I wanna back to the islands
Where the shrimp boats tie up to the pilin'
Gimme oysters and beer For dinner every day of the year
and I'll feel fine I'll feel fine
Rocksteady is officially Monty Alexander's recording. His deal with Telarc, now being realized, was that he record a straight jazz recording and then one of his own choosing. This is the latter. Mr. Alexander, along with his Jamaican brother Ernest Ranglin, turns his attention to the ska music of their young adulthood. And this music absolutely smacks of the islands. Few musical styles can conjure temporal images the way ska and reggae do for salty sea air, rum, and smoke. Honored here is the ska heyday of the late 1960s and early 1970s, the music of Toots and the Maytals, The Blues Blasters, Theophilous Beckford, and Derrick Harriott.
For those listeners expecting reggae, modify your expectations. This music is a humid mixture of island music, American R&B and Soul, and Afro-Cuban jazz, and pop shined through the distinctly Jamaican cultural prism, producing this rich, sexual music. Little of Monty Alexander?s jazz chops are present, as I am sure was his design. Instead the pianist becomes a groove merchant establishing commerce with his partner in crime, guitarist Ernest Ranglin, whose role is to play funk master to Alexander?s relentless groove.
The disc was recorded live in the studio with no overdubs, providing this music with the necessary “live” feel. This is serious music that will make one smile and hope that Mr. Alexander provides us more.
Herb Ellis is heard in performance in two separate German nightclubs during a 1998 tour of Europe, accompanied by harmonica player Hendrik Meurkens, young bassist Chris Berger, and drummer Chuck Redd. The seasoned guitarist is in top form, with Meurkens proving to be a good foil for him, though the latter man also proves himself to be a virtuoso on his instrument (comparable to Toots Thielemans). The selections…
Peterson redefined the jazz trio by bringing musicianship of all three members to the highest level. The definitive trio with Ray Brown and Herb Ellis was, in his own words, "the most stimulating" and productive setting for public performances as well as in studio recordings. In the early 1950s, Peterson began performing with Ray Brown and Charlie Smith as the Oscar Peterson Trio.
Arriving in New York in 1945, on his first day in town Ray Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer.,.
Oscar Peterson's trio with Ray Brown and Herb Ellis lasted from 1953 to 1959 and is well documented on records, but the appearance in 2003 of this previously unreleased 1958 concert at the Orpheum Theatre in Vancouver is welcome news to the pianist's fans. Buoyed by a receptive audience and always in the mood to play to the best of their abilities, the musicians outdo themselves throughout the set. ~ AllMusic
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A nice little set from Monty Alexander – a Sunday Night session recorded with the same group, on the same weekend as his Saturday Night album! Monty Alexander's always great in a trio, but we really love the pianist when he's trying to add a little something extra to the mix – as he does here in a quartet performance that features some nice added percussion from Robert Thomas! The tracks have that warm glow and open flow that Alexander first started bringing to his music in the 70s – with sensitive rhythm work here from Reggie Johnson on bass and Ed Thigpen on drums – but the added percussion really helps things swing at a slightly higher level, giving a gentle kick to some cuts, while Monty's still able to open up with some warmly lyrical lines over the top.