"This 1965 album marks Lee Morgan's and Freddie Hubbard's final studio appearances as members of Art Blakey's Jazz Messengers. The set also includes a young John Hicks on piano, bassist Victor Sproles, and veteran saxophonist Lucky Thompson. It may lack the sheer high-energy crackle of some of the earlier Blue Note dates, there is quite a bit to enjoy here. The title tracks kicks off in bluesy style with the three-horn front line in a slightly dissonant intro before moving in a fingerpopping groover. The spunky Latin groove of "Buh's Bossa" offers Blakey's consummate chops accenting the knotty, sometimes snaky melody line with some excellent comp work by Hicks. Thompson's soprano sax makes a beautiful appearance on "Spot Session," a sultry little groover. Highlight of the set is "Freedom Monday," that offers taut hard bop lyric lines, extended harmonies in the front line -- especially between Hubbard and Morgan -- and a smoking Afro-Cuban rhythmic line highlighted by Blakey and Hicks." (Thom Jurek, Allmusic)
"This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima" and the forthright reading of the 12-bar blues "Up 'Gainst the Wall" featuring Williams. The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they". (AllMusic)
"Sanders displays an uncanny resemblance to Trane's unique way of over-blowing and his special ability to get inside a ballad. Pianist John Hicks is in perfect form and contributes mightily to the success of the session. Most will probably prefer the original Coltrane to Sanders' imitations, but Africa is nonetheless a joyous and worthy tribute to one of the giants of jazz. This album marked somewhat of a backtrack for the saxophonist, as he had frequently become identified with much more traditional playing". (Steve Loewy, Allmusic).
"Arguably the most adventurous female jazz singer of all time, Betty Carter was an idiosyncratic stylist and a restless improviser who pushed the limits of melody and harmony as much as any bebop horn player. The husky-voiced Carter was capable of radical, off-the-cuff reworkings of whatever she sang, abruptly changing tempos and dynamics, or rearranging the lyrics into distinctive, off-the-beat rhythmic patterns. She could solo for 20 minutes, scat at lightning speed, or drive home an emotion with wordless, bluesy moans and sighs. She wasn't quite avant-garde, but she was definitely "out." Yet as much as Carter was fascinated by pure, abstract sound, she was also a sensitive lyric interpreter when she chose, a tender and sensual ballad singer sometimes given to suggestive asides." (Allmusic).
It is easy to understand why Dave Young is one of the most in-demand bassists in Canada. With a fat tone and a gift for melodic solos similar to Ray Brown and Niels Pedersen, Young is joined for a pair of tunes by five different pianists. Oscar Peterson, with whom Young first recorded as a sideman in 1980, contributed a bluesy original ("OP & D") for the date, while he is also more than willing to take a backseat to Young. The bassist plays arco with Cedar Walton in a warm rendition of the venerable standard "Smoke Gets in Your Eyes"; this session marked their first recording together. Tommy Flanagan provides an elegant backdrop for Young during "In a Sentimental Mood." The sparks fly in his duet with John Hicks of Benny Golson's "Stablemates." The masterful duet with Mulgrew Miller of the classic bop tune "Hot House" uncovers new facets within this decades-old jewel. (Allmusic.com)
"Originally released by Strata East as Live at the Loosdrecht Jazz Festival, this CD reissue features the great but very underrated trumpeter Charles Tolliver in a quartet with pianist John Hicks, bassist Reggie Workman and drummer Alvin Queen. The group performs three of the leader's songs plus Cowell's "Prayer for Peace" and Neal Hefti's "Repetition"; the lengthy renditions clock in between 11 and 17 minutes apiece. Tolliver's music (which holds on to one's attention throughout the live set) has its connections to the bebop tradition but also forges ahead and can be quite passionate. Recommended."
Sterk album uit 1978 van de tenorsaxofonist (hier overigens ook te horen op basklarinet) met Jack DeJohnette (d), bassist Cecil McBee en pianist John Hicks. In de composities is soms gebruik gemaakt van Oost-Aziatische toonladders.
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