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".
A perfect summation of the Woody Shaw genius in the 70s – bold, righteous jazz – delivered with a soaring, joyous message that's impossible to deny! By the time of this release, Shaw had matured to a point where he was easily one of the most important voices on the trumpet in his generation – a 70s player who pulled together strands of the previous generation – from Coltrane to Lee Morgan to Larry Young – all wrapped up in amazing music like this!
Encountering the name Woody Shaw (1944-1989) in print or conversation, it's not uncommon for a phrase much like "the last original trumpet voice" to follow. For Shaw was just such a player: a daring horn stylist with an utterly personal and technically advanced approach that has yet to be matched since his untimely death.
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.