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Unity (The Rudy Van Gelder Edition)
 
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Unity (The Rudy Van Gelder Edition)

2 May 2006 | Format: MP3

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Song Title
Time
Popularity  
30
1
7:41
30
2
5:48
30
3
6:46
30
4
7:20
30
5
6:24
30
6
6:02
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Product details

  • Original Release Date: 25 Feb. 1999
  • Release Date: 25 Feb. 1999
  • Label: Blue Note Records
  • Copyright: Blue Note (R) is a registered trademark of Capitol Records, Inc. (C) 1999 Capitol Records, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 40:01
  • Genres:
  • ASIN: B001JLFDV0
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 110,350 in Albums (See Top 100 in Albums)

Customer Reviews

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Most Helpful Customer Reviews

8 of 8 people found the following review helpful By Paul Bowes TOP 1000 REVIEWER on 9 Mar. 2011
Format: Audio CD
'Unity' is generally considered to be Larry Young's best recording as a leader in a purely jazz context. The personnel are first-rate and the compositions - three originals by Woody Shaw, one by Henderson, a Monk tune and a standard - are an interesting mix.

The recording kicks off with Shaw's 'Zoltan', which apart from its march-like intro is typical of the three Shaw originals which I find to be the strongest material here. Then Young takes an immediate step sideways (and backwards, into boppish territory) with a duo take on 'Monk's Mood' with Elvin Jones. It's a competent but unremarkable performance, and for me it temporarily breaks the mood. Ironically, the duo format allows one to hear Young's playing clearly as nowhere else. The Henderson original 'If' and the Shaw tune 'The Moontrane' get the session back on track, but the mood is then broken briefly by the corny melody of the only standard - 'Softly, As In A Morning Sunrise' - fortunately abandoned almost immediately for spirited improvisation. Shaw's closer, 'Beyond All Limits' is well up to the standard of his earlier contributions and ends the record on a high.

Aficionados of Young's playing represent him as the premier post-Jimmy Smith jazz organist, but to be frank that makes him number one in a field of one. What this recording does is to point up the sheer difficulty of integrating the Hammond sound into a modern acoustic jazz ensemble. Your take on this album may well depend on your liking for Young's comping sound, which is forward in the mix and shows the characteristic warm, soft Hammond attack that makes it so different from the piano in the performance of the accompanist's role.
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3 of 3 people found the following review helpful By Mr. I. Stephen VINE VOICE on 19 Jun. 2008
Format: Audio CD
I agree with the other reviewer here - Young was pretty unique in that his approach to the electric organ came from a purer jazz camp, as opposed to the earthier r'n b roots of someone like Jimmy McGriff. I'd recommend this album both to those who, like myself are coming backwards to him after years of listening to him on the Tony Williams Lifetime albums and to headnodders who dig their early to mid '60's jazz and like it tight but cool. There's a fabulous warmth to Young's organ sound on this album, and that integrates perfectly with the ensemble playing throughout. Nicely remastered, nicely priced - check it out !
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17 of 19 people found the following review helpful By Eclectic Music Fan on 25 Aug. 2007
Format: Audio CD
This is surely one of the very greatest Blue Note albums and also one of the most over looked. Recorded at the end of 1965 it features Larry Young on Hammond organ, Woody Shaw on trumpet, Joe Henderson on tenor and Elvin Jones on drums.

On this album Larry Young really moved the organ forward as a Jazz instrument. As much as anyone recording in this period he understood and assimilated the ideas which John Coltrane was pursuing. Young and Coltrane also play their instruments in the same way: with power, emotion and freedom.

Henderson, who writes one tune, and Shaw, who writes three, are both excellent, the tenor man in particular, and add to the power of the album. Elvin Jones plays just as well as he'd been doing for the previous 5 years in Coltrane's band.

I don't think that the great recording engineer Rudy Van Gelder ever captured any instrument's sound as well as the swirling attack of the organ: sometimes pointed and precise, at other times there's a warmth which seems to envelope you.

This reissue is part of the Van Gelder Editions which means that the great man has done the excellent remastering and there are new liner notes.

If you enjoy this, as you can't fail to do, I'd also recommended Young's appearances, in a more conventional format, on two Blue Notes by guitarist Grant Green: `Talkin' About' and `Street of Dreams`.
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1 of 1 people found the following review helpful By GlynLuke TOP 100 REVIEWER on 1 Aug. 2012
Format: Audio CD Verified Purchase
Unity is a perfect name for this pretty much perfect jazz album. As someone who`s new to Larry Young - not having exactly made a beeline for records featuring organ before - I am delighted and excited by this quartet of Young on organ, the always resourceful Joe Henderson on tenor sax, the terrific Woody Shaw on trumpet and Mr Ubiquity himself, the irrepressible Elvin Jones on drums.
The opener Zoltan, composed by Shaw, starts with a bar or two of martial drumming (Jones sounding more like Blackwell or Roach, with their `woody` attack) then the leader`s organ is there in a clear spray of notes and the number is underway. Henderson shines on his solo. A great track.
Next is Monk`s Dream, with organ to the fore form the off. Young isn`t a `funky` organist, and has the smoothest, clearest tone of any I`ve heard, with a lyrical, impressionistic approach which reminds me not a little of one of my favourite musicians, vibist Bobby Hutcherson.
One excellent aspect of this set is that there`s so much room for each musician to breathe. And no bass player! Young and an explosive Jones bop around this Monk tune as a duet, no brass on this one.
Shaw & Henderson, as if impatient to be back in the fray, blast off the tenor`s own number If, a swinging affair which boasts some of Joe`s most Trane-like playing, before Shaw comes in, his trumpet a balm to the ears as he extemporises a fine, treble-heavy solo behind an insistent Young and percussive Jones.
That`s half the album. The rest is just as good. Shaw has two more of his own, The Moontrane, a wonderful track with urgent solos all round, and the closer Beyond All Limits, an apt name for this modest marvel of an record.
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