Sweet funky jazz from pianist Gene Russell – one of the hippest albums he ever recorded! Russell's a pianist with a wonderfully fluid touch – used here to near perfection in a small combo date that really stands out from most of his other albums – just the kind of effort we'd have to expect at the time, given that Gene was the head of the Black Jazz label! The sound is acoustic, but has a definite sense of electricity to Russell's phrasing on the piano – a bit like work from Vince Guaraldi from the time, when he was shifting between acoustic and electric – as if the latter instrument held on and helped shape the acoustic sound. The rest of the group features Henry Franklin on bass, Steve Glover on drums, and Tony William on congas – and the groove is kind of a soulful extrapolation of a core piano trio vibe – 60s soul jazz taken to hipper 70s territory. Titles include a great cover of "Listen Here", plus "Black Orchid", "Hitting the Jug", "Making Bread", and a version of "Silver's Serenade". ~ Dusty Groove
Superb late 70’s soul set for all the steppers out there. Bill Brandon’s sole long player is a truly rare beast to spot in the wild. Having never been repressed on vinyl since it’s 1977 release, this s/t effort is a true soul connoisseur’s dream and features a plethora of noted session players and of course the production prowess of the cult Jesse Boyce and Moses Dillard partnership. All in all a top top shelf addition to any self-respecting soul fans collection and selection. Fully and legitimately reissued here in its entirety to help ring in Canadian music powerhouse Unidisc’s 40th anniversary. This one is an essential and will certainly be on a lot of people’s wants lists – do not sleep! ~ firstexperience.com
Kuzu is fast becoming one of the more compelling settings for the saxophone talents of the great Dave Rempis – as the blend of sounds here really sets things apart from other improvised combos, even though the elements are all very familiar! Tashi Dorji has a way of handling the guitar that creates lots of sharp edges and bold moments – much fiercer than the legacy of improvisers like Derek Bailey or Fred Frith – and really full-on at moments when the drums of Tyler Damon take off! Rempis is as deft at these moments as he is in some of the sparer, more open passages – blowing alto, tenor, and baritone on the two long tracks on the record – "It Simply Becomes Jammed" and "Gnash". ~ Dusty Groove
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