These are not your usual recordings. They are field recordings, created by fans on cassette tapes with equipment sitting on jazz club tables or attached to house sound systems, catching a master jazz musician and his band in acts of purest creativity. Woody has been labeled by many jazz critics and historians as the "Last Great Innovator" and has influenced jazz performers of all instruments ever since his arrival on the scene in the early 60s and beyond his death in 1989. Previously unreleased field recordings from the 1970's and '80's courtesy of Woody Shaw III and Steve Turre. Produced with the help of the Woody Shaw Global Arts Foundation. Liner notes include commentary by jazz historian Tammy Kernodle and jazz trumpeter/educator Pat Harbison.
Reissue with the latest remastering. Features original cover artwork. Probably recorded in the mid-'80s, this delightful collaboration between American trumpeter Woody Shaw and the Tone Janša Quartet works on nearly every level. Janša shares the front line with the trumpeter, and is a perfect foil for Shaw on each of Janša's instruments, tenor and soprano saxophones and flute. Janša's fluid, driving lines fit beautifully with Shaw's concepts. Even more importantly, Shaw is in great form, and there is an electricity in the air that infuses each track.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. One of our favorite Woody Shaw albums from his later years – and an album that's got the same joyous spirit and free soaring feel of his best 70s work! The core group on the album is the Tone Jansa Quartet – led by European reedman Jansa, and working in a space that's quite similar to that of Shaw's backing groups on previous sessions. Jansa wrote all the tunes on the set, and gave them a soaring feel that we really love – just the right mix of introspection and exploration found on classic Shaw sessions like Little Red's Fantasy or Lovedance. Titles include "Midi", "Boland", "Call Mobility", "River", and "May".
The bulk of Shaw's great sessions were recorded for independent labels (Muse & Contemporary,) ensuring them widespread critical evaluation but little audience except with the hardcore faithful. Things seemed about to change in the late '70s when Miles Davis suggested to Columbia that they record Shaw's group. They actually took his suggestion and signed Shaw. He issued a string of remarkable but low-selling records, and Columbia cut him loose after four years and four albums. They compounded the crime by deleting the records shortly after Shaw departed. Mosaic has corrected that slight with another of their marvelously produced and comprehensively notated and packaged box sets. This three-disc collection covers Shaw's Columbia sessions. While it is sad that Shaw's stay at Columbia was not more personally beneficial, it was quite musically productive.