| | Jimmy Smith Retrospective CD Jimmy Smith Discography of CDs
No jazz artist popularized the Hammond B-3 organ more than Jimmy Smith, and this four-disc set documents some of his finest recorded moments. The collection primarily features sessions from the late 1950s and early 1960s and does an excellent job of representing Smith's wide musical range.
"Groovy Date" is a hard-bop tune featuring stalwarts of that style--drummer Art Blakey, tenor saxophonist Hank Mobley, and trumpeter Donald Byrd. Clocking in at 13 minutes, the song presents each member of the ensemble taking extended solos, and these improvisations develop intriguingly over the course of several choruses. Horace Silver's "The Preacher," on the other hand, is a blues- and gospel-oriented number, with Smith's solo so relaxed that it falls behind the beat. "Back at the Chicken Shack" is a classic Smith composition that epitomizes his approach to soul jazz. Here, Smith's expressive blues riffs are supported by the lolling groove of drummer Donald Bailey and the cool-toned tenor-sax stylings of Stanley Turrentine. For an in-depth presentation of Smith's key recordings, RETROSPECTIVE can't be beat.
Liner Note Author: Bob Blumenthal.
Recording information: Manhattan Towers, New York, NY (02/18/1956-01/03/1986); Small's Paradise, New York, NY (02/18/1956-01/03/1986); The Baby Grand, Wilmington, DE (02/18/1956-01/03/1986); Van Gelder Studios, Hackensack, NJ (02/18/1956-01/03/1986).
Photographer: Francis Wolff.
Personnel: Jimmy Smith (organ); Jimmy Smith (Hammond b-3 organ); Stanley Turrentine (tenor saxophone); Lee Morgan, Lee Morgan Quintet, Blue Mitchell (trumpet); Bay Perry, Philly Joe Jones, Bay Perry (drums); Eddie McFadden, Grant Green, Kenny Burrell, Thornel Schwartz, Quentin Warren (guitar); George Coleman, Jackie McLean, Lou Donaldson (alto saxophone); Hank Mobley, Ike Quebec, Tina Brooks, Percy France (tenor saxophone); Donald Byrd (trumpet); Curtis Fuller (trombone); Donald Bailey , Grady Tate, Art Blakey (drums); Big John Patton (tambourine); Crusher Bennett (percussion).
Audio Remasterer: Ron McMaster.
Retrospective Review
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Purchase Retrospective CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
Retrospective
$6.75 A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's ...
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Retrospective
$31.45 "Walkin'" is taken at the kind of jaunty tempo that distinguished the Wynton Kelly-Paul Chambers-Jimmy Cobb rhythm axis. Paul Chambers' buoyant, effortless beat, his sure sense of harmony and swing, and his resounding brand of melodic bass (dig his little bowed break at the conclusion of "Walkin'") are the glue which hold these performances together. On "Walkin'" he and Jimmy Cobb lock up the groove as if swinging were the same as breathing, allowing Kelly to engage the trumpeter in a continual dialogue, feinting counterpoint and feeding him his favorite chords, then dropping away to allow Miles to stroll for a taste.
Kelly's joy is infectious on the band's old warhorse "Bye Bye Blackbird" and the easy-going ballad "All Of You," where he seems to particularly inspire a laid back bluesy Hank Mobley tenor solo. Mobley, never a Davis favorite, is not the fiery foil he relished, but his buttery tone and imperturbable lyric charm suit the slightly conservative tone of these performances. But in a long reading of "No Blues," Miles pointedly has Wynton Kelly testify briefly in response to his own, almost down home reading of a blues, before engaging Cobb in some talking rhythm exchanges. However, Kelly ...
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Retrospective
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| | Seven Steps: The Complete Columbia Recordings Of Miles Davis: 1963-1964 CDs (2004) Limited Edition
Retrospective
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Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal.
All tracks have been digitally mastered using 24-bit technology.
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Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George ...
| | Miles Davis Cellar Door Sessions 1970 CDs (2005) Remastered; Box Set; Special Edition
Retrospective
$87.89 Contains previously unreleased material. Some of the recordings on the CELLAR DOOR SESSIONS were originally released in edited form on the 1971 double-LP LIVE EVIL.
There is an entire universe contained in this box. Sumptuously packaged and scrupulously annotated, CELLAR DOOR SESSIONS 1970 is a six-disc set that documents Miles Davis's extended residency at the Washington, D.C., club. Davis is backed by a group of genius musicians: keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson, saxophonist Gary Bartz, percussionist Airto Moreira and guitarist John McLaughlin (who appears only on the last two discs). Together they pioneered an ecstatic fusion of jazz, rock, funk, and abstract sound-painting that established the blueprint for the future of progressive music.
Each disc contains a different live set, and while songs are often repeated across the set lists, no two tracks sound the same. The players improvise at a fever-pitch, ...
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