""Takin' Off" was an impressive debut effort from Hancock, and this second record proved that it was no fluke. He took two risks with the album - his five original compositions covered more diverse stylistic ground than his debut, and he assembled a large septet for the sessions; the band features such stellar musicians as Donald Byrd (t), Hank Mobley (ts), Tony Williams (d), Grant Green (g), Chuck Israels (b), and Grachan Moncur III (tmb). It's a rare occasion that all musicians appear on the same track, which speaks well for the pianist's arranging capabilities. Hancock knows how to get the best out of his songs and musicians, which is one of the reasons why "My Point of View" is a captivating listen. The other is the sheer musicality of the album. Hard bop remains the foundation for Hancock's music, but he explores its limitations, finding its soulful side, its probing, adventurous leanings and its ballad side. It's a little more relaxed than "Takin' Off", but nearly as stunning." (S.T. Erlewine, Allmusic)
Vier albums van de gitarist, allevier(!) uit 1961 op 2 CD's. Allmusic over "First Stand": "Green's debut still ranks as one of his greatest pure soul-jazz outings: killer grooves laid down by a hard-swinging organ trio. For having such a small lineup - just organist Baby Face Willette and drummer Ben Dixon - the group cooks up quite some power, and swinging loose and easy on the ballads." Over "Grantstand": "Green's third album teams the clear-toned guitarist with an unlikely backing group: tenor saxophonist Yusef Lateef (who doubles on flute), organist Brother Jack McDuff, and drummer Al Harewood. Lateef's playing here is pretty straightforward and swinging, fitting this relaxed, bop-tinged soul-jazz." Over "Sunday Morning": "Green's fourth album was the first time Green recorded (as a leader) with a piano instead of an organ. Joined by pianist Kenny Drew, bassist Ben Tucker, and drummer Ben Dixon, this is less of a soul-jazz session, instead turning in a solid set of modal hard bop and laid-back grooves."
"Ike Quebec's early sixties comeback albums were all pretty rewarding, but this one is his signature statement, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note dates, but "Blue & Sentimental" is the most exquisitely perfected. Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor saxophone sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance, and there are plenty of open spaces in the ensemble for Quebec to shine through. He's the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing." (Steve Huey, Allmusic)
Opvolger van het veelbejubelde "The Sidewinder" (1963), van even hoog niveau. Niet voor niets krijgen beide albums op allmusic de maximale 5-sterren-waardering. Op drummer Billy Higgins na is de bezetting compleet veranderd en hoe! Meewerkenden zijn nu Wayne Shorter (ts), Grant Green (g), Herbie Hancock (p) en Reggie Workman (b). Vooral Shorter, Green en Hancock krijgen veel ruimte om hun veelgeroemde creativiteit te botvieren. Het album opent met het opvallend impressionistische, bijna 16 minuten lange "Search For A New Land": de musici zijn hier veel aan het kleuren, aan het sfeertekenen. De overige vier stukken passen beter in de mainstream hardbop-mode van die tijd, maar zoeken op een prettige wijze de grenzen daarvan op. Toenmalig opnametechnicus Rudy van Gelder zorgde er in 2003 zelf voor dat het album top notch de nieuwe eeuw in gaat.
"This is one of the best-known Hank Mobley recordings, and for good reason. Although none of his four originals ("Workout," "Uh Huh," "Smokin'," "Greasin' Easy") caught on, the fine saxophonist is in top form. He jams on the four tunes, plus "The Best Things in Life Are Free," with an all-star quintet of young modernists -- guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones -- and shows that he was a much stronger player than his then-current boss Miles Davis seemed to think. This recommended CD reissue adds a version of "Three Coins in the Fountain" from the same date, originally released on "Another Workout", to the original LP program." (Scott Yanow, Allmusic)
Volgens allmusic is de aanstekelijke muziek die op dit album uit 1963 te horen is misschien wel de mooiste die de gitarist ooit opnam. De swingende hardbop is even recht-door-zee als gestileerd; het gitaarspel van Green is helder en elegant, het bandgeluid, met naast gitaar ook tenorsax (Joe Henderson) en vibrafoon (Bobby Hutcherson) warm en kleurrijk. Genoemde musici zijn niet alleen sterke ensemblespelers, maar ook uitstekende solisten met persoonlijkheid. Drie nummers klokken dicht tegen een kwartier aan, maar dat merk je niet eens omdat de muziek geen seconde verveelt. Rudy van Gelder nam 't op en nam 35 jaar later ook de remastering ter hand.
In 1979 overleden gitarist, 'one of the great unsung heroes of jazz guitar' (AMG). Z'n groovy stijl is in de loop van de jaren '80, met de opkomst van jazzdance invloedrijk gebleken op bijv. Ronny Jordan en Zachary Breaux.
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