| | Blue Yusef Lateef CD Yusef Lateef Discography of CDs
 (1 Customer Review)
Digitally remastered by Gene Paul (DB Plus Digital Services, New York, New York).
Yusef Lateef came out of the bebop tradition (having played in 1949 with the great trumpeter, Dizzy Gillespie). However, by the late 1960's, Lateef had become one of the most eclectic jazz experimenters. Employing odd instruments such as the oboe and the argol (an obscure double reed instrument) into his sound, he gradually moved away from the staid traditions of bebop and its more groovy stepchild, hard bop. This said, on THE BLUE YUSEF LATEEF, we hear the tenor man alighting in a variety of musical styles. His concept with this album was to pay homage to America's great ethnic diversity. The opening track, "Juba, Juba" was inspired by a Mississippi prison song. "Moon Cup" reflects medieval plainchant and other selections such as "Othelia," "Six Miles Next Door," and "Sun Dog" are constructed around twelve-bar blues forms. Joined by such notables as Blue Mitchell on trumpet and Kenny Burrell on guitar, Lateef and crew bring to life the many unique and disparate sounds that make up America's rich musical legacy.
Recorded at Atlantic Studios, New York, New York on April 23 & 24, 1968. Originally released on Atlantic (1508). Includes liner notes by Joel Dorn, John Kruth, and Yusef Lateef.
Personnel: Yusef Lateef (vocals, koto, tambura, flute, bamboo flute, shanai, tenor saxophone); Kenny Burrell (guitar); Buddy Lucas (harmonica); Sonny Red (alto saxophone); Blue Mitchell (trumpet); Hugh Lawson (piano); Cecil McBee (double bass); Bob Cranshaw (bass guitar); Roy Brooks (drums); The Sweet Inspirations.
Personnel includes: Yusef Lateef (vocals, tenor saxophone, flute, shannie, tamboura, koto, scratcher); William Fischer (conductor); Sonny Red (alto saxophone); Blue Mitchell (trumpet); Buddy Lucas (harmonica); Hugh Lawson (piano); Kenny Burrell (guitar); Cecil McBee (acousctic bass); Bob Cranshaw (electric bass); Roy Brooks (drums); The Sweet Inspirations (background vocals).
Blue Yusef Lateef Music | List Price | $12.98 (You save $3.09) | | Category | Rock/Pop Albums, Jazz CDs, R&B, Jazz Instrument, Free Jazz, Reed | | Label | Collectables | | Orig Year | 1969 | | All Time Sales Rank |  75362  | | CD Universe Part number | 6780634 | | Catalog number | 6539 | | Discs | 1 | | Release Date | Oct 12, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Joel Dorn | | Engineer | Ray Hall | | Recording Time | 36 minutes | | Personnel | Sweet Inspirations - background vocals
Bob Cranshaw - bass guitar
Buddy Lucas - harmonica
Yusef Lateef - vocals, koto, tambura, flute, bamboo flute, shanai, tenor saxophone
Sonny Red - alto saxophone
William Fischer - conductor
Also: Kenny Burrell, Blue Mitchell, Cecil Mcbee, Roy Brooks, Hugh Lawson |
Blue Yusef Lateef Music Review Purchase Blue Yusef Lateef CD To buy, Click on price to add to cart | Paul Butterfield Blues Band CD (1965)
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The '60s Blues Revival begins here. Calling this album influential is an understatement akin to calling the Grand Canyon a rut; suffice to say that an entire generation of musicians (mostly young and white) heard this and had their lives changed forever. In fact, for at least a year after the album's release in 1965, it was impossible to walk down the hall of any college dorm ...
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A sprawling two-disc set, the Drive-By Truckers' SOUTHERN ROCK OPERA is a cracked masterpiece that's enjoyable on several different levels. Hipsters might enjoy the giggly premise of a two-disc set devoted to a slightly altered retelling of the rise and fall of 1970s Southern rock icons Lynyrd Skynyrd. Progressive rock fans lamenting the modern era's relative lack of story-driven albums divided into "Act I" and "Act II" will latch onto SOUTHERN ROCK OPERA with the same passion ...
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Though he probably achieved his greatest mainstream recognition backing up Lou Reed on tour, idiosyncratic songbird Antony is a fully established artiste in his own right. Backed by the Johnsons, as on I AM A BIRD NOW, he crafts delicate ballads that skirt the lines between cabaret, artsong, and pop, with the kind of voice that Stephin Merritt would probably kill for. Antony's unique pipes bring to mind an androgynous Bryan Ferry or a high, quavery summit meeting between Jimmy Scott (another Reed supporter) and Aaron Neville. The stately, graceful, largely piano-driven songs on I AM A BIRD NOW are full of honest, uncluttered ...
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Early on, critics often described Dredg as a metal group. However, the quartet has since matured into a hard-edged indie-rock ensemble that seeks diversity and refinement in its music. On CATCH WITHOUT ARMS, the band favors highly orchestrated parts, dense guitar riffs, and powerful drumming. Each song is based around memorable vocal hooks ...
| | Bobby Hutcherson Oblique CD (1967) Remastered
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Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest). The latter is especially true on the two opening Hutcherson pieces, the sweetly lilting "'Til Then" and the innocent, childlike theme of "My Joy," which is reminiscent of "Little B's Poem" (save for its multi-sectioned structure). Meanwhile, Chambers' experiments with counterpoint in the context of group improvisation keep getting more evocative. The title cut ...
| | Jacques Brel Talents Of The Century, Vol. 2 CD (2006) France
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The second volume in the late Jacques Brel's complete retrospective begins, like all of these volumes, with a surprse, as rather than follow the recorded history faithfully, there are inserted, at various points, unreleased masters. Here it's another version of "Orly," with a beautiful subdued acoustic guitar as the sole accompaniment for the first two verses until a string orchestra insinuates itself into the proceedings; the pure, glorious drama of Brel's voice is present in every note, bringing the tale's dramatic narrative to the fore before a few blasts of a brass section underline his story. "Jojo" is another of these moments, as is the version of "Viellir," ...
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Nova Bossa Nova is a misnomer, for while it purports to graft a strictly hard bop front line of horns onto a Brazilian rhythm section and come up with something new, the result is a stubbornly traditional sound -- two dyed-in-the-wool strains running in parallel. On four tracks, Brazilian trumpeter Claudio Roditi and the Yellowjackets' tenor Bob Mintzer form a most conservative front line, while alto/soprano player Joe Ford is the sole horn on four others. The only memorable tune, "Ceu e Mar," is an oldie that Eddie Harris covered on his Brazilian album back in the early '60s. What gives ...
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This snapshot from 1981, courtesy of the Rebound label, goes a bit heavier on R&B-leaning hits from the ...
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