"The most notable aspect to this fine effort by the 1980 Cedar Walton Trio (which is comprised of the pianist-leader, tenor saxophonist Bob Berg, bassist David Williams and drummer Billy Higgins) is that Abbey Lincoln takes vocals on four of the eight selections. Lincoln (who is in top form) introduces two of her songs ("Not in Love" and "Castles") and also interprets "In a Sentimental Mood" and Walton's tribute to Duke Ellington "The Maestro." Otherwise Walton's group plays a couple of common Thelonious Monk tunes, Jobim's "Sabia" and "On the Trail." A well-rounded and easily recommended set of advanced straightahead jazz." (Allmusic)
"For this quartet date with pianist Cedar Walton, bassist Ron Carter and drummer Billy Higgins (trumpeter Freddie Hubbard sits in on two numbers), Turrentine is in top form on a variety of standards plus Tommy Turrentine's "Thomasville" and Rahsaan Roland Kirk's "Spirits up Above." A fine session". (Scott Yanow, Allmusic).
It is easy to understand why Dave Young is one of the most in-demand bassists in Canada. With a fat tone and a gift for melodic solos similar to Ray Brown and Niels Pedersen, Young is joined for a pair of tunes by five different pianists. Oscar Peterson, with whom Young first recorded as a sideman in 1980, contributed a bluesy original ("OP & D") for the date, while he is also more than willing to take a backseat to Young. The bassist plays arco with Cedar Walton in a warm rendition of the venerable standard "Smoke Gets in Your Eyes"; this session marked their first recording together. Tommy Flanagan provides an elegant backdrop for Young during "In a Sentimental Mood." The sparks fly in his duet with John Hicks of Benny Golson's "Stablemates." The masterful duet with Mulgrew Miller of the classic bop tune "Hot House" uncovers new facets within this decades-old jewel. (Allmusic.com)
"Trumpeter Hubbard--an extraordinary talent whose career has ranged from exceptional heights to disheartening mediocrity--has scored again. This time, he has gathered five top jazz men--including pianist Cedar Walton, drummer Billy Higgins and saxophonist Ralph Moore--for an invigorating program that consists of four new originals, Waltons title track and the standard God Bless the Child. The tunes offer a bracing contrast of moods. Dear John, a tribute to John Coltrane, is based on the deluge of chords that underpinned Coltranes classic Giant Steps, while Managua is built on a single harmony. Bolivia sashays back and forth between a undulating Latin feeling and a driving swing section, and God Bless is taken very slowly." (LA Times)
"Top-notch hard bop is performed by pianist Cedar Walton's quartet, a group also including altoist Vincent Herring (who doubles on flute), bassist David Williams, and drummer Kenny Washington. An underrated composer, Walton performs five of his own pieces, plus four standards (including "Body and Soul" and "Smoke Gets in Your Eyes"). Herring's Cannonball Adderley-inspired alto is well featured, and Kenny Washington fits right into Billy Higgins' old slot. Easily recommended for fans of modern straight-ahead jazz." (Allmusic)
"One does not usually encounter such songs as Cedar Walton's "Bolivia," "Dizzy Atmosphere" and "Moanin'" on vocal albums, but Judy Niemack has always been a very instrumental-oriented jazz singer. Whether scatting, stretching out words, or singing unexpected notes, Niemack (who should be much better-known) is consistently brilliant on this CD from the French Freelance label. She is assisted by Walton, bassist Ray Drummond, drummer Joey Baron and (on three of the 14 numbers) trombonist Curtis Fuller throughout the consistently swinging and often adventurous set. Recommended." (Allmusic)
"For Walton's debut on the Astor Place label, the widely respected veteran pianist contributed all 9 selections. Although his "Bolivia" is a jazz standard, Walton is not normally thought of as a major composer. However, quite a few of his new pieces could possibly become standards in the future if jazz improvisers explore this disc. Of the more memorable originals, "Martha's Prize" has a light cheerful melody; "The Vision" gives Ralph Moore an opportunity to show just how distinctive he can sound on soprano; "Happiness" is a joyful hard bop tune a little reminiscent of "Little Rock Getaway" with a bridge added; "Underground Memoirs" (which has a particularly strong Walton solo) is a haunting ballad, and "Theme for Jobim" swings with a strong bossa beat. The all-star lineup plays up to their potential with Hargrove sometimes recalling Freddie Hubbard, and Moore and Herring getting in their spots and the ensemble as a whole sometimes resembling the Jazz Messengers. Highly recommended." (Scott Yanow, Allmusic)
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