Reissue with the latest DSD remastering. Comes with liner notes. Thelonious Monk's legendary tenorist steps out on his own in this fantastic (and rare) hardbop session from the early 60s! The album's quite different than some of the work Charlie Rouse cut with Monk's classic quartet at the time – more in a hardbop mode that takes us back to his late 50s sides for Prestige – but done with a new sense sharpness, and a bit more of a soul jazz influence overall!
Reissue with latest 2014 remastering. Comes with liner notes. Acoustic magic from Herbie Hancock – proof that he wasn't only cutting electro records in the 80s! The set's got a fluid, open feel that's a bit like some of the VSOP Quintet work – although the group here is slightly different, with Hancock on acoustic piano, Ron Carter on bass, and Tony Williams on drums – plus a young Wynton Marsalis on trumpet – stepping in where Wayne Shorter and Freddie Hubbard left off. The tracks are somewhat sharp-edged and modern, but never in a way that's too outside – more just a continuation of the VSOP mode, with some of the Marsalis love of darker colors and tones. The double-length set has plenty of room for long solos – and titles include "Well You Needn't", "Round Midnight", "Clear Ways", "A Quick Sketch", "The Eye Of The Hurricane", "Parade", "The Sorcerer", "Pee Wee", and "I Fall In Love Too Easily".
Reissue with latest 2014 remastering. Comes with liner notes.Curtis Fuller cooks it up nicely on this rare date for Epic from the 60s – a chance to hear the trombonist open up and move in a style that's a bit different than his work for Blue Note! The set's got a great undercurrent of soul – one that comes not just from Fuller's smoking solos, but also from the rhythm group – which features Les Spann on guitar, Walter Bishop Jr on piano, Jimmy Garrison on bass, and Buddy Catlett on drums. There's a few rough around the edges moments – the kind that are a great surprise in these early 60s Epic jazz sessions – and titles include "Teabags", "I'll Be Around", "Mixed Emotions", and "Playpen".
Reissue with latest remastering. Comes with liner notes. Not Curtis Fuller in South America, but a record that picks up a very slight Latin vibe in the rhythm – which makes for a nice change from Fuller's sessions for Blue Note! The date was recorded during that great short run of soul jazz cookers on early 60s Epic Records – and is a perfect talent for the well-voiced solo talents of Fuller – which really take great fire in a group that also includes Zoot Sims on tenor, Tommy Flanagan on piano, and Dave Bailey on drums. The record's got some of the gutbuckety energy of Bailey's classic sets for Epic at the same time – a strong recommendation from us – and titles include "One Note Samba", "Besame Mucho", and "Wee Dot".
Reissue with the latest DSD remastering. Comes with liner notes. This is a unique experiment in the Hancock discography, recorded in Tokyo in just one day during a tour of Japan. The first side contains two introspective, complex solo acoustic piano tracks, "Maiden Voyage" and "Dolphin Dance," which are notable since they date from a period when Hancock was supposedly totally immersed in electronics. Side two has two even more unusual pieces – "Nobu," a one-man show recorded in real time with the sample-and-hold feature of an ARP 2600 synthesizer providing a rhythm section for Hancock's electric keyboards, followed by "Cantaloupe Island" with a pre-recorded synth bassline.
Reissue with the latest remastering. Comes with liner notes. One of the first albums to ever issue recordings made at the Newport Jazz Festival – quite a big hit, and the beginning of a real trend in jazz! The set's also some great work by Duke – free to perform in a setting that's not bound by some of the time restrictions of earlier years, which lets him offer up three long tracks with a great deal of sophistication over previous recordings. Due to bad mike placement on stage, the original "live" album was actually a studio re-creation; the actual live performance was never issued-until now. This 2-CD set contains the complete original album and the hour-plus concert. More than 100 minutes of new music, and the whole thing's in stereo for the first time!
Reissue with latest DSD remastering. Comes with liner notes. With the cheers and huzzahs from their 1976 one-off reunion still resounding, the reconstituted Miles Davis Quintet minus Miles went on the road in 1977, spreading their 1965-vintage gospel according to the Prince of Darkness to audiences in Berkeley and San Diego, CA. In doing so, Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams, plus interloper Freddie Hubbard seem to pick up where they left off, with a repertoire mostly new to the five collectively and developed from there.
Features 24 bit remastering and comes with a mini-description. A totally amazing album – and one of the clearest examples of Roland Kirk's genius approach to reeds! The set's essentially solo, and features Kirk playing without any tape tricks or overdubbing – but still at a level that has multiple saxophones layered on top of one another – thanks to his creative approach to playing more than one instrument at once, and groundbreaking use of circular breathing! The record has these fantastic throbbing pulsating reed lines –with one horn blowing rhythm, and one playing an adventurous solo – and both being blown live a the same time, in a style that's still very soulful and swinging overall – and amazingly done without any sense of overindulgence.
Reissue with the latest DSD remastering. Comes with liner notes. It's unlikely that two major musicians could have more in common than Chick Corea and Herbie Hancock. Born a year apart, they both got their starts on Blue Note sessions in the early 1960s, worked extensively with Miles Davis (albeit in very different periods), and were among the architects and biggest successes of fusion in the 1970s. Equally distinguished as pianists and composers, they share many of the same influences, both in classical music (Ravel, Debussy, Bartók) and jazz (Davis, John Coltrane, and Bill Evans), and in the late 1970s, both were dividing their time between electric and acoustic projects.
Reissue with the latest remastering. Comes with liner notes. Phil Woods toured Japan in 1975 with the Japanese Rhythm Machine (pianist Hideo Ichikawa, bassist Mitsuaki Furuno, and drummer George Otsuka), recording this album at during a concert at Kosei Nenkin Kaikan in Tokyo. The alto saxophonist is at the top of his game, while the rhythm section provides excellent support, with Ichikawa especially shining in the solo spotlight.