Steve Grimmett from Grim Reaper at the head of the band. Trying again for that Whitesnake feel and doing a pretty good job again. Change of guitarist does change the sound a bit. This album doesn't quite meet the standard set by the magnificent debut, nevertheless it's a worthy followup!
Oddly omitting Thelonious Monk, this DVD presentation of CBS Television's The Sound of Jazz still rates near the top of jazz on the small screen, albeit in a somewhat diminished capacity, lagging behind the earlier VHS release. But for most jazz fans, any edition of The Sound of Jazz still boasts, regardless of drawbacks, the ultimate televised gathering of many of the music's key artists. Particularly evident with this transfer is how the studio lights wreak havoc with the reflections in the brass instruments, especially near the beginning of the program, emitting strange black bands that refract and compromise the image, a problem picked up less clearly in the VHS version.
Dope funk, psychedelic soul and acid jazz from New York City '70-'74. UK compilation featuring 20 soul, funk and jazz classics from the legendary underground label best known for their acts, the Fatback Band and Black Ivory who are both represented here along with Dizzy Gillespie, Bobby Rydell and many more. Original vinyl from Perception and it's twin label today goes for a small fortune and has been sampled by DJ Shadow and KRS-One. Double slimline jewel case. 2000 release.
Expert en polyrythmie virtuose, Nasheet Waits est un improvisateur brillant mais aussi un leader assez charismatique comme le prouve ce véritable premier album de son groupe Equality. A 45 ans, ce batteur influent du jazz contemporain s’inscrit dans l’évolution d’un jeu sans faille, subtil, fougueux, loin des codes d’accompagnement traditionnels. Son usage atypique et complexe de la polyrythmie ouvre la voie à une expression plus libre et authentique qui brille de mille feux tout au long de Between Nothingness And Infinity.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.