Pianist Russ Freeman, who produced this record, related it this way : “The last time we were (with Shelly Manne’s quintet) in San Francisco, we went to blow at some motel on the outskirts of town one afternoon. There were some other musicians there; we took turns playing. Jerry (Dodgion) was there. The afternoon wound up with Charlie and Jerry playing the blues with a rhythm section for about twenty minutes. It was one of the most memorable experiences I have ever had, and I wasn’t even playing!
Features 24 bit digital remastering. Comes with a description. An unusual global session for Atlantic Records – an album that has John Lewis presenting work by three other musicians that he feels are ripe for wider discovery! The set's got some killer work from Rene Utreger – a key Parisian player in the postwar years, working here with dexterity that's almost at a Bud Powell level! Dick Katz is also featured on the set – with some nice colors and tones in the mix, similar to some of the work he'd go onto do for Atlantic and other labels. And perhaps the least known here is the British player Derek Smith – stepping out with a lyrical style that's captured surprisingly well here – and which makes the record a key addition to Smith's catalog.
While not one of the classics of the jazz fusion movement of the early '70s, The Guerilla Band does attempt to say something substantial and avoids the genre's commercial pitfalls. Leader Hal Galper, who went on to become an acoustic pianist of note, is heard here exclusively on electric piano. His highly electronically processed sound is unlike the playing of the Fender Rhodes' more representative players from this era, such as Joe Zawinul or George Duke. Galper's band includes brothers Mike (saxophone) and Randy Brecker (trumpet), who at this time were gaining critical acclaim with their band Dreams.
Groove Holmes and Gerald Wilson – a wonderful combination on this late 60s session – in a style that's everything great about mainstream LA jazz at the time! Wilson really has a way with the charts on the session – and although the group is large, they've got a lean, clean sound that bounces along nicely – slightly funky at times, always soulful at others – a perfect backdrop for the well-played Hammond lines that Groove brings to the set! The album's not as much of an all-out organ wailer as some of Holmes' albums for Prestige – but that's a-ok with us, because Wilson's group features some other great players too – including Dennis Budimir on guitar, Tony Ortega and Arnie Watts on saxes, and Paul Humphrey on drums!
A killer album of Afro Funk – with a very unusual origin! In the wake of Manu Dibango's big hit (and some kind of failure to register the copyright), many many versions of "Soul Makossa" were recorded and released, some good, some bad. This album is a good example of that situation – kind of a quickie project issued by Mainstream Records to cash in on the hit – but it's also an amazing bit of lost funk, and a record that's lasted for years in the hearts of beatheads! The group's a studio combo headed by Richard Fritz – and includes funky drummer Paul Humphrey, organist Charles Kynard, and guitarist David T Walker – all players we can trust to keep things groovy.
Saga are a Canadian rock band, formed in Oakville, Ontario. Jim Crichton and Welsh-born vocalist Michael Sadler have been the principal songwriters for Saga. Ian Crichton is the band's guitarist; apart from his work with Saga, he has recorded several solo albums as well as sessions with Asia. Full Circle is a studio album by Saga, their thirteenth album of new material. This recording marks the begin of the second round of Chapters. Three of the songs, "Remember When (Chapter 9)", "Uncle Albert's Eyes (Chapter 13)" and "Not This Way (Chapter 10)," were part of a second series of eight songs that Saga included within some of their albums called "The Chapters".
In 1983, just about every up-and-coming hard rock guitarist was mesmerized by – and copying – Eddie Van Halen's two-handed tapping technique. Then, seemingly out of nowhere, came Yngwie Malmsteen, who introduced "classical metal" to the masses. Before making a name for himself as a solo artist, Yngwie was briefly a member of L.A. rockers Alcatrazz, which resulted in a studio album (1983's No Parole from Rock 'n' Roll) and a live album (1984's Live Sentence). But come 2010, an archival live album appeared from the band (from the "Yngwie era"), Live '83. As its title states, the album is comprised of live performances from the same year that Alcatrazz's debut album was released…