everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there’s little of the dense, manic energy on Miles Smiles — this is about subtle shadings, even when the compositions are as memorable as Tony Williams’ “Pee Wee” or Herbie Hancock’s “Sorcerer.” As such, it’s a little elusive, since it represents the deepening of the band’s music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren’t placed at the forefront the way they were on the two predecessors — it all merges together, pointing toward the dense soundscapes of Miles’ later ’60s work. (allmusic)

Rappamelo’s favorite track.

everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Following the release of A Love Supreme, John Coltrane entered into a year of furious creation, including the recording of dramatic, iconic works such as Ascension and Meditations. While many of his fans couldn’t make the leap of faith required for a sojourn into Coltrane’s emotive new sound, those who surrendered to the dramatic outside interplay of his classic quartet bore witness to spiritual transformations of enduring innovation. Recorded on August 26, 1965 (and not released until after his death), Sun Ship is Coltrane’s final recorded date with his famed quartet. Pharoah Sanders would join the group the following month, and pianist McCoy Tyner and drummer Elvin Jones would depart in January of 1966 to be replaced by Coltrane’s wife Alice and Rashied Ali. It is also one of the saxophonist’s most intense performances as well as a testament to the maturity and resourcefulness of his rhythm section. Sun Ship is also a fervent prelude for Coltrane’s final period of brave — and often musically perilous — transformation.

Personnel: John Coltrane (tenor saxophone); McCoy Tyner (piano); Jimmy Garrison (bass); Elvin Jones (drums).

Rappamelo’s favorite track.

everybodydigs# is a series of posts about Jazz, Funk, Soul & R’n’b albums released from the 20s to the 90s, you can read a brief description/review and listen to a small preview (when it’s possible). everybodydigs# is like when someone tells you “hey you should listen to this album!” and nothing less, enjoy!

Grant Green’s 1964 Street Of Dreams date with organ guru Larry Young is an entirely different affair than Talkin’ About, the session the pair recorded earlier that year. It features four lengthy meditations that find Green and Young (not to mention vibraphone viscount Bobby Hutcherson) unfurling thoughtful, low-key riffs that establish an autumnal, introspective feel, as opposed to the more hard-bop-tinged tracks on the previous album. Green may be known as a master of soul jazz, but Street Of Dreams proves he’s got plenty more strings to his bow, and sounds oddly contemporary, as though it could have been released on a label like ECM some 20 years later.

Rappamelo’s favorite track.