This long-out-of-print CD has finally been reissued and it's a must-have for Phil Woods fans, or for anyone interested in an excellent example of post-Parker be-bop saxophone. The sound quality is excellent, the rhythm section is very competent and Phil is at the top of his game on a nice mix of standards and originals. It's easy to see why he has been the benchmark for jazz alto for decades. His swing and inventiveness are nicely showcased as he eases his way through the list of tunes. If one were to buy one or two CD's that best show Phil Woods' ability to create meaningful jazz, this one would have to be high on the list for consideration. Don't miss it!
Verve 60th Anniversary Rare Albums SHM-CD Reissue Series. Reissue with SHM-CD format. Hip and groovy work from Phil – very different than both his earlier bop-heavy sides, and his freer European recordings – recorded with some great backings by Johnny Pate, the excellent Chicago soul arranger who also did some great soundtrack work! Pate's come up with some tight short tracks that have a nice groovy late 60s Verve feel – over which Woods solos angularly on alto, working amidst woodwinds by Jerome Richardson and Jerry Dodgion, piano by Herbie Hancock, trumpet by Thad Jones, and some light strings that trickle in and out from time to time.
Mosaic's limited-edition, five-disc box Phil Woods Quartet/Quintet 20th Anniversary Set is a treasure trove for hardcore fans of the alto saxophonist. All the material on this set is previously unreleased; Woods has been saving this material for 20 years and decided to license the tapes to Mosaic to celebrate his band's 20th anniversary. Much of this music is dynamic and exciting, and it will certainly be a welcome addition to the collection of any serious Woods fan.
For this 1990 set by Phil Woods' Quintet, the altoist welcomed trombonist Hal Crook to his group, joining several longtime members: pianist Hal Galper, bassist Steve Gilmore and drummer Bill Goodwin. Galper's melancholy ballad "Gotham Serenade" and Crook's modal blues "Ixtlan" on this CD contrast with Woods' three originals: "All Bird's Children," the upbeat "My Man Benny" (for Benny Carter) and an enthusiastic "Ole Dude." The quintet's treatments of three standards (all arranged by Crook) practically disguise the tunes, and a particular highlight is the group's version of Benny Carter's "Just a Mood," which pits Woods' clarinet with Crook's wah-wah trombone. A highly enjoyable outing.
A complete bass guitar course for absolute beginners with Phil Williams This easy-to-follow tutorial is ideal if you’ve just bought your first bass guitar, or if there’s been a guitar sitting around somewhere just waiting to be played… This DVD will take you from novice level through to intermediate level. Yet it requires no prior knowledge at all: it truly is for someone starting “from scratch”.
This highly successful blowing session works because of overlapping links among players and material. Bassist Teddy Kotick and drummer Nick Stabulas were frequent partners, in the groups of leader Phil Woods and others. Kotick and pianist Red Garland also had working experience with Charlie Parker, whose compositions are heard here as well as those of Woods, who then and now was one of Jazz’s leading Parkerites.
Reissue features the latest digital remastering and the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. The title of this excellent CD reissue comes from the fact that the featured septet consists of two altos (Phil Woods and Gene Quill) and two trumpets (Donald Byrd and Kenny Dorham) in addition to a rhythm section (pianist Tommy Flanagan, bassist Doug Watkins, and drummer Philly Joe Jones). Of the pairings, Woods and Dorham were more distinctive in 1956, but both Quill and Byrd get in some good licks. The full group stretches out on four lengthy numbers: three Woods originals and the ballad "Suddenly It's Spring."
In 1970, when Inner City Records was just getting off the ground, Phil Woods was in Europe enjoying himself, and collaborating with musicians who were definitely feeling the spell of the Miles Davis groundbreaking jazz fusion epic Bitches Brew. While always a staunch straight-ahead bebop player, Woods decided to mix it up a bit and incorporate elements of funk, rock, and free improvisation, much to the likely chagrin of his listeners. In fact, a vitriolic letter printed on the back cover from an unidentified fan residing in Chicopee Falls, MA, rips Woods for abandoning melody, criticizes his titles, and actually threatens him with physical violence should he ever show up in his town.