Features 24 bit remastering and comes with a mini-description. Early work from David Fathead Newman – so early, the cover has him listed as "Dave" on the front! The album steps nicely off Newman's early work with Ray Charles – and does plenty to establish him as a leader on his own – putting Newman's bold, soulful tenor right upfront in the mix – and backing him with small combo players who include Marcus Belgrave on trumpet, Norris Austin on piano, and Hank Crawford on a bit of piano! There's a deep undercurrent that's mighty nice – almost a rootsier quality than on other Newman albums – and titles include "Cellar Groove", "Hello There", "Alto Sauce", and "Scufflin'".
Features 24 bit remastering and comes with a mini-description. The sessions that resulted in Bigger & Better feature Newman with a string section and studio musicians for forgettable versions of two Beatles songs, a pair of Sam Cooke R&B pieces and a couple of lesser items. David "Fathead" Newman probaly is not the best saxophone player you will ever listen to. But he is a lyrical player and he has such a signature sound that you just got to love him. Like Hank Mobley, David "Fat Head" Newman kinda gets lost in the shuffle when you compare him to Sonny, Trane, Dexter, or even Stanley Turrentine!
Features 24 bit remastering and comes with a mini-description. This recording comes from three live gigs Junior Mance played at one of New York's better jazz watering holes, the room at the top of The Gate, during September 1968. The four cuts on the album were selected from ten tunes actually taped, but which never made it to the final release. If any of the six that ended up on the cutting-room floor came close to these performances, then some awfully good jazz was wasted. Right from the first track, it's clear this is going to be a top-quality and high-energy outing.
John Cale's 1992 live Fragments of a Rainy Season holds a special place in the hearts of longtime fans. Cale was no stranger to concert sets. Among his most notorious are the snarling Sabotage/Live from CBGB's and 1986's howling Even Cowgirls Get the Blues. Fragments captures Cale completely solo. His iconic singing voice, rainbow variety of melodies, and poetic lyrics are accompanied only by his piano or acoustic guitar. It's easily his most welcoming album, the one that provides a solid introduction as he ranges through his back catalog.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A sweet 70s set from the ultra-hip rhythm duo of bassist John Lee and drummer Gerry Brown – working here in a European setting with loads of great reed work to support the "bamboo" vibe of the title! Flute player Chris Hinze blows both bamboo and regular flute – and the feel of the set is like some of his excellent fusion dates from the same time – but the record also has lots of great work from Gary Bartz on alto and soprano sax, plus some keyboards from Hubert Eaves and Jasper Van'T Hof – two very different players who balance out the mood nicely. Some tracks are full-on fusion, but they're offset by mellower, more introspective passages – of the sort that really let the reed players come out strongly – and titles include "Jua", "Rise On", "Who Can See The Shadow Of The Moon", "Infinite Jones", and "Deliverance".
Features 24 bit remastering and comes with a mini-description. Although John Lewis is listed as the leader (this album's alternate title is "John Lewis Presents Contemporary Music"), the pianist does not actually appear on this record and only contributed one piece ("Django"). On what is very much a Gunther Schuller project, Schuller composed "Abstraction" and was responsible for the adventurous three-part "Variants on a Theme of John Lewis (Django)" and the four-part "Variants on a Theme of Thelonious Monk (Criss-Cross)"; Jim Hall contributed "Piece for Guitar & Strings."
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. John Hicks works in some really wonderful company here – a trio with bassist Curtis Lundy and drummer Idris Muhammad – both of whom really add a lot to the date! We're always big fans of Lundy's sound on bass – and his approach here has the same warm-rolling quality you'd find in his own best 80s work – really helping to push Hicks' lyrical agenda on the piano with a rhythmic support that's tremendous. Muhammad's pretty great too – definitely on the understated side of his talents, that nicely subtle sound he developed in the 80s – and Hicks, as always, is more than a cut above most of his contemporaries, and continues a long legacy of extremely soulful work on the keys of the piano.