"Most of organist Jimmy Smith's recordings for Verve during the mid- to late '60s were with big bands, making this trio outing with guitarist Kenny Burrell and drummer Grady Tate a special treat. This outing is a throwback to Smith's Blue Note sets (which had concluded two years earlier) and gives the organist the opportunity to stretch out on three blues and three standards. This release shows that, even with all of his commercial success during the period, Smith was always a masterful jazz player." (Allmusic)
"It had been nine years since organist Jimmy Smith recorded for a major label when Bruce Lundvall approached him to make an album for Elektra Musician. Smith plays some unusual material (including Lionel Richie's "Endless Love" and the "Theme from M.A.S.H.") on this recording but swings everything and has a particularly strong supporting cast -- guitarist George Benson, Stanley Turrentine on tenor, bassist Ron Carter and drummer Grady Tate. A fine comeback date." (Scott Yanow, Allmusic) De bonus bestaat uit vrijwel het complete album "Keep On Comin'", de andere Elektra-plaat uit datzelfde 1983. Alleen de a-typische pianosolo (!) die halverwege die plaat stond is weggelaten. ""Keep on Comin'" is in the soulfully swinging vein that one associates with the great organist, with the music comprised of recent originals by Smith, Griffin, and guitarist Kenny Burrell, who with drummer Mike Baker completes the quartet." (Scott Yanow, Allmusic)
"This high-quality outing features composer Michel Legrand faring quite well as a jazz pianist. He performs six of his compositions (only "Pieces of Dream" is well-known) with a lyrical septet also including altoist Phil Woods (doubling on clarinet), tenor saxophonist Zoot Sims, trumpeter Joe Wilder, guitarist Gene Bertoncini, bassist Ron Carter, and drummer Grady Tate. The music generally swings, has plenty of fine melodic solos, and gives listeners a taste of some fresh Legrand material." (Scott Yanow, Allmusic)
"One of Stan Getz's all-time greatest albums, this was his first major artistic coup after he closed the book on his bossa nova period, featuring an adventurous young group that pushed him to new heights. Chick Corea (p), Ron Carter (b) and Grady Tate (d) were all schooled in '60s concepts of rhythm-section freedom, and their continually stimulating interplay helps open things up for Getz to embark on some long, soulful explorations (four of the five tracks are over seven minutes). The neat trick of "Sweet Rain" is that the advanced rhythm section work remains balanced with Getz's customary loveliness and lyricism. Indeed, Getz plays with a searching, aching passion throughout the date. Corea's spare, understated work leaves plenty of room for Getz's lines and the busily shifting rhythms of the bass and drums. The marvelously consistent atmosphere the album evokes places it among Getz's very best. A surefire classic." (Steve Huey, Allmusic; waardering: 5 sterren (maximaal)) 5-sterren-recensie op Allmusic.
"An excellent trombonist who has not received the attention that he is due, Jiggs Whigham is in top form on this 1976 studio session, accompanied by a top-notch band, including keyboardist Rob Franken, multi-reed player Ferdinand Povel, bassist Niels-Henning Ørsted Pedersen and drummer Grady Tate. Five of the album's eight tracks are originals by the leader, with the haunting ballad "Bodge" and the funky "Owa Tagu Siam (Oh What a Goose I Am)" (in which he plays through a King Multivider) standing out. Franken switches to an electric piano for a dreamy interpretation of the spiritual "Goin' Home." Initially issued by Pausa, this recommended release was finally reissued on CD by the German Mons label nearly two decades after its first appearance." (Allmusic)
"This is André Previn's best album since his return to jazz at the close of the 1980s, and also the most surprising and unpredictable one of his entire jazz life. Rather than play it safe with a conservative trio and a brace of standards, Previn exercises his considerable arranging and compositional skills, lets his curiosity about other idioms roam freely, throws in some Ellington, and does everything with disarming ease and tasty humor. His usual cohorts, Mundell Lowe on guitar and Ray Brown on bass, do form the base of operations, but this time, Previn adds some wonderfully hip little charts for three brass players and teams up with the amateur Antioch Gospel Choir, a local (Bedford Hills, New York) group that Previn took a shine to. Among other treats, the choir inspires Previn to take off on a down-home gospel blues "You Are My All"; it's great to hear him unwind and dig in like this." (Allmusic)
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