Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

On this 1964 session, Speak No Evil, Wayne Shorter's band is a quintessential Blue Note group of the period combining Shorter's most frequent and effective collaborators. Wayne Shorter's compositions helped define a new jazz style in the mid-60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. Here, trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. --Stuart Broomer, Amazon.com

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

Haunting, elliptical and mysterious, 01 Oct 2005
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane did in the mid-sixties, mixes this with some masterful composition and improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy and exuberant Freddie Hubbard, with the mercurial Herbie Hancock and journeyman Ron Carter.

The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter and Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter and Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, and it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism. A shift of tempo occurs after this, with the ballad "Infant Eyes", which features elegant playing from Shorter, demonstrating that he is capable of playing soulful ballads, in addition to eschewing the cliches usually associated with them. The album finishes with "Wild Flower", a more upbeat track which is played in 6/4 time, a nice variation on the usual 4/4 swing beat in jazz. This track is notable for Jones' propulsive drumming, and Hubbard seems to excel on this track, playing in a more laconic, melodic style a la Miles Davis. This album was an essential moment for Shorter, who had reached his creative peak here which ensured he would record further classics such as Adam's Apple, The All-Seeing Eye, and Schizophrenia. Between this and JuJu, it is a matter of preference.

A peak in jazz ensemble playing., 17 Dec 2004
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' and Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' and Freddie Hubbard who we heard on 'Out To Lunch' earlier in the year.

Shorter had been playing with Coltrane in the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Report in the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter and Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard and Shorter play in unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious and infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic and melodic playing. More beautiful and airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud and engaging one. Hancock is again amazing against Jones's drumming.

Shorter was extraordinarily lucky to have these players at the peak of their powers.

Wayne Shorter- jazz's finest tenor saxophonist, 30 Nov 2004
On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt and the title track being particular gems.

There is beauty and joy to this album that comes from Shorter himself. He has a far less serious and intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competant in their perfomances as well with the expert touch of Herbie Hancock on the piano and the bewitching tones of Freddie Hubbard on trumpet blending well.

For me this is one of the classic jazz albums, and it proves the lack of justice in the world when John Coltrane is remembered more fondly by the public than the master behind this work.

Memorable and mysterious music...., 17 Aug 2002
One of Wayne Shorter's finest records. The track "Speak No Evil" is memorable and marvellous, whilst "Witch Hunt" and "Dance Cadaverous" are magical and mysterious. Worth listening to again and again.

One of Shorters many highights, 06 Feb 2000
A stunning piece of work featuring the virtuoso playing of a young Freddy Hubbard amongst others. This recording finds Shorter at his imperious best. The title track "Speak no Evil" is a must for all Jazz Fans

"What is this music?" Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is placed into the world of early vocal music, which has elements of both improvisation and formal structure. In reality, it's an adventure in which the four male voices of the Hilliard Ensemble travel the 14th and 15th-century territory of Morales and Dufay, visit the 12th-century Pérotin and roam even earlier ages of plainchant, accompanied by the always sensitive and tasteful, often astonishing, saxophone improvisations of jazz master Jan Garbarek. Sometimes, these new melodies simply accompany; sometimes they transform the common--a routine minor chord, for instance--into a sublime, indescribable moment. The answer to the above question is easy, but it's different for each listener. --David Vernier

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

Haunting, elliptical and mysterious, 01 Oct 2005
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane did in the mid-sixties, mixes this with some masterful composition and improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy and exuberant Freddie Hubbard, with the mercurial Herbie Hancock and journeyman Ron Carter.

The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter and Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter and Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, and it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism. A shift of tempo occurs after this, with the ballad "Infant Eyes", which features elegant playing from Shorter, demonstrating that he is capable of playing soulful ballads, in addition to eschewing the cliches usually associated with them. The album finishes with "Wild Flower", a more upbeat track which is played in 6/4 time, a nice variation on the usual 4/4 swing beat in jazz. This track is notable for Jones' propulsive drumming, and Hubbard seems to excel on this track, playing in a more laconic, melodic style a la Miles Davis. This album was an essential moment for Shorter, who had reached his creative peak here which ensured he would record further classics such as Adam's Apple, The All-Seeing Eye, and Schizophrenia. Between this and JuJu, it is a matter of preference.

