Canned Heat's 1978 release, Human Condition, was an important one in the band's overall discography, as it was the last studio effort to feature original singer Bob Hite fronting the band (Hite would pass away in 1981). In 2006, the album was expanded with a pair of live tracks from 1985 and retitled Human Condition Revisited, and was packaged as a double disc that also featured the overlooked 1981 solo effort by Canned Heat guitarist Henry Vestine, I Used to Be Mad! (But Now I'm Half Crazy).
Orrin Keepnews' commentary (from the new liner notes): “This album was actually one of the major factors in the successful battle to win new and wider acceptance for Monk. In the sequence of his Riverside discography, it followed two initial albums devoted entirely to 'standards' and offered the first occasion on this label for Thelonious to express himself basically through his own writing. Creating music for five instrumental voices in terms of his personal and unorthodox construction, approach and phrasing, he produced some startlingly brilliant examples of the great depth, wit, and strength of his style.”
Soultrane is one of the essential albums in John Coltrane’s career. Recorded during the first year of his Prestige contract, between his critical service in Thelonious Monk’s quartet and his return to the band of Miles Davis, it finds the tenor saxophonist displaying a new level of both technical and conceptual refinement, dispensing torrents of notes that annotator Ira Gitler famously dubbed “sheets of sound.”
Thelonious Monk, in full Thelonious Sphere Monk (born Oct. 10, 1917, Rocky Mount, N.C., U.S. - died Feb. 17, 1982, Englewood, N.J.) American pianist and composer who was among the first creators of modern jazz. As the pianist in the band at Minton’s Playhouse, a nightclub in New York City, in the early 1940s, Monk had great influence on the other musicians who later developed the bebop movement. For much of his career, Monk performed and recorded with small groups. His playing was percussive and sparse, often being described as “angular,” and he used complex and dissonant harmonies and unusual intervals. A collection of some of the most remarkable recordings which laid the foundation of modern jazz and unfluenced generations of other musicians. The vast majority of these recordings became popular standards.
Soultrane is one of the essential albums in John Coltrane’s career. Recorded during the first year of his Prestige contract, between his critical service in Thelonious Monk’s quartet and his return to the band of Miles Davis, it finds the tenor saxophonist displaying a new level of both technical and conceptual refinement, dispensing torrents of notes that annotator Ira Gitler famously dubbed "sheets of sound." The Red Garland Trio, a key component on many Coltrane recordings of the period, is at its eloquent best; and the program, with two compositions from the early days of modern jazz, two lesser-known standards, and a recently penned requiem for the late Ernie Henry…
Arranger Ernie Wilkins' two Everest LPs, Here Comes the Swingin' Mr. Wilkins and The Big New Band of the '60s, are reissued in full on this single CD. Recording during 1959-1960, Wilkins used an overlapping personnel of Count Basie members (both past and of the time), some of the top jazz-oriented studio players, and various miscellaneous jazz musicians. There is no way that this could have been a full-time big band, not with such soloists as Duke Ellington's tenor saxophonist Paul Gonsalves, trumpeters Clark Terry and Thad Jones, and the Basie players, but Wilkins' swinging arrangements gave his short-lived orchestra its own sound.