This difficult to find recording is worth the search; it contains some of the finest recorded work of Al Haig's enigmatic career. Haig was an important figure in the early development of bebop piano and can be heard as a sideman on many seminal recordings from the 1940s, including Salt Peanuts and Hot House. His refined classical technique was relatively unique at the time, and he was admired as a superb accompanist. Between the mid-'50s and the early 1970s there is a curiously large gap in his recorded output evidently due to personal problems. In fact, Al Haig Today! appears to be his only release as a leader during the '60s.
Recorded on August 26, 1965 (and not released until after his death in heavily edited form), Sun Ship was the final recording by John Coltrane's quartet with drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody (with tunes often based on one chord or a short series of notes as themes), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one.
The Turtles enjoyed eighteen US hit singles between 1965 and 1970, three of which (“Happy Together”, “She’d Rather Be With Me” and “Elenore”) were also huge hits in the UK. From their original incarnation as surf band The Crossfires, all the way to their final single, the Turtles traversed several different musical paths during their career. It is precisely this power through diversity that makes the Turtles’ body of work one of the most rewarding and enjoyable of the 1960’s – they never met a genre they didn’t like. Edsel Records is proud to present the band’s six albums, each as a 2 CD digipak set.
Soul/blues singer whose style is characterized by a gritty, impassioned vocal style and precise, textured guitar playing.He may not be a household name, but die-hard blues fans know Little Milton as a superb all-around electric bluesman – a soulful singer, an evocative guitarist, an accomplished songwriter, and a skillful bandleader. He's often compared to the legendary B.B. King – as well as Bobby "Blue" Bland – for the way his signature style combines soul, blues, and R&B, a mixture that helped make him one of the biggest-selling bluesmen of the '60s (even if he's not as well-remembered as King). As time progressed, his music grew more and more orchestrated, with strings and horns galore. He maintained a steadily active recording career all the way from his 1953 debut on Sam Phillips' legendary Sun label, with his stunning longevity including notable stints at Chess (where he found his greatest commercial success), Stax, and Malaco.
There's no sense of "transition" here – as the album's an incredibly solid one, and stands with John Coltrane's best mid 60s work for Impulse – even if the session wasn't issued by the label until after his early death! The work builds strongly on the Love Supreme vibe – soaring, searching, and finding whole new space in jazz – but all with a unified conception that's driven by an unbridled sense of energy. The group here is the quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and we're still quite puzzled why Impulse never managed to get this one released until a few years later! Titles include "Transition", "Dear Lord", and the side-long "Prayer and Meditation" suite.
In the context of the decades since his passing and the legacy that's continued to grow, John Coltrane's Selflessness album bears an odd similarity to Bob Dylan's autobiographical book Chronicles. In Chronicles, Dylan tells the tale of his beginnings, jumping abruptly and confoundingly from his early years to life and work after his 1966 motorcycle accident, omitting any mention of his most popular and curious electric era. The contrast between these two eras becomes more vivid with the deletion of the years and events that bridged them. Released in 1965, Selflessness presents long-form pieces, likewise from two very distinct and separate eras of Coltrane's development.
Features SHM-CD format and the latest 24bit 192kHz remastering. This session (reissued on CD by Blue Note) is best known for introducing Lee Morgan's beautiful ballad "Ceora," but actually all five selections (which include Morgan's "Cornbread," "Our Man Higgins," "Most Like Lee," and the standard "Ill Wind") are quite memorable. The trumpeter/leader performs with a perfectly complementary group of open-minded and talented hard bop stylists (altoist Jackie McLean, Hank Mobley on tenor, pianist Herbie Hancock, bassist Larry Ridley, and drummer Billy Higgins) and creates a Blue Note classic that is heartily recommended.
Inter-Action is an album by saxophonists Sonny Stitt and Zoot Sims recorded in Chicago in 1965 and released on the Cadet label. The Sims-Stitt collaboration is of particular interest as are Sims's rare alto solos on his own date. Worth searching for. Just what you'd expect with this front-line pair. Nice session.
Brilliant work from Coltrane – recorded in the 60s, but not issued until the late 70s, and only then, not properly in print until the release of this great package! The material is classic Coltrane Quartet sessions – with McCoy Tyner, Jimmy Garrison, and Elvin Jones working with Trane to craft some long tracks that show the expanding genius of the group at the time. The spirit of the work is in the "new thing" mode of the 60s – more adventurous than even Coltrane's work from a few years before – and titles include "Living Space", "Dusk-Dawn", "The Last Blues", and "Untitled 90314".
Key 60s material from the great John Coltrane – even if the set wasn't ever released until the late 70s! The album's kind of a "prequel" to the later Meditations record, and it stands as a key bridge between Coltrane's modal years and his more spiritual sounds – delivered here by a core quartet, without the larger accompaniment that graced the later version! The classic quartet is at their best – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is slightly more inside than later, but no less filled with searching and yearning! CD version contains a 12 minute extended alternate take of "Joy", the centerpiece of the composition.