a bebopper's command and facility – is tailor-made for this blues-charged music. Highlights include the title track, a cool, finger-popping "Route 66," a sleazy, churning "Lonely Avenue," and a couple of no-nonsense Crawford originals. A middle-of-the road "On a Clear Day (You Can See Forever)" is the only departure from the set's satisfyingly gritty feel.
Features 24 bit remastering and comes with a mini-description. I have almost everything available by Mingus and had passed on this because I didn't think I needed yet more versions of some of his classics by what seems like an unlikely crew in tow. How wrong I was!!!! Mingus is apparently playing with a mic on his bass and you can easily hear what a monster he is, how sublime he can be, and it is totally thrilling. Coryell and Catherine have their flurry of notes thing going but it does not come off as showing off or dull fusion riffing. They - and the rest of the band- sound as if they were meant to be, really listening and bringing something wonderfully new to Mingus music.
Features 24 bit remastering and comes with a mini-description. An amazing record, from an amazing player – the mighty Rufus Harley, heard here on tenor, flute, and soprano sax – as well as bagpipes, his "trademark" instrument! Don't be put off by the bagpipes, though, because Harley plays in a righteous soul jazz groove, and uses the instrument more like a Coltrane-ish reed soloing vehicle, with sheets of hard blown sound, than he does as a corny Scottish sounding one.
Features 24 bit digital remastering. Comes with a mini description. Ballads & Blues is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Atlantic label. The unassuming title of this compilation understates the fact that Milt Jackson is a master of ballad and blues forms, and an inspired collaborator when working flautists.
Features 24 bit digital remastering. Comes with a description. his 1966 date by Duke Pearson with an octet was originally issued by Atlantic. Reissued by Collectables, this is Pearson in full soul-jazz mode, driven deeply by the blues, with an all-star band (not all members play on all tunes): drummer Mickey Roker; Harold Vick on soprano; James Spaulding on flute and alto; bassist Bob Cranshaw; trumpeter Johnny Coles; tenor George Coleman; guitarist Gene Bertoncini; and Pearson on piano and celeste.
Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.
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".