Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. The togetherness here comes from great interplay between the piano of Don Friedman and guitar of Klaus Flenter – two players who work surprisingly well on the record, and each seem to bring out the best in each other! Freidman's tones on the piano have this extra-chromatic approach, which is really echoed in the guitar at times – often in the album's more dynamic moments, which have a vibe that's quite different than Don's regular trio outings. The rest of the group features Henk Haverhoek on bass and Eric Ineke on drums – and titles include "Vieux Roue", "Minor Ballad", "Autumn In Summer", "Lonely Evening", "Elba", "New Dawn", and "Mohonk Blues".
Perché l’Italia è precipitata nella crisi peggiore degli ultimi trent’anni? La colpa è della Germania, dell’austerity imposta dall’Europa, della moneta unica? O della mediocrità della classe dirigente? Esiste una via d’uscita, una ricetta per rifare il Paese? Per rispondere a queste domande, Alan Friedman, forse il giornalista straniero che conosce meglio la realtà italiana, parte da quegli anni Ottanta in cui l’Italia era la “quinta potenza economica del mondo” e pareva avviata verso una vera modernizzazione per arrivare fino alle drammatiche vicende degli ultimi anni. …
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. George Adams and Don Pullen knock it out of the park on this one – finding great company in each other's presence, and really moving things forward in the process! The set begins with a long track titled "Mingus Metamorphosis", and that really sums up the spirit of the record – an 80s reworking of all the ideas that the players had learned from Mingus, but with an individual, personal sense that's all their own – and very different than some of the more standard modes of the Mingus Dynasty group that continued the legacy in a more direct manner. Adams is bold one minute, lyrical the next – and plays both tenor and flute – alongside Pullen on piano, Cameron Brown on bass, and Dannie Richmond on drums.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A firey session from the quartet of George Adams and Don Pullen – a set that has the group stretching out in some of their most spiritual modes, yet still finding plenty of time to swing as well! Adams is tremendous on tenor – a very fresh voice in the post-Coltrane world, with phrasing that is all his own – even more amplified when he switches to flute – and Pullen's got this ability to go outside, and show his knowledge of the darker corners of the keyboard – yet never let that side of his playing overwhelm things, possibly because the rhythmic accompaniment from Cameron Brown on bass and Dannie Richmond on drums is so strong. Tracks are all long, and very individual – with the group in high spirits on the titles "Earth Beams", "Magnetic Love Field", "Saturday Nite In The Cosmos", "More Flowers", and "Dionysus".
Reissue with the latest DSD remastering. A tremendous little album from pianist Don Friedman – a trio session, but one that's cut with a mixture of Fender Rhodes and electric bass, which gives the album a majestically soulful groove! Friedman's never sounded better, and the record is easily one of his best – with a sound that matches the best CTI sides of the time, colored by the freedoms of the Japanese recording scene of the 70s – territory that Don never hit this strongly again, and which makes the record a really unique outing, quite diferent than both his early work and later sides. The group features Lyn Christie on bass and Bill Goodwin on drums – and titles include "Paula's Wish", "Canvas On My Mind", "Lullaby For Lynne", "Hope For Tomorrow", and "A Place Within".