Strange as it seems, the main criticism about this CD and about Kenny Burrell's playing during the past couple decades is that he is often overly tasteful. On this set (which has six unaccompanied guitar solos, four duets with bassist Ray Drummond, and three trio numbers with Drummond and drummer Yoron Israel), Burrell is so loving of the melodies that he adds very little of himself other than his beautiful tone. Although the tunes are superior, none of these versions are definitive and the mellow results rarely rise above the level of background music.
ONE WAY GLASS is a very different kind of RPM compilation. Instead of the usual cross-section of Sixties collectables, this unique 3-CD set takes a fresh look at British music from the late 60s through to the mid-70s, with an eye on overlooked dancefloor-friendly finds. The rhythmic backbone of One Way Glass lies in Progressive Rock outfits who - every so often - would emulate their jazz heroes and record funky sides tucked away on albums or B-sides. Many of these tracks (Jonesy, Hardin & York) have been known to collectors of Funky Breaks for years.
A 3CD box set collection chronicling Miles’ musical evolution in the studio from 1966-1968 working with his “second great quintet,” the latest edition in Columbia/Legacy’s acclaimed Miles Davis Bootleg Series provides an unprecedented look into the artist’s creative process, drawing on full session reels including all rehearsals, partial and alternate takes, extensive and fascinating studio conversation and more. Celebrating the 50th anniversary of Miles Smiles, the groundbreaking second studio album from the Miles Davis Quintet–Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums)–this definitive new collection includes the master takes of performances which would appear on the Miles Smiles (1967), Nefertiti (1968) and Water Babies (recorded 1967, released 1976) albums alongside more than two hours worth of previously unreleased studio recordings from original sessions produced by Teo Macero (with the exception of “Fall,” produced by Howard A. Roberts).
100 CDs provide you with the most exciting, most beautiful and most swinging recordings from this period. All-Star Swing groups with their most famous recordings. Mit Henry Allen, Roy Eldrige, Ben Webster, Coleman Hawkins, Lester Young, Johnny Hodges, Benny Carter, Fats Waller, Art Tatum, Benny Goodman, Lionel Hampton, Red Norvo, Teddy Wilson, Buck Clayton, Django Reinhardt, Jack Teagarden, Rex Stewart, Chu Berry, Charlie Christian, Louis Armstrong u.a. 100-CD-Box with original recordings.
Amazing 100 CD Set of containing a plethora of Classic Jazz tunes. New Orleans was the starting point of the collective improvisation. The Jazz for which the city on the Mississippi Delta was to become so famous for developed at the beginning of the 20th century.
For his second set as a leader, the focus is almost entirely on tenor saxophonist Ralph Moor, who switches to soprano on two of the six numbers. Accompanied by pianist David Kikoski, bassist Buster Williams and drummer Billy Hart, Moore performs group originals, Wayne Shorter's "Black Diamond" and Bud Powell's "Un Poco Loco." Displaying a tone on tenor similar to John Coltrane's, Moore's note choices are more original than his sound. A solid modern mainstream set.
Duke Ellington recorded for Brunswick from 1926 to 1931, the period in which his great talent and great orchestra first flowered, whether the band was recording under his own name or such pseudonyms as the Washingtonians or the Jungle Band. The earliest recordings are highlighted by the presence of trumpeter Bubber Miley and trombonist "Tricky Sam" Nanton, whose brilliant work with plunger mutes for vocal effects did much to define the early sound–which, in turn, rapidly evolved and expanded with the additions of Harry Carney, Johnny Hodges, and Cootie Williams. While the band's repertoire included many blues and popular songs, its distinctive identity emerges from early renditions of such trademark pieces as "East St. Louis Toodle-O," "Black and Tan Fantasy," "The Mooche," and "Mood Indigo." By the end of the period covered in this set, Ellington's ambitious later suites–some of them CD-length–are portended in the elegant extended composition "Creole Rhapsody," his clearly superior contribution to the symphonic jazz movement.
The achievement of Namaste—and it is a genuine achievement—is also the achievement of Miles Davis's In a Silent Way (Columbia, 1969): namely, providing room to breathe in a crowded room of musicians—soloists all, not a big band. (On Miles's subsequent Bitches Brew (Columbia, 1969), in contrast, a crowded room of musicians was happy to sound like a hot and tumultuous marketplace.) Despite the carefully-crafted compositions and arrangements, it's that sumptuous but spacious sound fabric that is most remarkable about this record.