Originally released in 1961.
Cannonball Adderley, saxophone (alto)
Bill Evans, piano
Percy Heath, bass
Connie Kay, drums
The second of trumpeter Freddie Hubbard's two
Impulse albums features the 25-year old in three separate settings. He
is heard along with a tenor-saxophonist backed by strings ("Skylark," "I
Got It Bad" and "Chocolate Shake" are all given beautiful treatments),
with a 16-piece band and in a septet with Eric Dolphy and Wayne Shorter.
This well-rounded and highly recommended showcase shows why Freddie
Hubbard was considered the top trumpeter to emerge during the early
'60s.
Mastered by Kevin Gray.
Right from the very first hearing, absolutely
every single jazz critic shared the same opinion - whether trained
musicians or not, true or would-be jazz expert: A Love Supreme is John Coltrane's most important recording. And the rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swingjournal
reflected this: critics all over the world, in America, Europe and
Japan recognized that Coltrane's deep religious belief had influenced
both his approach to life and his music-making. It not only enabled him
to express himself with great intensity but also lent him the necessary
inner peace to conceive a work of almost 40 minutes in length and to
lead his quartet along the same path as himself.
Recorded in 1964.
Mastered by Kevin Gray.
Mastered off the original two-track tape recorded with a tube AKG-C12 microphone on a tube Ampex 350 machine. Features Ray Brown on bass and Shelly Manne on drums. Over his long and distinguished career, Sonny Rollins has made many dozens of albums. Among those recorded during the fifties, Prestige's Movin' Out and Colossus, Blue Note's A Night at the Village Vanguard, Riverside's The Sound of Sonny, and Way Out West on Contemporary qualify as all-time Rollins classics.
The session for Way Out West, Rollins' first ever in California, was called for 3 a.m. to accommodate everyone's busy schedules. Sonny, who could never be accused of overstatement, announced after four hours of recording: "I'm hot now."
"This SACD reveals the musician's dynamic shadings like never
before. Stereo it is, but the sound is so three-dimensional that I
didn't mind the lack of 5.1 surround mix. To be honest, I'm thankful
they didn't tamper with this classic. I've heard too many botched
attempts. The whole affair feels very live, very in the moment - you
know, like a jazz record." - Steve Guttenberg, Home Theater
Recorded in 1957.
Sonny Rollins, saxophone (tenor)
Ray Brown, bass
Shelly Manne, drums