Metal Reviews

First-time expositions to an independent release by Mr. Heath and the most valued Co.

I have only read great things about this live performance, and so it is a recording which I genuinely look forward in hearing, in a very short while.

A historical recording with exemplarily remastering and a greater performance by Bill Evans, Eddie Gomez, and Marty Morell.

Virtuosity and mastery from all members involved.

From the heart of the Blues itself.

Hip Hop and Chill

A rather meditative Avant-Garde jazz recording which is at once beautiful and strange.

B. B. King's grit and guts, that old-soul voice, filled with sorrow and anger, yearning and hope, his charm in his communication with the impassionate audience of Paris, and his constant interactions, his agonizing, and searching guitar melodies, the entire band's companionship, from different fronts, provides for a live recording, which is oozing with the attitude of the Blues, and Soul, with the entire recording sounding truly captured as an 'alive' performance, that can be listened many times over, and can be felt, recorded in the last few decades of the 1970's.

The Trio who performed here are amongst the most cultivated Trio which jazz of this era had ever witnessed. The crystal clear sound, the astute and academic bass-lines, the competent coverage from the drum-man, and Mr. Evans' most remarkable, and pristine, piano-playing, is fit for the days in which Jazz was the greatest offering in the milieu of American modern life, from which it has completely vanished, and has left the common music which people heard in just about a decade or two past the 20th century no longer in existence. The performance from the Trio is exemplarily, in harmonious intermingling of their extra sensory perceptions, with no visible evidence in written notes, in perfect unison, and effortlessly.

One of the most memorable recordings which Mr. Evans and the most capable company, produced, from the peak-period in which Evans performed, with a selected few musicians, as able, and as in-tune, with him, and so, the performance here, is vivacious and the vibrating life of top-notch jazz, is captured here, most immanently.

A rather complex and layered offering by Mr. Gordon whom in this particular recording shows his immense improvisations skills and in no less amount can be spoken about his other musicians playing alongside with him.

A contemporary jazz release with terrifyingly clarity and unusual accuracy of all instruments played of which there are only three. Guitar, bass, and drum, as if all instruments were played at once, by one musician, not by three. Nothing is held back.

Theo's madness and Blake's sobriety.

Jazz is a genre of music which is primarily known for its inventiveness, and its genuine sense of creativity, taking the classical genre, and its own singularity, to create a great modern, and an established, genre of music. However, amongst all of that sincere authenticity, they were, still, a few others, who were central to the whole process, from the early 1960's, peaking, in the 1964-1965-1966, and ending, roughly, by the ends of the 60's. This recording, is a towering accomplishment, standing tall, and monumental, amongst all the other triumphing, expressions of jazz, from those few golden years.

Loyal to the title of the album to the letter.

Good times but also bad times, all come and ago and so long as we are. The only constant and the devoted accompanier is good music.

Stanley Turrentine - Ain't No Way

Unlike its cover, the music found on here is prototype Blues/Soul/Jazz of the most brilliant and silky kind and not typical or common in any sense.

Trombone from Mr. Fuller, a jazz instrument that is rarely used in a four piece, or a five piece, but it is instilled very intelligently, and played elegantly, by Benny Golson. A great deal of melodicism and a great sense of coherence, and intelligible composition, on this release, which makes it, a musically concrete, and a specially pleasurable experience.

Richly infused with variant cymbal work, relentless, but smoothly-laden bass-lines, a piano work, that rarely, if ever, is out of place, and our man in Paris, who takes center stage.

High caliber jazz imbued with closely-associated members. First already listened to and the second is the current recording which is being listened to now.