A peak in jazz ensemble playing., 17 Dec 2004
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' and Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' and Freddie Hubbard who we heard on 'Out To Lunch' earlier in the year.

Shorter had been playing with Coltrane in the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Report in the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter and Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard and Shorter play in unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious and infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic and melodic playing. More beautiful and airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud and engaging one. Hancock is again amazing against Jones's drumming.

Shorter was extraordinarily lucky to have these players at the peak of their powers.

Wayne Shorter- jazz's finest tenor saxophonist, 30 Nov 2004
On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt and the title track being particular gems.

There is beauty and joy to this album that comes from Shorter himself. He has a far less serious and intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competant in their perfomances as well with the expert touch of Herbie Hancock on the piano and the bewitching tones of Freddie Hubbard on trumpet blending well.

For me this is one of the classic jazz albums, and it proves the lack of justice in the world when John Coltrane is remembered more fondly by the public than the master behind this work.

Memorable and mysterious music...., 17 Aug 2002
One of Wayne Shorter's finest records. The track "Speak No Evil" is memorable and marvellous, whilst "Witch Hunt" and "Dance Cadaverous" are magical and mysterious. Worth listening to again and again.

One of Shorters many highights, 06 Feb 2000
A stunning piece of work featuring the virtuoso playing of a young Freddy Hubbard amongst others. This recording finds Shorter at his imperious best. The title track "Speak no Evil" is a must for all Jazz Fans

What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five", Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five", the album features another one of the group's signature compositions, "Blue Rondo a la Turk". Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era. --Fred Goodman

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

Haunting, elliptical and mysterious, 01 Oct 2005
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane did in the mid-sixties, mixes this with some masterful composition and improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy and exuberant Freddie Hubbard, with the mercurial Herbie Hancock and journeyman Ron Carter.

The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter and Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter and Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, and it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism. A shift of tempo occurs after this, with the ballad "Infant Eyes", which features elegant playing from Shorter, demonstrating that he is capable of playing soulful ballads, in addition to eschewing the cliches usually associated with them. The album finishes with "Wild Flower", a more upbeat track which is played in 6/4 time, a nice variation on the usual 4/4 swing beat in jazz. This track is notable for Jones' propulsive drumming, and Hubbard seems to excel on this track, playing in a more laconic, melodic style a la Miles Davis. This album was an essential moment for Shorter, who had reached his creative peak here which ensured he would record further classics such as Adam's Apple, The All-Seeing Eye, and Schizophrenia. Between this and JuJu, it is a matter of preference.

A peak in jazz ensemble playing., 17 Dec 2004
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' and Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' and Freddie Hubbard who we heard on 'Out To Lunch' earlier in the year.

Shorter had been playing with Coltrane in the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Report in the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter and Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard and Shorter play in unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious and infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic and melodic playing. More beautiful and airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud and engaging one. Hancock is again amazing against Jones's drumming.

Shorter was extraordinarily lucky to have these players at the peak of their powers.

Wayne Shorter- jazz's finest tenor saxophonist, 30 Nov 2004
On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt and the title track being particular gems.

There is beauty and joy to this album that comes from Shorter himself. He has a far less serious and intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competant in their perfomances as well with the expert touch of Herbie Hancock on the piano and the bewitching tones of Freddie Hubbard on trumpet blending well.

For me this is one of the classic jazz albums, and it proves the lack of justice in the world when John Coltrane is remembered more fondly by the public than the master behind this work.

Memorable and mysterious music...., 17 Aug 2002
One of Wayne Shorter's finest records. The track "Speak No Evil" is memorable and marvellous, whilst "Witch Hunt" and "Dance Cadaverous" are magical and mysterious. Worth listening to again and again.

One of Shorters many highights, 06 Feb 2000
A stunning piece of work featuring the virtuoso playing of a young Freddy Hubbard amongst others. This recording finds Shorter at his imperious best. The title track "Speak no Evil" is a must for all Jazz Fans

What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

ABC 'classic'!, 18 Dec 2008

'ABC' were certainly one of the most unique sounds to come out of the 80s. Martin Fry's voice being certainly unique and immediately recognisable.

