Both sonically and musically, this is THE BEST McCoy Tyner album that we can recall ever playing! Expansions has long been a favorite around here — it’s got a great lineup (including Wayne Shorter and Ron Carter) and the most interesting set of songs that we’ve heard on a Tyner album.
Drop the needle on the last song, I Thought I’d Let You Know, for the best sound on the album. It’s rich and sweet with a BIG bottom end and a wonderful sounding cello. McCoy’s playing a lot like Bill Evans at his best on this song.
This is another album that’s frequently scooped right out of the bins by DJs and producers who like to sample the funky grooves. We almost never see this one and when we do they don’t usually sound like this, so if you like this kind of music you should jump on it!(more…)
With nearly Triple Plus (A++ to A+++) sound on side one this copy has the real Blue Note magic
The sound on side one was bigger, clearer, less boxy and simply more relaxed and musical than almost any other side we heard
The really good RVG pressings like this one sound shockingly close to live music
4 1/2 Stars: “The all-star sextet stretches out on lengthy renditions of four of Tyner’s modal originals, and there is strong solo space for the leader and the two saxophonists. Wayne Shorter in particular is often quite intense. Stimulating music.”
With Alice Coltrane on harp, this is one trippy album! For those with adventurous tastes you are sure to have an interesting musical experience with this one.
We enjoy the sound of a great many Blue Note pressings from the ’70s, although to be fair there are plenty of dogs out there too. The reason this LP and others from the era have such transparency and such an extended top end compared with some of RVG’s older recordings is due, at least to some degree, to the better cutting equipment he had available to him in the ’70s.(more…)
Good sound and some straight ahead Blue Note jazz. The second track on side one, ’The Changing Scene,’ is a wonderful ballad reminiscent of ’Round Midnight. It’s the best material on the album in my opinion.
For his second recording as a leader, trumpeter Freddie Hubbard (22-years-old at the time) performs two compositions apiece by Kenny Dorham and Hank Mobley, the obscure “I Wished I Knew” and his own “Blues for Brenda.”
Hubbard (featured in a quintet with tenor-saxophonist Mobley, pianist McCoy Tyner, bassist Paul Chambers and drummer Philly Joe Jones) takes quite a few outstanding solos, playing lyrically on the ballads and building his own sound out of the Clifford Brown/Lee Morgan tradition. Goin’ Up is an excellent set of advanced hard bop…