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.
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins).
The Who's mighty catalog of beautiful, poignant, and often silly pop songs bashed out with Cassius Clay finesse has suffered in the past at the hands of multiple, butcher-shop best-ofs and horrible packaging. But this thrilling band–undeniably one of ye classicke rocke's greatest–gets the career-spanning entry-point compilation it deserves with the double-disc Ultimate Collection. The songs included here are no-brainers, for the most part–if they aren't huge hits like "My Generation," "I Can See for Miles," or "Baba O'Riley," they're long-standing fan favorites such as "Boris the Spider," "Pure and Easy," and "Squeeze Box." And while this reviewer wishes different songs were chosen from Tommy, and more than one tune was gathered from their arguably finest (and definitely silliest) album, The Who Sell Out, this record really isn't for fans (aside from the total trainspotter types) but for newcomers.
Reissue with SHM-CD format and new 24bit remastering. Comes with a mini-description. We love Jack Teagarden on Roulette Records – as the label's slightly broken-down, booze-drenched approach was perfect for the late life skills of the trombonist – and maybe a better setting for his talents than anywhere else! This fantastic set has Jack at all the height of those aging powers – playing trombone with a deftness that's way more than the trad modes in which he was schooled, and singing in this heartbreaking voice that's almost even more compelling – trying for blues, and full of pathos in its attempt to reach it – wonderfully human overall. The group features Don Ewell on piano, Don Goldie on trumpet, and Ronnie Greb on drums – and titles include "Big Noise From Winnetka", "When", "Stardust", "Honeysuckle Rose", and "South Rampart Street Parade".
Reissue with SHM-CD format and new 24bit remastering. Comes with a mini-description. Killer work from this overlooked Art Blakey stretch of the mid 70s – a time when the drummer was getting back to basics, and re-igniting his music with help from some key younger players! This set sparkles with sharp tenor from the great David Schnitter – already a powerhouse out of the box, and driven onto new heights by Blakey! Also present is pianist Albert Dailey, whose conception helps bring in some fresh sounds to the Jazz Messengers universe – alongside flute player Ladji Camara, who also vocalizes on one cut. Yoshio Suzuki handles bass, and old line trumpeter Bill Hardman comes in to round out the group – on titles that include "Uranus", "Third World Blues", "Namfulay", and "Backgammon".
The trio Arabesque was created by two Frankfurt-based German producers at the height of the disco era in 1977. After one album and a few singles that found surprising success in Japan, the producers changed the lineup, keeping Michaela Rose and replacing the two other members with Jasmin Vetter and Sandra Lauer. Vetter, a former gymnast, also became the trio's choreographer and Lauer, soon to be billed simply as Sandra, assumed the position of a lead vocalist. The first single of the updated Arabesque, "Hello, Mr. Monkey," went to number one in Japan. The Far East remained the band's biggest market, with numerous albums and compilations released over the years. However, Arabesque's success in their homeland was very modest, with only one single, "Marigot Bay," entering the German charts at number eight in 1981. In 1984, they disbanded and Sandra embarked on a successful solo career with the songs written by future husband Michael Cretu (of Enigma fame). Jasmin Vetter and Michaela Rose formed a duo, Rouge, but after a few obscure singles it ceased to exist.