A string of hits ensued from: 'The Lexicon Of Love' between 1981 and 1982 - including the classic epic 'All Of My Heart' which always reminds me of when we got our first Video Recorder and captured the fabulous Video to this song from TOTOP. This album features only two parts from the collection of the four of 'The Look Of Love' (parts 1 & 4) and so if you want to hear the other two, then you'll have to buy the 12" Single where all four parts were brought together as a Collectors' Item!

Great sounding band with a great debut album - still sounds great today!

Really Superb Brubeck SACD, 08 Jan 2008
Below is the review I recently posted on Amazon.com for the Dave Brubeck Take Five SACD. I really felt I should post the reveiw on Amazon.co.uk also, as there appear to be reviews which relate only to the CD release - same story with US Amazon. Surely there must be others out there that could stand up for this superb SACD album??!!

Although I'm not what I consider to be a great fan of jazz, I have enjoyed Dave Brubeck's music for quite some time. For the last two and a half years or so, I have bought almost only high resolution music (DVD-A or SACD), and was determined to buy this disc soon. For a short while, several years ago, I owned the standard CD version of this album - until I donated it to my father-in-law. For anyone reading this reveiw, I can confirm that there is little comparison possible between the CD version of this album, and this SACD version. Please note; this is an SACD, and not an SACD hybrid. This means that a dedicated SACD player is required for playback, unlike the hybrid SACDs where at least the CD layer can be accessed with a standard CD player. If you have an SACD player, and a half-decent set of speakers, I can't imagine how anyone would fail to be impressed. The clarity of the recording, and it's 3-dimensionalism is amazing. It is really like having someone play in your living room. For those interested, this disc offers a stereo and a 5.1 audio option, and comes packaged in a "standard CD" jewel case - unlike many SACDs which come in so-called "Super Jewel Boxes". My universal disc player is set to default to multi-channel playback wherever possible on SACDs or DVD-A, and I have therefore not listened to this disc in stereo. The multi-channel mix though is very subtle, and most of the sound comes from the front speakers, leaving the rear speakers to help create a surround effect. This works perfectly well on this disc, and I coudn't imagine how it would work any other way.

If you like Dave Brubeck and have an HD audio player, go out an buy this album. If you don't yet own an HD audio player, go out and buy one! It's high time that the standard CD hurried up and died, and made way for music only on the hi-res formats such as SACD or DVD-A!

Great Memories of Childhood, 12 Jun 2007
My review title may seem a bit strange but for a child who was born in the late 1950s and whose childhood was mainly in the 1960s these tunes feel as familiar and comfortable as a well worn pair of slippers. I can remember all the tunes being played at some time or other on TV programmes but in particular the track "Take Five" stands out for my generation as it was used for the animated "keep the countryside tidy" campaign. Who cannot forget the startled line only deer running away from a forest fire caused by a carelessly dropped cigarette.

The music is of a high standard and although Jazz was always one type of music I could take or leave I have found myself liking more and more as I discovered where many rock groups derived their influences from.

This is an essential addition to any music lover's collection and is a great album for putting on at the end of a warm day and for listening to whilst sipping a nice cold Sauvignon Blanc (New Zealand of course!) dreaming about how great the world seemed when one was young and you know what it still is!


The Best Jazz Album Ever?, 01 Jun 2007
I think this is an excellent album. It experiments, but still sounds totally commercial and melodic. The different time signatures give the album a unique element that other bands of the era couldn't grasp. All of the playing is tuneful and tastefully done; you'll definitely be humming the melodies for days afterwards. The standout track is obviously 'take five', which incorporates an infectious saxophone riff, plodding piano and a simple but very effective drum solo.

This should be in every Jazz collection full stop. And if the word Jazz normally scares you off, don't worry, this is the creme de la creme, its definitely worth the money if your looking for something different to contemporary music.

Songs that made him famous, 06 Apr 2007
This is perhaps Dave Brubeck's most famous album, though not necessarily his best. These are the studio recordings that launched the quartet's most famous phase and established their international reputation. Strictly speaking this record should be called, the songs that made him famous. Modern jazz of a more commercial flavour was frowned on when this work saw the light of day and Brubeck was suitably admonished. Brubeck may have his faults but like Picasso he managed to turn them to his advantage. This recording will live in the annals of history with "Take Five" appearing in the pop charts and establishing the quartet's manifesto. The performances here are laid back and ultra cool, for more atomic renderings of the quartet's immortal repertoire try "The Dave Brubeck Quartet at Carnegie Hall". "Time Out" is well worth the effort; it's the modern jazz album for people who don't like modern jazz. Having it in your collection could change your musical ear forever, even if you limit yourself to only one Brubeck album. The quartet's members are virtually all famous in their own right, at least in the jazz world; with many musicians paying their respects at worldwide sell out concerts. In the climate of the sixties the band had managed a break through in an age dominated by the simplistic rhythms of rock`n'roll. They were drawing attention to musicianship and technique, which a decade later became the foundation for more progressive rock. So if you missed the Brubeck group first time round and spent the time listening to some dreadful one hit wonder, this is your chance to make up for lost time.

