Chas Hodges - Right At Home: Selected Unreleased Home Recordings - VINYL LP

Outstanding among Romberg's eight quintets is Opus 41, a set of three brilliantly elaborated and expressively condensed four-movement compositions, a reminder of Romberg's contemporary reputation as a remarkable violinist, although his friend Spohr, who referred to him as a cultivated and subtle artist, also found his actual playing cold and dry. Romberg's flute quintets, scored for flute, violin, two violas and cello, illustrate the freshness of his musical language, with it's use of dance movements and variations on well-known melodies. The Flute Quintets, Opus 41, are superb music, created as the classical style began to turn towards the romantic. The Quintet in E minor starts with a movement in tripartite classical form, in which the first subject assumes considerable importance. A stately Minuet follows, with the flute offering a sinuous melody in the first of the two contrasting Trios. The strings open the slow movement, before the flute joins in the principal theme, leading to the well-known strains of the English national anthem, a melody that enjoyed similar use in a number of German states. The last movement finds room for a traditional display of counterpoint. The second work here included, the Quintet in D major follows a similar pattern, a repeated exposition in the first movement leading to a central development, before the expected recapitulation. The second movement Minuet has corresponding Trios in contrast, and the slow movement Romanza is again introduced by the strings, the theme varied on the entry of the flute with the melody, against a running accompaniment. The quintet ends with a lively Rondo. In the Quintet in F major the flute introduces an operatic melody in the style of the period, admitting, as it is developed, a measure of counterpoint and passage-work for the flute. The slow movement, placed second, offers a singing melody in a finely c

Vinyl LP pressing. Recorded live by Rudy Van Gelder, this is one of a pair of Eric Dolphy's albums documenting the 1961 historical residency at the Five Spot, New York's major temple of the early avant-garde. This is timeless music performed by one of the essential line-ups in modern jazz. A marvelous quintet featuring the great Booker Little on trumpet and the amazing rhythm section of Mal Waldron on piano, Richard Davis on double bass, and Ed Blackwell on drums plus, of course, master Eric Dolphy on alto saxophone, bass clarinet, and flute. Album Tracks 1. Fire Waltz 2. Bee Vamp 1. The Prophet 2. *Bee Vamp

One of the most unique albums on the Strata East tag - and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendents Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) - working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers - recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time - and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins - all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace - singing wordlessly and with a really heavenly sort of quality - and together, the whole group have an undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's InchColtraneInch, which was more famously recorded with Clifford Jordan. Album Tracks 1. Two Songs for a Boy Named Mark 2. Little Bitty Baby 3. Soliloquy to a Man-Child 4. Coltrane 5. Chick Chick 6. Well Done Weldon 7. A Spirit Speaks 8. Attica 9. Take My Hand Precious Lord 10. Boll Weevil 11. Don't Be a Stranger 12. Too Little, Too Late