Review: Betty Carver's The Modern Sound of Betty Carver album was arranged by the talented Richard Weiss in 1960. It offers up plenty of unique new takes on some classic standards with modern, for the day, vocals and all pressed up as part of the Verve By Request series on nice heavyweight vinyl. Highlights come thick and fast and include the fresh scat stylings of 'On The Alamo', a brilliantly lively take on 'What A Little Moonlight Can Do' and some heart-melting tenderness on the run-through of 'There's No You'.
Review: Recorded in 1962, Coleman Hawkins' quartet featuring Tommy Flanagan on piano, Major Holley on bass and Eddie Locke on drums delivers a captivating blend of upbeat tunes and smooth ballads. Tracks like 'Go Li'l Liza' and 'Swingin' Scotch' provide lively moments while a trio of ballads, including the recently and sadly passed legend that is Quincy Jones' 'Quintessence,' showcase the group's versatility. This Verve By Request edition is pressed on high-quality 180-gram vinyl at Third Man Records in Detroit so as usual offers a premium listening experience that captures the timeless essence of Hawkins' legendary sound.
Review: n 1968, Alice Coltrane embarked on her first solo endeavor with this album which served as a tribute to her late husband, John Coltrane, and features Pharoah Sanders, Jimmy Garrison, and Rashied Ali - members of Coltrane's final quintet. Initially met with lukewarm reviews, this album gains significance when viewed within Coltrane's broader oeuvre. A Monastic Trio offers a glimpse into her evolving style, foreshadowing her subsequent creative trajectory and this Verve By Request reissue is pressed on 180-gram vinyl at Third Man in Detroit, so captures the essence of Coltrane's pioneering spirit and lays the foundation for her enduring musical legacy.
Review: It goes without saying that 'A Love Supreme' is in the upper echelons of jazz history. A spiritual and emotional proclamation from American jazz saxophonist John Coltrane, the 32 minute runtime is a narrative of strife and struggle with addiction as well as the notable repetition of his riff in all 12 keys throughout the session in 'Acknowledgement'. In many ways you could say Coltrane's playing wasn't improvised at all, and you could argue that the session was better off for it. At the end of the half an hour, the narrative unwinds and Coltrane is declaring a faith to God, a musical thankyou to his faith that kept him true throughout his trials following a spiritual awakening in 1957 - what resulted was an undisputed musical masterpiece.
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