Eric Dolphy was among the most daring, impassioned and technically assured improvisers to come of age in the 1960s and Out to Lunch! represents his most fully realised vision. From his ground-breaking work with Chico Hamilton and Charles Mingus, through his catalytic stint with John Coltrane, and all through his brilliant solo recordings for Prestige, this reed innovator defined the best elements of the swing and the bebop traditions, from Benny Carter through Bird, while extending on the rhythmic, melodic and harmonic freedom of Monk. Dolphy is an emotional shaman with a keen comic edge, as is evident in the rhythmic sauntering, drunken gait of his theme to "Straight Up and Down," and Monk's influence is clearly discernible in Dolphy's witty dissonances and vocalised blues phrasing throughout Out to Lunch! (his only Blue Note recording, completed shortly before his untimely death). Rhythm masters Richard Davis, Bobby Hutcherson and Tony Williams suspend time at will, sculpting in open space, while deconstructing the harmony and superimposing cubist rhythmic displacements--periodically regrouping around Freddie Hubbard's bumblebee trumpet and the leader's vocalised bass clarinet (his Monkish "Hat and Beard"), wailing alto (the martial parodies of the title tune), and exhilarating flute (the lyric, swinging "Gazzelloni"). --Chip Stern

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

Haunting, elliptical and mysterious, 01 Oct 2005
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane did in the mid-sixties, mixes this with some masterful composition and improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy and exuberant Freddie Hubbard, with the mercurial Herbie Hancock and journeyman Ron Carter.

The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter and Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter and Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, and it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism. A shift of tempo occurs after this, with the ballad "Infant Eyes", which features elegant playing from Shorter, demonstrating that he is capable of playing soulful ballads, in addition to eschewing the cliches usually associated with them. The album finishes with "Wild Flower", a more upbeat track which is played in 6/4 time, a nice variation on the usual 4/4 swing beat in jazz. This track is notable for Jones' propulsive drumming, and Hubbard seems to excel on this track, playing in a more laconic, melodic style a la Miles Davis. This album was an essential moment for Shorter, who had reached his creative peak here which ensured he would record further classics such as Adam's Apple, The All-Seeing Eye, and Schizophrenia. Between this and JuJu, it is a matter of preference.

A peak in jazz ensemble playing., 17 Dec 2004
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' and Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' and Freddie Hubbard who we heard on 'Out To Lunch' earlier in the year.

Shorter had been playing with Coltrane in the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Report in the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter and Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard and Shorter play in unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious and infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic and melodic playing. More beautiful and airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud and engaging one. Hancock is again amazing against Jones's drumming.

Shorter was extraordinarily lucky to have these players at the peak of their powers.

Wayne Shorter- jazz's finest tenor saxophonist, 30 Nov 2004
On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt and the title track being particular gems.

There is beauty and joy to this album that comes from Shorter himself. He has a far less serious and intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competant in their perfomances as well with the expert touch of Herbie Hancock on the piano and the bewitching tones of Freddie Hubbard on trumpet blending well.

For me this is one of the classic jazz albums, and it proves the lack of justice in the world when John Coltrane is remembered more fondly by the public than the master behind this work.

Memorable and mysterious music...., 17 Aug 2002
One of Wayne Shorter's finest records. The track "Speak No Evil" is memorable and marvellous, whilst "Witch Hunt" and "Dance Cadaverous" are magical and mysterious. Worth listening to again and again.

One of Shorters many highights, 06 Feb 2000
A stunning piece of work featuring the virtuoso playing of a young Freddy Hubbard amongst others. This recording finds Shorter at his imperious best. The title track "Speak no Evil" is a must for all Jazz Fans

What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

ABC 'classic'!, 18 Dec 2008

'ABC' were certainly one of the most unique sounds to come out of the 80s. Martin Fry's voice being certainly unique and immediately recognisable.

