| | Abbey Lincoln Straight Ahead CD Abbey Lincoln Discography of CDs
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Our Price: $9.69 CDFor Sale Usually ships in 1-2 days (Only 2 available)
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STRAIGHT AHEAD was recorded in 1961 and was Abbey Lincoln's fifth album in as many years. Though she was only 31 when this set was recorded, Lincoln already possessed great confidence and a powerfully emotive voice. She's surrounded by a superlative cast of players, including Max Roach, Eric Dolphy, Coleman Hawkins, Booker Little, Mal Waldron, and Julian Priester. As Lincoln shifts from playfulness to melancholy, and anger to romance, the band is right with her. The rhythmic support is supple and the soloing is full of emotional resonance and invention, free of needless filigree. One highlight takes place in "When Malindy Sings" (a song based on a poem by Paul Laurence Dunbar), as Dolphy's flute flies in after the conclusion of Little's trumpet solo. Though Abbey Lincoln's entire catalog is particularly strong, this album deserves special attention.
This is one of vocalist Abbey Lincoln's greatest recordings, originally released in 1961. It's a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Ha
Recorded at Nola Penthouse Studios, New York, New York on February 22, 1961. Includes liner notes by Nat Hentoff.
Personnel: Abbey Lincoln (vocals); Coleman Hawkins, Walter Benton (tenor saxophone); Booker Little (trumpet); Julian Priester (trombone); Eric Dolphy (reeds); Mal Waldron (piano); Art Davis (bass); Max Roach (drums); Roger Sanders, Robert Whitley (congas).
Straight Ahead Music | List Price | $11.97 (You save $2.28) | | Category | Rock/Pop Albums, Jazz CDs, Blues, Vocal, Jazz Vocals | | Label | Candid | | Orig Year | 1961 | | All Time Sales Rank | 36473  | | CD Universe Part number | 1224784 | | Catalog number | 79015 | | Discs | 1 | | Release Date | Aug 01, 1988 | | Studio/Live | Studio | | Mono/Stereo | Mixed | | Engineer | Bob D'Orleans | | Recording Time | 39 minutes | | Personnel | Abbey Lincoln - vocals Walter Benton - tenor saxophone Robert Whitley - congas Roger Sanders
Also: Max Roach, Coleman Hawkins, Eric Dolphy, Mal Waldron, Julian Priester, Art Davis, Booker Little |
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$18.99 I first encountered saxophonist Shawn Maxwell when a copy of his debut album came into my hands two years ago. My initial reaction was that this artist was rather cocky; his titling of his album as \"Originals\" seemed at first to be absurdly audacious; but upon listening to it I discovered to my pleasure that his braggadio was true: he was truly an original in that his music was singularly his own and unattached to any particular genre. An artist in this era who doesn\'t bow to trends, movements, short-sighted public attention spans or purely commercial drives and instead follows his own inner voice is rare indeed. Songs like \"Dangerous Curve,\" \"Lunch Box,\" \"Clayton\'s Carnival\" and \"The Sixth\" presented a glimpse into the highly creative mind of a young man with aspirations and determination in abundance. Therefore, it was with extreme interest that I recently received his second album, Originals II, wherein the \"original\" elements that initially attracted me to his sound have not only been retained, but amplified with new weight and texture that speaks of experience gained through steady gigging and composing.This time out, Maxwell has again surrounded himself with a top-notch crew of some of Chicago’s finest young, up-and-coming musicians: keyboardist Matt Nelson, bassist Graham Czach and drummer Brad Dickert, who comprise his current quartet. These three grads have played together for years, and this familiarity provides tight and effective interplay. ”Rice” crisply crackles and pops to start things off. Maxwell’s confidence and maturity is evident at once in his airy flights, while Nelson comps with aplomb and Czach and Dickert push the music forward powerfully. Nelson’s solo is exciting and melodically interesting. “Duck Snort” is a typical example of the Maxwellian style of presenting intricate melodic themes that kick into a swinging section and back again seamlessly, with a middle section showcasing Nelson’s acoustic piano mastery. Meanwhile, “Insert Title Here” is a pop song waiting to break out from its jazz shell. With Nelson’s electric piano churning and Maxwell turning in some of his most joyous solo flights over a chorus of overdubbed saxes, this song ...
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