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Spring (Rudy Van Gelder Edition)

Spring (Rudy Van Gelder Edition)

10 Feb 2009

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Product details

  • Original Release Date: 10 Feb. 2009
  • Release Date: 25 Feb. 2009
  • Label: Blue Note Records
  • Copyright: (C) 2009 The Blue Note Label Group
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 38:54
  • Genres:
  • ASIN: B001Q1L862
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: 294,693 in Albums (See Top 100 in Albums)
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Most Helpful Customer Reviews on (beta) 4.4 out of 5 stars 11 reviews
23 of 23 people found the following review helpful
5.0 out of 5 stars another reason to mourn the early departure of tony williams 3 Jun. 1999
By A Customer - Published on
Format: Audio CD
this album from the mid-sixties when mr. williams was still a teenager, reveals his immense talent as a drummer and the driving engine of a jazz ensemble. this album greatly reflects mr. williams work with the then peak quintet in jazz (miles davis, wayne shorter, herbie hancock, ron carter, and williams). the feel is the same modalism that was working magic on albums such as esp, miles smiles, and the sorcerer with davis. the real joy here is hearing sam rivers and shorter together. the two sax men trade some exquisite solos in this set. particularly noteworthy are the longest tracks , extras and tee. the length allows for some great soloing by all the major players worth hearing over and over again. the addition of rivers and bassist gary peacock add an "out" feel to the proceedings, but once again mr. williams proves himself a master of control even when pushing the limits. a truly great album.
19 of 19 people found the following review helpful
5.0 out of 5 stars Twin tenor force with amazing kid drummer! 12 Jun. 2001
By Autonomeus - Published on
Format: Audio CD
This is an astounding recording, from August 1965, with teen sensation Tony Williams on drums and composer of all five pieces. It's a great example of Sixties Blue Note -- not outside, but spare and angular, moving orthogonally away from straight bop.

Williams had been mentored by Sam Rivers in Boston from the time he was in double-digits, and when he made it big with Miles, he brought Rivers along on his first solo dates. Personally I don't think his first solo data, LIFE TIME, ever catches fire, but this one is a different story.

Rivers, already over 40 by the time of this session, and Wayne Shorter, who had jumped from Art Blakey to Miles, are a terrific combination here. Herbie Hancock comes along from Miles' band, and Gary Peacock is more than authoritative on bass.

"Echo" is a Williams solo, and "Love Song" is a beautiful waltz-time vehicle for Rivers -- the other 3 tracks all feature both Rivers and Shorter. "Extras" and "Tee" alone would make SPRING well worth hearing! Check it out!
14 of 14 people found the following review helpful
4.0 out of 5 stars A surprisingly subdued Mr. Williams 16 May 2003
By Micah Newman - Published on
Format: Audio CD
I got turned on to Tony Williams via his incredibly expansive and ear-stretching work with the 60's Miles Davis Quintet. I'll buy anything with him on it, although I've since learned that his best work was with Miles Davis. On _Spring_, Tony's second LP as a leader, he largely sticks to brushes, and even when he doesn't, he sounds as though he is. The tempos are fairly brisk and the drum work still plenty impressive, but his playing is surprisingly quiet most of the way through this album.
Most of _Spring_ consists of interesting free-but-not-exactly-dissonant sketches with varying instrumentation. The opening "Extras" is a double-tenor affair with Sam Rivers and Wayne Shorter twisting and colliding off one another, Gary Peacock's intuitive and quick-minded bass work, Tony backing them up, and no piano. As is typical with all the music on this LP, it sounds like the musicians are really intently listening to one another. It's an intimate setting, one in which you can actually hear the sax players' pads popping. "Echo" is a 5-minute drum solo in which Tony runs through various understated rhythmic ideas in a fairly systematic way. Herbie Hancock joins in on piano for the rest of the tracks, the most overtly tuneful of which is "Love Song", which features Sam Rivers.
This album makes for interesting listening, but it's not quite as satisfying or cohesive as certain other free-but-not-quite-dissonant works such as Herbie Hancock's "The Egg" and "The Collector" (the latter of which is on the CD reissue of Wayne Shorter's _Adam's Apple_). Still, it's a worthy and fairly impressive effort.
5 of 5 people found the following review helpful
5.0 out of 5 stars Enigmatic and elusive 6 July 2005
By Matt Bailey - Published on
Format: Audio CD
As the title says, this album has a very enigmatic quality to it...especially from Sam Rivers and Wayne Shorter, two of the most enigmatic playing styles in jazz history, as well as two of the most elusive PERSONALITY styles as well (especially Shorter.) The first track is a good example of this, as both artists show of their virtuoso sides (especially Shorter, not usually thought of as a virtuoso like Rivers) but not with the usual stream of fire found on Williams dates, or Blue Note free bop dates in general. Rather, it sounds like Shorter is using washes of color in a more subtle way, and Rivers is sketching...both solos are implicit, rather than explicit.

Echo, the second track, is a solo performance from Williams, and shows that he's not just a drummer anymore than he is just a time keeper...he is very much concerned with the rhythmic and symphonic possibilities of his instrument. (LifeTime is an even better example of this.)
The last 3 tracks are probably the most engaging, especially Love Song, an exellent feature for Rivers, and Tee, a vehicle for Shorter, in the main.

Some great playing on this album, but I have to rate this one a "low" 5 stars...which is still great, but it's not the greatest thing any of these guys ever did. All the tunes, save perhaps Love Song, are typical freebop: the band states a melodic idea - not really a melody, just an idea - and go from offers a lot of freedom, and they take advantage of it. But the characters' personalities (including Peacock and Hancock) can be found in even greater strengths in other areas. It's deffinitely not "just another date" for them (how could it be with Williams in the driver's seat?)but they also don't approach it like they are attempting a masterpiece. This is very much a neglected gem in the Blue Note discography, and very much well worth's one of those albums that probably doesn't crack into your 10 ten, but you find yourself listening to it once a week anyways. But being a neglected gem means its not a masterpiece, so get Williams' masterpiece "Life Time" first, and then get this. A valuable record.
5 of 5 people found the following review helpful
5.0 out of 5 stars A lovely album 18 May 2008
By G B - Published on
Format: Audio CD
I agree with one of the other reviewers that "objectively" this album doesn't belong in the same tier as the best of Blue Note's avant-garde recordings (Out to Lunch, Point of Departure, etc) or an album like Miles Smiles.

But at the same time, there's something in this album's seamless mixture of beautiful, lyrical playing and avant-garde freedom that I find to be really appealing. Tony's debut Life Time was a great album, both intellectually stimulating and exciting, but on this one his five compositions are more about playing and less about testing boundaries.

This album is probably best remembered for being the only recorded encounter of Wayne Shorter and the man who preceded him in the Miles Davis Quintet, Sam Rivers. They actually don't play much together - "Extras" is the only track on which they both solo (with some collective improvisation at the end), and they collectively improvise on "From Before". It's fascinating to hear the contrast between the two and I wish we could have a reunion in 2008. "Love Song" is an achingly beautiful waltz featuring Sam Rivers, and "Tee" is primarily a vehicle for Wayne Shorter.

If I had to pick the real star of this recording, though, it would be Herbie Hancock. He sits out the first two tracks, but his playing on "From Before" is among the best I've heard from him in the avant-garde style -- it's really something -- and he plays beautifully on "Love Song".

In some ways I feel Tony's first two albums anticipated some of the early recordings on the ECM label. It's amazing that a 19-year-old drummer would come up with music like this. Check it out.
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