Bijzondere editie, met een 48 pagina's dik Nederlandstalig biografisch boek over de zangeres, met prachtige foto's. "From 1961-1962, Vaughan recorded two albums while accompanied by just guitar and bass. Her 1962 outing for the obscure Reactivation label remains out of print, but her earlier set with guitarist Mundell Lowe and bassist George Duvivier was finally reissued in 1997, along with one previously unreleased selection ("Through the Years") taken from a slightly earlier exploratory session with the same players. Surprisingly, Lowe only has one solo, so the emphasis throughout is exclusively on Sassy's magnificent voice. The program mostly sticks to ballads, with a couple of exceptions (most notably "Great Day"), and is a quiet and intimate affair, with Vaughan more subtle than she sometimes was. Despite a lightweight version of "My Favorite Things" that will not remind listeners of John Coltrane, this is an excellent set with some fine jazz singing." (Scott Yanow, Allmusic)
"The 1960-version of the trio consists of bassist George Duvivier and the drum-phenomena Max Roach. Together they form an organic unity that allows Clark's musicality to shine in a perfect setting. The thing that is immediately noticeable about Clark is the clarity and playfulness of his lines combined with emotional depth and a wide register of rhythms and harmonies. Clark simply makes the piano sing. This is evident from the beginning on "Minor Meeting," one of eight tunes on an album consisting of all originals, and what sparkling music it is. The possibility of hearing two alternate takes of "Minor Meeting" shows that Clark was in the zone every time. Music simply poured out of him and Roach, whether he plays with dancing sticks or shuffling brushes, follows him every step of the way in the deep pocket-groove of Duvivier." (allaboutjazz.com)
"These days, George Benson (born March 22, 1943, Pittsburgh, PA) is often described as a commercial R&B/pop singer who sometimes moonlights as a pop-jazz guitarist. But early in his career -- when Benson was still in his twenties -- the jazz world thought of him as a guitar-playing hard bop/soul-jazz instrumentalist whose primary influences were Wes Montgomery and Charlie Christian. In the early to mid-'60s, Benson was the epitome of straight-ahead jazz -- and jazz purists loved the bop-oriented direction of the George Benson Quartet, a hard-swinging combo that he formed in 1965 (11 years before he enjoyed a major pop breakthrough with 1976's multi-platinum Breezin'). Although the group was short-lived, many jazz purists insist that it was Benson's greatest achievement." (Allmusic)
"The Blues And The Abstract Truth" geldt als Nelsons standaardplaat-bij-uitstek, maar dit net iets vroegere werk is, hoewel misschien wat minder subtiel, ook niet te versmaden. "This intriguing session matches together three powerful tenor players: Oliver Nelson, King Curtis (in a rare jazz outing) and Jimmy Forrest. With fine backup work by pianist Gene Casey, bassist George Duvivier and drummer Roy Haynes, the tenors battle to a draw on a set of blues and basic material (including a fine version of "Perdido"). This CD reissue adds one selection ("Soul Street") from the same date to the original LP program and is easily recommended to fans of big-toned tenors and straightahead swinging." (Scott Yanow, Allmusic)
Deze concertopnamen zijn ook uitgebracht onder de titels "Par Excellence", "Jazz At A Sunny Afternoon", "This Masquerade" of gewoon kortweg "Live At Casa Caribe". Het betreft steeds hetzelfde concert in Plainfield, New Jersey, 1973. Een ontspannen gitarist met combo aan het werk in een kleine club, net vòòr z'n grote mainstream doorbraak. "Benson is really stretching out and sounding at his best. Joined by pianist Mickey Tucker, bassist George Duvivier and drummer Al Harewood for four straight-ahead standards, the guitarist takes long solos on "Love for Sale," "There Will Never Be Another You" and "All Blues" (all of which are over 10½ minutes long) and takes a pleasing vocal on "The Masquerade Is Over." One wishes that Benson, having become famous, would still allow himself the luxury to stretch out like this now and then. Worth searching for." (Scott Yanow, Allmusic)
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