A great album recorded in 1963 for Atlantic – one of our favorite ever! Jack Wilson's one of our favorite piano players, and we rave about him all the time on these pages – and one of the reasons why we love him so much is that he was often accompanied by Roy Ayers, who started out his career playing vibes in his group! The pair together are a dream, and this album is arguably their best effort – filled with moody modal cuts, and lots of lyrical interplay that hits these beautiful high points, then dives into pits of darkness. Titles include "Harbor Freeway", "De Critifeux", "Corcovado", "Jackleg", and "Nirvana & Dana".
Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 – some 20 months after the concert captured on La Scala.
Make no mistake about it….. Of all the bands – let not call them side projects, as they are worth more than that – Ginger has been in whilst in The Wildhearts and without, MV has long held the suspicion that Hey! Hello! is the one he liked best. Originally emerging as part of a three album Pledge project a few years back, the shimmering, sunny completely unashamed rock n roll vibe of the record was at odds with the lyrics (in the way that Ginger’s best songwriting always was) and it spawned the quite fantastic “How I Survived The Punk Rock Wars”. All was set, then, for album number two.
Released just six months after Gypsy '66, Gabor Szabo's second album as a leader (after leaving a sublime Chico Hamilton band that also included Charles Lloyd) remains one of his finest moments in the studio. Szabo utilized the tales of bassist Ron Carter and his old boss Hamilton on drums, as well as a pair of fine Latin percussionists – Willie Bobo and Victor Pantoja. The groove quotient was very high on Spellbinder, maybe even higher than on later albums such as Jazz Raga or Sorcerer. This set is all Szabo, drifting, wafting, and soaring above all that rhythm; the track selection provides ample space for Szabo's highly individualized Eastern modal style to shine. The set opens with the title track, a snaky guitar masterpiece with plenty of droning strings and pinched chords that are followed by open string flourishes.