This is a recommended set of stimulating post-bop jazz. Andrew Hill's highly distinctive piano playing and unusual compositions hint at the past while following their own rules. The feeling of polyrhythms is present in several of Hill's seven compositions on this CD. The tightness of the bass-drum team (Lonnie Plaxico and Cecil Brooks) is quite impressive, as is the blend of Robin Eubanks' warm trombone and Greg Osby's alto.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military.
Good Deal is a typically fine record from the Three Sounds, who were beginning to hit their stride when this session was recorded in May of 1959. Like most of their records, it's laidback – even when the group works a swinging tempo, there's a sense of ease that keeps the mood friendly, relaxed and mellow. Balancing standards like "Satin Doll," "Soft Winds" and "That's All" with bop ("Robbin's Nest"), calypso ("St. Thomas") and originals, the Three Sounds cover a lot of stylistic territory, putting their distinctive stamp on each song. It's very accessible, pleasant soul-jazz and mainstream hard bop, but Gene Harris' masterful technique means that Good Deal rewards close listening as well.
Features SHM-CD format and the latest 24bit 192kHz remastering. One of the most dynamic albums that Andrew Hill ever cut for Blue Note – a record of long tracks, played by a largeish group who seem perfectly suited to Hill's most creative musical ideas! There's an approach here that almost predates some of the more righteous soul jazz ensemble sides of the 70s – as Hill's piano leads a octet that features Freddie Hubbard on trumpet, John Gilmore on tenor and bass clarinet, Cecil McBee and Richard Davis on basses, Joe Chambers on drums, and Nedi Quamar and Renaud Simmons on percussion. The percussionists roll out with quite a bit of presence in the set – not so much as on some of the Art Blakey percussion sides for Blue Note, but more with a pronounced sense of "bottom" that you might not always hear from Hill – an earthy, sometimes organic way of riffing that then allows freer solo work from the horns and piano on the top!
Features SHM-CD format and the latest 24bit 192kHz remastering. Alligator Bogaloo is one example of Lou Donaldson's successful combinations of hard bop and soul-jazz. Of the six tunes, three are Donaldson originals, including the title hit. The excellent band, consisting of Melvin Lastin, Sr. on cornet, George Benson on guitar, Lonnie Smith on organ, and Leo Morris on drums, mixes laid-back vamps beneath driving hard bop charts. As the '60s turned into the '70s, Donaldson began shaving off hard bop invention for a more radio-friendly and 45 rpm length, leaving soulful – yet monotonous – vamping. At that point, Donaldson's material suffered from a lack of originality. That's not the case on Alligator Bogaloo.
A wicked late Blue Note album from Grant Green – quite different than his smaller combo work from the early years, and done with some great larger arrangements that feature some ultra-hip vibes from the legendary Billy Wooten! Wooten's as great here as on his famous work with the Ninteenth Whole, and his vibes bring a nice edge to the record – ringing out in bold chromatic tones behind Green's guitar – amidst some warm electric backings that feature keyboards from Emmanuel Riggins, drums from Idris Muhammad, and congas from Ray Armando.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Smoking work on Hammond from Freddie Roach – a key player in the Blue Note lineup of the 60s, and a strong link between the label's soul jazz and modern sides! The sound here is a really beautiful one – partly in the organ/tenor mode forged by Baby Face Willette and John Patton in their early recordings for Blue Note, but also stretching out in that way that started to show up in Patton's later work, and in the seminal work from the time by Larry Young. Freddie's touch on the keys is really opening up here – clearly driven by some more original ideas that help push the album past the more R&B influenced sound of some of his earlier work. Players on the set include Joe Henderson on tenor, Eddie Wright on guitar, and Clarence Johnston on drums – and title cuts include "Brown Sugar", plus "All Night Long", "Have You Ever Had The Blues", and "The Right Time".
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. The final recording by this edition of The Jazz Messengers (featuring trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, bassist Jymie Merritt and drummer/leader Art Blakey) finds the group consolidating their year-and-a-half of experience into yet another exciting document. Blakey's unaccompanied drum feature on "The Freedom Rider" is full of drama while the rest of the program (two compositions apiece by Morgan and Shorter) makes this last chapter for this particular band quite memorable.