Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Recorded at the Cafe Praga, Bologna, Italy, Dec 4,5,6 1990. Although he started out playing in fusion-oriented settings, Steve Grossman developed into an excellent hard bop tenor in the tradition of Sonny Rollins (although he developed his own sound). Grossman originally started on alto when he was eight, added soprano at 15, and tenor at 16. He started at the top as Wayne Shorter's replacement with Miles Davis, playing in his fusion group from late 1969 up to September 1970. Grossman was with Lonnie Liston Smith in 1971, spent a valuable period (1971-1973) as part of Elvin Jones' group, and in the mid-'70s was with Gene Perla's Stone Alliance. Steve Grossman has mostly led his own bands ever since, recording as a leader for such labels as P.M., Owl, Red, and Dreyfus.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Trumpeter Steve Gut's on the frontline here alongside the legendary Clark Terry and the great Dusko Goykovich – and the younger musician really manages to hold his own, and work well with the two master trumpeters! The setting is a larger group – the RTB Big Band – and all three players get a chance to solo – and the mighty Alvin Queen is in the group on drums, providing a soulful kick that maybe makes the album sparkle a bit more than usual for the RTB – although they've always had a great legacy of work with bigger name players, especially American ones. Titles include "Mr CT", "Black Triangle", "Stemi", "Summer Afternoon", "On The Road", "Some Memories", and "Blues To Clark".
None of Miles Davis' recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Miles Davis' promise that he could form the "greatest rock band you ever heard." Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970, and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, "Right Off," the band is Miles, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the more freewheeling groups we've ever heard recording for the Timeless label – especially during the 80s stretch in which this set was recorded – a free-thinking quartet that features Urs Leimgruber on soprano, tenor, and bass saxophone – plus Don Friedman on piano, Bobby Burri on bass, and Joel Allouche on drums! Leimgruber's sound really sets the tone for the record – with moody passages some stretches, or a bolder attack at other moments – then supported strongly by Friedman's piano, really gets a lot of freedom here. All tracks are long, and very different than usual for Timeless.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. An overlooked gem from reedman Sam Rivers – and a set that's surprisingly soulful, given that most of his other work from this stretch is much more outside! The album's got a laidback groove on most numbers – with rhythm from Daryll Thompson on guitar, Rael Wesley Grant on bass, and Steve McCraven on drums – often in this midtempo mode that has the electric currents providing a subtle bounce, which opens up as Rivers solos on tenor, soprano sax, and flute! The style's a few steps down from funky fusion, but not that far away, either – and Sam proves to be an expressive soloist in the setting, in ways we really wouldn't have expected. Titles include "Swirl", "Chant", "Coral", "Lazuli", "Ripples", "Dandelions", "Devotion", "Beatrice", and "Sprung".
Until now, the official recordings of Miles Davis' performances at the Fillmore East between June 17 and 20, 1970 have been limited to the double album Miles at the Fillmore. That set's producer Teo Macero, edited the recordings to create medleys of each night's music to four roughly 20-minute selections. This four-disc set contains all four concerts. There are 100 minutes of previously unreleased music from Wednesday through Saturday; an additional 35 minutes of unreleased music comes from a previous gig at the Fillmore West.