Rare stuff from John Coltrane! The album features Trane playing tenor on only 4 of the album's 8 tracks – making it kind of surprising that they used his name in the title – but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs – possibly not a name that's as sexy as John Coltrane, hence the billing – but a worthy leader for the date, given the quality of the music.
There's a good reason why the Move's eponymous 1968 debut album sounds like the work of two or three different bands – actually, befitting a band with multiple lead singers, there's more than one reason. First, there's that lead singer conundrum. Carl Wayne was the group's frontman, but Roy Wood wrote the band's original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran's "Weekend") or drummer Bev Bevan (as they did on the Coasters' "Zing Went the Strings of My Heart")…
Shazam is the second studio album by English rock band the Move, released in February 1970 by Regal Zonophone. The LP marked a bridge between the band's quirky late '60s pop singles and the progressive, long-form style of Roy Wood's next project, the Electric Light Orchestra. It was the last Move album to feature the group's original lead vocalist, Carl Wayne. The Move, from Birmingham, England, are a British rock band of the late 1960s and the early 1970s. They scored nine Top 20 UK singles in five years…
This edition limited to 10,000 copies and 20-Bit K2 Super Coding. Contemporary's 2000 re-release appended three bonus tracks, all of them alternate takes. A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels".
A great record – and one that's filled with so many wonderful little moments! The whole thing's a very cool, very off-beat set of jazz tracks recorded by vibist Gary McFarland, with a group that includes Jimmy Raney on guitar, Richie Kamuca on tenor, and Steve Swallow on bass – a lineup that's as quirky as the sound of the record! The tunes are quite different than some of Gary's larger arrangements for Verve, but they've definitely got a very similar charm – quite groovy, and a unique blend of bossa influences, west coast jazz, modal rhythms, and other wonderful touches. Tracks include "Pecos Pete", "Hello To The Season", "Schlock-House Blues", and "Love Theme From David & Lisa".
On his first session as a bandleader, tenor saxophonist John Coltrane is joined by Johnny Splawn on trumpet, Sahib Shihab on baritone sax, and a rhythm section of bassist Paul Chambers and drummer Albert "Tootie" Heath with piano duties split between Mal Waldron and Red Garland. Right out of the gate, the propulsive syncopated beat that drives through the heart of Coltrane's fellow Philly denizen Calvin Massey's "Bakai" indicates that Coltrane and company are playing for keeps. Shihab's emphatic and repetitive drone provides a manic urgency that fuels the participants as they weave in and out of the trance-like chorus.
A Japanese reissue of this terrific session which was originally released on three LPs. It's beautifully remastered in 20-bit K2 super coding and contains one track not on any of the original LPs. Originally issued on three LPs, the music resulting from Hampton Hawes' All Night Session! was stereophonically recorded for the Contemporary label in Los Angeles on the night of November 12 and into the morning of November 13, 1956. This session transcended the conventions of studio production by moving steadily from one tune to the next like a live gig with no alternate takes.