| | Yusef Lateef Eastern Sounds CD Yusef Lateef Discography of CDs
 (1 Customer Review)
This 1961 release may be significant in the vast canon of jazz recordings if only because it predates John Coltrane's forays into Eastern modal music. Coltrane didn't really explore the connection between jazz and Eastern musical styles until A LOVE SUPREME. Certainly, it is widely accepted that Coltrane's 1965 landmark albums, TRANSITION, KULU SE MAMA, and ASCENSION firmly established him as the main practitioner of Eastern influenced modal jazz. However, on Lateef's EASTERN SOUNDS, we hear the tenor man forging new territory years prior to Coltrane's experiments. Indeed, Lateef draws many fine musical parallels between the music of the Orient and American jazz on this outing.
Lateef's experiments are quite successful on this recording, even though the album's conception is somewhat stymied by his mainstream jazz roots. For example, a straight-up (albeit beautiful) version of the standard "Don't Blame Me" seems out of place with Lateef's own wacky compositions. Still, "The Plum Blossom," "Chinq Miau" and the outlandish album closer, "The Three Faces of Balal" are quite compelling, making this record a valuable and unique asset to any CD collection.
Recorded in Englewood, New Jersey in September 1961. Originally released on Prestige (7319). Includes original liner notes by Joe Goldberg.
Personnel: Yusef Lateef (flute, oboe, tenor saxophone); Barry Harris (piano); Ernie Farrow (upright bass); Lex Humphries (drums).
Personnel: Yusef Lateef (tenor saxophone, oboe, flute); Barry Harris (piano); Ernie Farrow (bass); Lex Humphries (drums).
Yusef Lateef Eastern Sounds Songs Eastern Sounds Music Review Purchase Eastern Sounds CD To buy, Click on price to add to cart | Bobby Hutcherson Oblique CD (1967) Remastered
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More quintessential hard bop from one of the genre's leading figures at the height of his considerable powers as a composer and trumpeter. Morgan had just returned to solo work a year earlier after his second stint with Art Blakey's Jazz Messengers; in 1965 the trumpeter also released CORNBREAD and THE RUMPROLLER and did numerous sessions as a sideman. Morgan composed the title track, and three others including the Coots/Gillespie ...
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This is part of Blue Note's Collector's Choice series. These are limited-edition pressings of a few thousand copies.
This LP has material from 1961 that for ...
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| | Louis Armstrong Hot Fives And Sevens CDs (2000) (Import) Box Set; United Kingdom
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The four CDs in HOT FIVES AND SEVENS are all available separately as volumes 1 through 4 of the series.
Recorded in Chicago, Illinois in 1925 & 1926. Includes liner notes by Charles Fox.
Recorded in Chicago, Illinois in 1927. Includes liner notes by Charles Fox.
Recorded in Chicago, Illinois in 1928 and New York, New York in 1929. Includes liner notes by Sally-Ann Worsfold.
Recorded in New York, New York in 1929 & 1930. Includes liner notes by Sally-Ann Worsford.
Recorded between 1925 and 1929. Includes liner notes by Phil Schaap, Robert G. O'Meally and George Avakian.
Digitally remastered by Seth Foster, Ken Robertson, Tom "Curly" Ruff, Phil Schaap, and Mark ...
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This CD from one of the members of experimental rock band Tuxedomoon serves as a follow-up to the 1984 album NIGHT AIR, including tracks from albums recorded from 1989 to 1999.
Though seemingly a sequel to the original Night Air album, Night Air II is actually a compilation of a number of Blaine L. Reininger's works, instrumental as well as vocal, ranging from the late '80s through 2000, drawing on four separate releases. Mostly consisting of purely solo work through and through, though with the occasional guest performer, it's a fine showcase for his abilities at lush, often classically 'cinematic' work on the level of In the Nursery's series of real and imaginary film scores. Like that band, Reininger has won some specific movie commissions -- two of the source albums are soundtracks to films, 1995's Radio Moscow and 1997's Manic Man. Both provide some particularly striking choices on Night Air II -- the CD starts with Radio Moscow's "Night Ride," living up to the name by blending Reininger's accomplished violin work with what sounds like plucked harps and a high organ piece, along with other elements in the arrangement. It successfully sounds like it should ...
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SLIDEAWAYTake a journey to the inner soul with 2007 Texas Music Awards "Musician of the Year" Finalist and 2007 Telluride Acoustic Blues Finalist, Mark Searcy. Soulful, haunting, jazzy, funky, raw, and eclectic all describe this unique blues-rock fusion featuring Searcy's electric and acoustic slide guitar and the harmonica of "Drywall Dave" Schlabach. ARTIST Texas based Mark Searcy releases his third recording, this time with some surprises of new uncharted territory.- 2007 Telluride Acoustic Blues Competition - Finalist- 2007 San Antonio Guitar Wars - Winner Best Acoustic Performance- 2007 Texas Music Awards - "Musician of the Year" Finalist- 2007 International Blues Challenge - Semi-Finalist- 2006 TBS Blues Challenge - Winner Solo/Duo- 2005 San Antonio Guitar Wars - Winner Best Acoustic PerformanceREVIEWSLucky Boyd, My Texas Music (www.mytexasmusic.com)"If you expect Searcy’s sophomore release to be a simple continuation of his debut release, forget about it. It ain’t so. While you’ll still hear Searcy remaining true to his traditional blues roots on some songs, you’ll also see him take Neil Armstrong-like steps into cross-genre collaboration. This album employs the services of some great company as Searcy surrounds his inventions with certain styles that take little time to appreciate. Searcy’s vocal work is bluesy and complimentary to the arrangements rather than the typical distraction expected from many guitarists who think they can sing. Searcy gets it done. It’s not unusual to see an artist double back after a stunning debut with a more artistic effort. Searcy has done that. Nine of ten are originals, with the lone cover being well worth the purchase. Niche blues fans may not groove the diversity on the first listen, but a second play reveals Searcy’s commitment to the genre, using innovative techniques to express feeling much like shadows and highlights enhance visual works. As up-and-comers try to emulate Searcy, ...
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