A string of hits ensued from: 'The Lexicon Of Love' between 1981 and 1982 - including the classic epic 'All Of My Heart' which always reminds me of when we got our first Video Recorder and captured the fabulous Video to this song from TOTOP. This album features only two parts from the collection of the four of 'The Look Of Love' (parts 1 & 4) and so if you want to hear the other two, then you'll have to buy the 12" Single where all four parts were brought together as a Collectors' Item!

Great sounding band with a great debut album - still sounds great today!

Really Superb Brubeck SACD, 08 Jan 2008
Below is the review I recently posted on Amazon.com for the Dave Brubeck Take Five SACD. I really felt I should post the reveiw on Amazon.co.uk also, as there appear to be reviews which relate only to the CD release - same story with US Amazon. Surely there must be others out there that could stand up for this superb SACD album??!!

Although I'm not what I consider to be a great fan of jazz, I have enjoyed Dave Brubeck's music for quite some time. For the last two and a half years or so, I have bought almost only high resolution music (DVD-A or SACD), and was determined to buy this disc soon. For a short while, several years ago, I owned the standard CD version of this album - until I donated it to my father-in-law. For anyone reading this reveiw, I can confirm that there is little comparison possible between the CD version of this album, and this SACD version. Please note; this is an SACD, and not an SACD hybrid. This means that a dedicated SACD player is required for playback, unlike the hybrid SACDs where at least the CD layer can be accessed with a standard CD player. If you have an SACD player, and a half-decent set of speakers, I can't imagine how anyone would fail to be impressed. The clarity of the recording, and it's 3-dimensionalism is amazing. It is really like having someone play in your living room. For those interested, this disc offers a stereo and a 5.1 audio option, and comes packaged in a "standard CD" jewel case - unlike many SACDs which come in so-called "Super Jewel Boxes". My universal disc player is set to default to multi-channel playback wherever possible on SACDs or DVD-A, and I have therefore not listened to this disc in stereo. The multi-channel mix though is very subtle, and most of the sound comes from the front speakers, leaving the rear speakers to help create a surround effect. This works perfectly well on this disc, and I coudn't imagine how it would work any other way.

If you like Dave Brubeck and have an HD audio player, go out an buy this album. If you don't yet own an HD audio player, go out and buy one! It's high time that the standard CD hurried up and died, and made way for music only on the hi-res formats such as SACD or DVD-A!

Great Memories of Childhood, 12 Jun 2007
My review title may seem a bit strange but for a child who was born in the late 1950s and whose childhood was mainly in the 1960s these tunes feel as familiar and comfortable as a well worn pair of slippers. I can remember all the tunes being played at some time or other on TV programmes but in particular the track "Take Five" stands out for my generation as it was used for the animated "keep the countryside tidy" campaign. Who cannot forget the startled line only deer running away from a forest fire caused by a carelessly dropped cigarette.

The music is of a high standard and although Jazz was always one type of music I could take or leave I have found myself liking more and more as I discovered where many rock groups derived their influences from.

This is an essential addition to any music lover's collection and is a great album for putting on at the end of a warm day and for listening to whilst sipping a nice cold Sauvignon Blanc (New Zealand of course!) dreaming about how great the world seemed when one was young and you know what it still is!


The Best Jazz Album Ever?, 01 Jun 2007
I think this is an excellent album. It experiments, but still sounds totally commercial and melodic. The different time signatures give the album a unique element that other bands of the era couldn't grasp. All of the playing is tuneful and tastefully done; you'll definitely be humming the melodies for days afterwards. The standout track is obviously 'take five', which incorporates an infectious saxophone riff, plodding piano and a simple but very effective drum solo.

This should be in every Jazz collection full stop. And if the word Jazz normally scares you off, don't worry, this is the creme de la creme, its definitely worth the money if your looking for something different to contemporary music.

