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Top customer reviews
They recorded this album originally for ATLANTIC on October 14, 1961 and the six memorable tracks are all originals from members of the band.
Highlights include Land's 'Triplin' Awhile', Mitchell's 'Rosie's Spirit' & Carmell Jones 'Somara'.
'Hear Ye!' is an overlooked album full of swinging and inventive hard bop which, as the title suggests, certainly deserves a listen.
Carmell Jones was strongly influenced by Clifford Brown, but has a softer sound. He plays attractive lines but on most of his recordings played with what one can only describe as a weak grace. Here he is more forceful, no doubt being kicked along by a very good rhythm section, and having to try to keep up with Harold Land. Land plays superbly, with sinuous authority, and a tone uniquely his own, hard on top but full of body underneath. His tone and his lines imbue everything he plays with the blues. He was one of the greats of the tenor and I would be hard pressed to think of any disc of his not worth five stars.
Strazzeri is described on the sleeve as the West Coast equivalent of Wynton Kelly. Well, he wasn't, but he was a fine swinging pianist, pretty much at his best on this disc. On 'Triplin' Awhile' his piano sounds slightly out of tune. He fits in to the group very well and helps knit it together into a very effective unit. Red Mitchell is superb. He was once described by Hampton Hawes as being the heartbeat of his music, and that is what he is here. He solos on every track, but not to great length, and has always been one of the more interesting bass soloists. The little known Petties plays well, and contributes fully to a swinging rhythm section.
All six tunes are originals contributed by members of the group. None are particularly strong melodically, but all provide suitable vehicles for blowing. All are various medium pacers except 'Pari Passu' which is faster. All musicians play well on all tracks and there are no low points anywhere. The unisons, and the few arranged passages, are all played impeccably. Incidentally, there are six tunes only, and the two standards referred to in one of the American reviews, are not there.
A disc that gives me a lot of pleasure.
Most helpful customer reviews on Amazon.com
But Harold Land was "there" before either of the other two players, playing with thought, soul, and total command each time out, serving up forever inviting, even spine-tingling solos. This is yet another of his recordings that can be recommended without reservation (I'm afraid the same can't be said about all of his work, especially after 1980). At the very least, download "Somara."
Red Mitchell was a dominant bassist who, upon seeing what the '60s were about, retired to Sweden, recording with ex-patriots such as Spike Robinson, among others. As you'll soon discover, he was a "monster musician," not content to merely walk lines but frequently doubling up with Land on some of the latter's most intricate melodic inventions. Bass players are not supposed to be front-line members of the group, but apparently Red never got, more likely refused, the suggestion.
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