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Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner?
On 1964’s Into Somethin’—his first album for Blue Note—Larry Young made it abundantly clear that he had his own unique approach to the Hammond B-3 organ.
Color Changes is considered by many to be one of the finest albums by trumpeter and pioneer of the flugelhorn in jazz, Clark Terry. Terry utilized specific arrangements by Yusef Lateef, Budd Johnson, and Al Cohn for the date.