Features 24 bit digital remastering. Comes with a description. The Charles Lloyd Quartet was (along with Cannonball Adderley's band) the most popular group in jazz during the latter half of the 1960s. Lloyd somehow managed this feat without watering down his music or adopting a pop repertoire. A measure of the band's popularity is that Lloyd and his sidemen (pianist Keith Jarrett, bassist Ron McClure and drummer Jack DeJohnette) were able to have a very successful tour of the Soviet Union during a period when jazz was still being discouraged by the communists. This well-received festival appearance has four lengthy performances including an 18-minute version of "Sweet Georgia Bright" and Lloyd (who has always had a soft-toned Coltrane influenced tenor style and a more distinctive voice on flute) is in top form.
A great album from organist Charles Kynard – one of his best that wasn't issued on Prestige! This is one of the funky jazz LPs on Mainstream that really hits a nice groove, with Bob Shad's crisp production dovetailing with Kynard's jazz funk sensibilities just right – not too slick or uptight at all! Kynard's backed here by a nice little LA combo that includes Carol Kaye on bass, King Errison on conga, and Ernie Watts on tenor – all players who relax nicely into the groove, and let Charles hit a sweetly gliding sort of line on the Hammond. The overall groove is similar to his earlier Prestige soul jazz classic Reelin' With The Feelin – but with shorter, tighter tracks, and more emphasis on the funk side, which is what we love to hear! Titles include "She", "Nightwood", "Grits", "El Toro Poo Poo", "Greeze", and "Greens".
Le véritable portrait de la souveraine la moins connue et la plus détestée de l'histoire du Premier Empire. …
Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um.