David "Fathead" Newman's final recording session took place just a few weeks before his death from pancreatic cancer. Although he obviously doesn't exhibit the power heard on his [more]
When I went to Atlantic, they just sat me down at the piano and let me do my thing. -Aretha Franklin
Queen of Soul: The Atlantic Recordings is an 86-track, four-disc box set that covers Aretha Franklin's Atlantic career, spanning from 1967's {"I Never Loved [more]
Think!, organist Lonnie Smith's 1968 sophomore effort for Blue Note, is easily one of the strongest dates the Hammond B-3 master would produce for the label. Featuring a stellar group of [more]
In the late 1960s and early 1970s, Scott recorded some sessions for Atlantic that were either withdrawn from the market for legal reasons, or unissued entirely. Lost and Found [more]
Lou Rawls' soulful voice and romantic style are well featured on this sampler CD, which draws its music from three of his Blue Note albums from 1989-92. The bluesy ballads find Rawls in fine [more]
This sampler CD has 11 ballads taken from the Muse catalog that the 32 Jazz label acquired in the mid-1990s. Unfortunately, the liner notes are sparse and the [more]
Jazz giants like Jack McDuff, Sonny Stitt, Kenny Burrell, and Bobby Hutcherson all contribute tracks and brush shoulders with jazz middleweights like Wallace [more]
This single CD (a 1998 reissue) has ten selections taken from the Muse and Landmark catalogs of the 1970s, '80s and early '90s. The ten selections all feature [more]
This well-rounded set not only features trumpeter Roy Hargrove with his mid-'90s quintet (tenor saxophonist Ron Blake, pianist Stephen Scott, bassist Rodney Whitaker, and drummer Gregory [more]
In keeping with his jazz/pop crossover ambitions, Ray Charles decided to record a concept album of sorts with a dozen songs devoted to various parts of the U.S. -- "Alabamy [more]
As a teenager, David Newman played professionally around Dallas and Fort Worth with Charlie Parker's mentor, Buster Smith, and also with Ornette Coleman in a band led by tenor saxophonist Red Connors. In the early '50s, Newman worked locally with such R&B musicians as Lowell Fulson and T-Bone Walker. In 1952, Newman formed his longest-lasting and most important musical association with Ray Charles, who had played piano in Fulson's group. Newman stayed with Charles' band from 1954-1964, while concurrently recording as a leader and a sideman with, among others, his hometown associate, tenor saxophonist James Clay. Upon leaving Charles, Newman stayed in Dallas for two years. He then moved to New York, where he recorded under King Curtis and Eddie Harris; he also played many commercial and soul dates. Newman returned to Charles for a brief time in 1970-1971; from 1972-1974 he played with Red Garland and Herbie Mann. Newman parlayed the renown he gained from his experience with Charles into a fairly successful recording career. In the '60s and '70s, he recorded a series of heavily orchestrated, pop-oriented sides for Atlantic and in the '80s he led the occasional hard bop session, but Newman's métier was as an ace accompanist. Throughout his career, he recorded with a variety of non-jazz artists; Newman's brawny, arrogant tenor sound graced the albums of Aretha Franklin, Dr. John, and many others. It is, in fact, Newman's terse, earthy improvisations with Charles that remain his most characteristic work. Newman began a productive relationship with HighNote Records at the close of the 1990s, releasing an impressive series of albums, including Chillin' (1999), Keep the Spirits Singing (2001), Davey Blue (2001), The Gift (2003), Song for the New Man (2004), I Remember Brother Ray (a moving tribute to Ray Charles released in 2005), Cityscape (2006), and Life (2007). Diamondhead followed in 2008. Newman passed on January 20, 2009, from pancreatic cancer. ~ Chris Kelsey, All Music Guide