Pianist Michel Camilo made his recording debut as a leader with this session for the Japanese King label. Camilo was anxious to show everything, and did so on such cuts as "Thinking Of You" and the title track. He ripped through phrases, added powerhouse chords and rippling lines, switched tempos and meters, and moved from a hard bop feel to an Afro-Latin groove in the middle of a piece. His intensity and energy were impressive, but at times he tried too much and stumbled getting back to the melody…It wasn't an unflawed debut, but Camilo showed that he would be a pianist to be reckoned with down the line.
What I'm Feelin' is the seventh studio album by American singer-songwriter Anthony Hamilton. The album was released on March 25, 2016, by RCA Records
Considering the extraordinary talent assembled for Tony Williams' second Blue Note date as a leader, this could have been a landmark session. Unfortunately, it's not. Spring isn't totally forgettable; on the contrary, the fire expected by members of the Miles Davis Quintet (Williams, Herbie Hancock and Wayne Shorter), all thoroughly influenced by "the new thing," were unleashed completely from Miles' tight rein. Add tenor saxophonist Sam Rivers and Albert Ayler bassist Gary Peacock into this mix and that influence thrived. However, the five Tony Williams compositions (including the drum only "Echo") often failed to provoke the musicians into reaching crucial unity, making Spring haphazard, falling short of the expected goal.
The viola works on this recording fuse lyricism with virtuosity, and sometimes invoke folkloric moments as well as more rhapsodic flights. Martinů’s 1955 Sonata plays on elements of folk music and rhapsody, as well as a toccata-like intensity and a pervasive feeling of nostalgia. Kodály’s Adagio is an early work, highly expressive and richly romantic, whilst his compatriot Dohnányi wrote a Sonata of mature distinction, employing variations and transformed themes to magical effect. Joachim, upholder of the German violin school, also composed, and in his Hebrew Melodies crafts great pathos, whilst Enescu’s Concertstück fuses the lyrical with the dashing, as befits a competition test piece.