Reissue with latest 2014 DSD remastering. Comes with liner notes. Rare live material from Charlie Parker – recorded in the very familiar territory of the Birdland nightclub, but not issued until an LP release from the 70s! The material originally was broadcast on radio, but through the series of the Rose transcription disc archive – which meant better recording and preservation than most other radio material of the bop years – helping to make this album a real treasure among Bird fans in the years after his death.
Features 24bit digital remastering. Comes with a description. One of the earliest albums as a leader from reedman Robin Kenyatta – and a set that's also one of his most compelling too! There's a definitely freer sound here than on some of Robin's smoother sets from the 70s – a vibe that's somewhere near the space of Impulse Records in the post-Coltrane years, and which is right at home on Atlantic's Vortex label subsidiary.
Reissue with the latest remastering. One of the hardest, heaviest albums that Ray Bryant ever cut – even on the ballads – a monster little record that grabs you from the very first note! Ray did the arrangements for this one himself – working with his core trio that featured Ron Carter on bass and Grady Tate on drums, and adding in a twin-trumpet frontline that cooks the groove over the top with a really righteous sound!
Reissue with latest 2014 DSD remastering. Comes with liner notes. A wonderful bit of soul jazz – much less trippy than some of Charles Lloyd's later work, and handled with a soulful flair that's a mix of Coltrane spiritualism, with an even larger dose of the sort of post-Trane experiments in jazz that would crop up during the early 70s on smaller independent labels – a scene that Lloyd really influenced with albums like this! The record's quite advanced for its time – and features Charles' tenor and flute next to piano by Don Friedman, bass by either Richard Davis or Eddie Khan, and drums by Roy Haynes or JC Moses – on titles that include Lloyd's classic "Forest Flower", plus "Little Peace", "Love Song to A Baby", "Sweet Georgia Bright", and "Bizarre".
Reissue with the latest 2014 DSD remastering. Comes with liner notes. The music of Alan Jay Lerner and Frederick Loewe – composers usually associated with the Broadway stage, brought into a whole new light here by the late 50s Jazz Messengers! The album's one of Art Blakey's more unusual outings – part of that great 1957 run away from Blue Note – but it cooks strongly with a lineup that includes Jackie McLean on alto, Johnny Griffin on tenor, and Bill Hardman on trumpet – all players who bring an unusual degree of bite to these tunes, while still reflecting the lyrical beauty within!
Reissue with the latest remastering. Amazing stuff from Ivan Boogaloo Joe Jones! Unlike some of the other players on Prestige during the early 70s – who often got a bit weaker as the decade moved on, thanks to the departure of some of the better forces arranging and producing the records – Jones kept on playing hard, improving his guitar skill to a point where he was riffing and grooving away at a pace that's simply mindblowing when you hear it. Case in point is the mighty "Black Whip", a fantastic bit of funky jazz that cracks back and forth with all the whiplike qualities hinted at in the title – and which has a totally infectious jazz dance groove that always gets us on the floor. Other titles include the original groovers "Freak Off" and "Crank Me Up", both tasty numbers, plus some mellow pop covers like "My Love" and "Daniel".
Reissue with the latest remastering. Comes with liner notes. Hard-hitting trio work from Ray – one of his early albums for Columbia, and the record that gave him a surprisingly big hit! "Little Susie" is one of those early 60s soul jazz standards, the kind of catchy tune that got played all over the place on radio, and which forever put the artist at the top of the list for recording dates and live sets for a few years. Ray's riding high here – with a trio that features brother Tommy Bryant on bass, and either Eddie Locke or Gus Johnson on drums – and the album's got lots of other short tracks with a similar down-home soul jazz kind of approach. Titles include "Blues For Norrie", "Big Buddy", "Greensleeves", and "If I Can Just Make It".
Reissue with latest remastering. Comes with liner notes. The first full album from the great Ray Bryant – recorded shortly after his famous Epic Records session with Betty Carter! The album's got Ray grooving in a hard early soul jazz mode – working in a trio with either Kenny Clarke or Osie Johnson on drums, and Wyatt Reuther on bass – at a level that still shows some influence from other pianists, but already with that unique hard-left style that would make Bryant a big favorite in short years to come. Candido joins in on congas on 2 of the album's best tracks – a hard grooving take on "Night In Tunisia", plus Ray's classic "Cubano Chant", a dancing Latin groover that went onto become an oft-recorded Latin Jazz standard – and other titles include "Pawn Ticket", "Philadelphia Bound", and "Off Shore".
Cleopatra Records offers up this live set by glam metal queen Lita Ford. Recorded in 2000, the album comprises material from her first six solo albums, the most recent of which prior to this recording was 1995's Black. Her major chart hits "Kiss Me Deadly" and the Ozzy Osbourne duet (sans Ozzy) "Close My Eyes Forever" are both here, and she sounds remarkably vibrant playing for a small club's worth of hardcore fans. Her voice and guitar playing are in good form, though there are moments here that sound like obvious overdubs or pre-recorded parts, like the way-too-clean backing vocals on "What Do You Know About Love." Still, most of it has the fire of a hard-rocking band playing in a sweaty rock club, which is what fans would want from one of the founding Runaways.
Features 24 bit remastering and comes with a mini-description. A wonderful live set from Gary Burton – originally issued only in Japan, but a wonderful record that stands strongly with Gary's classic early 70s work for Atlantic and ECM Records! The group's a quartet – and has Gary's vibes alongside warm guitar lines from Sam Brown – a player whose sense of tone and timing really echoes that of Burton – cascading fresh sounds one minute, laying back in waves the next – always hitting the right balance of space and tone to keep things right.