"An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and on "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions." (Dave Nathan, Allmusic)
Deze 78 minuten lange compilatie bevat het meeste materiaal van de LP's "The Japanese Concerts" en "The Sextet", beide uit 1963. "Although the nine songs on this new Cannonball Adderley reissue were originally done live at concerts in Japan and San Francisco in 1963, they nevertheless make a nice tribute to departed jazz giant Dizzy Gillespie. The assembled group was among the finest Adderley ever led, with Yusef Lateef providing a dynamic, unpredictable third solo voice on flute, tenor sax, and oboe, contrasting with Cannonball's pungent alto sax and Nat Adderley's pithy cornet solos. Bassist Sam Jones and drummer Louis Hayes were a top-flight tandem, while Joe Zawinul was then playing bluesy, funky piano in his pre-synthesizer, Miles Davis/Weather Report phase. Everything is illustrative of a prime band enjoying some great nights." (Ron Wynn, Allmusic)
"This is a most unusual CD due to the inclusion of Cecil Taylor on piano. Although Taylor and John Coltrane got along well, trumpeter Kenny Dorham (who is also on this quintet date) hated the avant-garde pianist's playing and was clearly bothered by Taylor's dissonant comping behind his solos. With bassist Chuck Israels and drummer Louis Hayes doing their best to ignore the discord, the group manages to perform two blues and two standards with Dorham playing strictly bop, Taylor coming up with fairly free abstractions and Coltrane sounding somewhere in between. The results are unintentionally fascinating." (Scott Yanow, Allmusic)
Heruitgave van het album "Recuerdo" uit 1962 met twee alternatieve versies van "Solar" en "The Little Prince" als bonus tracks. "Joined by an all-star rhythm section (pianist Wynton Kelly, bassist Sam Jones, and drummer Louis Hayes) plus Joe Romano on tenor, flute, and alto, Mangione mostly sticks to bebop on four jazz standards (including Charlie Parker's "Big Foot") and three of his originals. Although only 21 at the time, he holds his own with the illustrious rhythm section and was starting to display his own musical personality". (Scott Yahow, Allmusic).
"The first classic album by the Horace Silver Quintet, this CD is highlighted by "Señor Blues" (heard in three versions, including a later vocal rendition by Bill Henderson) and "Cool Eyes." The early Silver quintet was essentially the Jazz Messengers of the year before (with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins, while drummer Louis Hayes was in Blakey's place), but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map." (Scott Yanow, Allmusic)
"For a brief time, tenor saxophonist Clifford Jordan and trumpeter Art Farmer were the frontline of the Horace Silver Quintet. This 1997 CD reissue finds the group (which also includes bassist Teddy Kotick and drummer Louis Hayes) performing five of Silver's lesser-known originals and the standard "Ill Wind." The lyrical Farmer and the up-and-coming Jordan have plenty of fine solos, as does the influential Silver, whose funky, witty style stood apart from the prevailing Bud Powell influence of the era. Although none of the newer songs caught on as standards, this set (which has plenty of mood and groove variation) holds together very well and still sounds fresh 40 years later." (Scott Yanow, Allmusic)
"Trumpeter Freddie Hubbard leads a particularly talented sextet (with trombonist Curtis Fuller, a rare outing away from Sun Ra for tenor saxophonist John Gilmore, pianist Tommy Flanagan, bassist Art Davis, and drummer Louis Hayes) on three of his originals and strong versions of "Summertime" and "Caravan." This advanced hard bop music was reissued on CD in 1996 with 20-bit mastering." (Scott Yanow, Allmusic)
T.g.v. Petersons 80ste verjaardag, in augustus 2005, geremasterd uitgebracht album uit 1971 (op het legendarische MPS-label), in een one-off allstarbezetting: de vingervlugge pianist met Modern Jazz Quartet-vibrafonist Milt Jackson, contrabas-istituut Ray Brown en 'superieure hardbopdrummer' (AMG) Hayes. De stemming is licht en opbeurend, het spel harmonieus: een prettige mainstream jazzdate. Het titelnummer is een oud stuk van Jackson, verder valt vooral de bewerking van Rolling Stones' 'Satisfaction' op.
Ooit pianist op baanbrekende Coltrane-platen. Op deze opwindende live-opnamen uit 1987 speelt hij met z'n vaste trio, met de even gepokt en gemazelde Louis Hayes en het jongere bastalent Avery Sharpe, die ook funky electrisch speelt. Met o.a. "Señor Carlos", een eerbetoon aan Carlos Santana, gegoten in een moderne jazzlatincompositie.
Tweede opname, uit 1959, van 't klassieke kwintet rond de pianist, met Blue Mitchell (t) en Junior Cook (ts). Van dit album komen de tot standards uitgegroeide stukken 'Sister Sadie' en 'Peace'. Uit de 'Rudy van Gelder Edition'-remasterserie. "One of Horace Silver's all-time Blue Note classics. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, "Blowin' the Blues Away" is one of Silver's finest albums, and it's virtually impossible to dislike." (Steve Huey, Allmusic)
Album uit 1994, geproduceerd door Peter Huijts (bekend van De Tor). De veteraan-hardbop-drummer speelt hier met o.a. Javon Jackson (ts): begint wat onzeker intonerend, maar in latere stukken vlamt hij vol energie.
Onze website en deze zoekfunctie is vernieuwd en we werken er op dit moment hard aan om de laatste puntjes op de i te zetten. Mis je bepaalde functionaliteiten, dan vind je hieronder tijdelijk nog de link naar oude zoekfunctie.