Songs that made him famous, 06 Apr 2007
This is perhaps Dave Brubeck's most famous album, though not necessarily his best. These are the studio recordings that launched the quartet's most famous phase and established their international reputation. Strictly speaking this record should be called, the songs that made him famous. Modern jazz of a more commercial flavour was frowned on when this work saw the light of day and Brubeck was suitably admonished. Brubeck may have his faults but like Picasso he managed to turn them to his advantage. This recording will live in the annals of history with "Take Five" appearing in the pop charts and establishing the quartet's manifesto. The performances here are laid back and ultra cool, for more atomic renderings of the quartet's immortal repertoire try "The Dave Brubeck Quartet at Carnegie Hall". "Time Out" is well worth the effort; it's the modern jazz album for people who don't like modern jazz. Having it in your collection could change your musical ear forever, even if you limit yourself to only one Brubeck album. The quartet's members are virtually all famous in their own right, at least in the jazz world; with many musicians paying their respects at worldwide sell out concerts. In the climate of the sixties the band had managed a break through in an age dominated by the simplistic rhythms of rock`n'roll. They were drawing attention to musicianship and technique, which a decade later became the foundation for more progressive rock. So if you missed the Brubeck group first time round and spent the time listening to some dreadful one hit wonder, this is your chance to make up for lost time.

Way ahead of it's time, 24 Nov 2006
Make sure you do some reading up on Eric Dolphy before you buy this. Don't expect to hear anything resembling the winning Blue Note hard bop formula characteristic of the fifities and sixties. As far as Jazz goes this is way ahead of it's time, those who know the contemporary Jazz scene will know that there are plenty of acts out there who try and sound exactly like what you hear on this record.
OK, it's not easy listening. For me Dolphy's compositions are no way near as compelling as some of Ornette Colman's for example. It's quirky, mysterious, it has you scratching your chin trying to figure it all out. "Gazzelloni," starts off as very accessible before disappearing into some great flute loops. Add to that William's nuerotic sounding drums and it makes for interesting listening. Freddie Hubbard holds the record up in terms of his melodic contribution. Hutcheron's style of playing naturally leads to what Dolphy was trying to achieve on this record, the music heads down plenty of alleyways. I'm not going to tell lies, I only dig this out now and again when nobody else is around and give it a listen. It's challenging and gives an indicator of what would happen a lot lot later.

Playful playing., 09 Dec 2004
I have to admit my jazz collection is quite slim and most of it predates the 1950's but I love the music on 'Out To Lunch'. Like others have contested, this is not free-jazz, much of the music opens with a melody line no matter how angular and dissonant before each member gets a chance to improvise. The opening 'Hat and Beard' (a tribute to Thelonious Monk) sets the tone for the rest of the album, the track roots itself in its synchopated beginning before leaping off into some interesting solos including a great one by vibist Bobby Hutcherson. Rhythm section Davis and Williams aren't so 'free' here maintaining an elegant groove. On 'Something Sweet, Something Tender', Hubbard sounds almost conservative, his playing evoking memories of 50's bop. There's some wonderful improvised bass by Richard Davis (also heard on Van Morrison's criticaly acclaimed 'Astral Weeks') and then Dolphy enters flouting all his exhuberance on clarinet. 'Gazzelloni' begins like the movie theme from an architypal 60's film, with a foot-tapping rhythm that again challenges the notion that this is a free-jazz album. There's some remarkable interplay between Hutcherson and Williams as they flow behind Dolphy's flute and Hubbard's trumpet. Hubbard comes to the fore again on 'Out To Lunch' where his trumpet runs like a bumble bee after Dolphy's bird-flying alto-sax solo. For a moment the rhythm breaks into a pounding monotone, then a bass flourish before the drums take us back to the original melody. Then comes the final drunken swagger of 'Straight Up And Down' where Hubbard's playing is almost conventional above the rhythm section indulging themselves, while Hutcherson goes on another flamboyant run, demonstrating what this album encapsulates most, an unrestrained sense of playfulness.

Difficult going., 14 Jan 2004
I came to this music on the strength of the recommendations which it recieved. When I listened to it about four times and discarded it initially I thought that it was very thin on melody or much in the way of preconcieved quality music. Certainly, I could hear nothing to warrant the extreme praise which I have seen it recieve.
Returning to it months later, I began to warm to the first two tracks, the second of which being my favorite at present. Perhaps it was simply because I was not initially used to Dolphy's style that it took so long for me to get used to it.
It occured to me then that, if like me you are new to this huge genre, then there are so many high quality records which don't require so much effort, why not chose them instead?

Challenging and massively rewarding music, 02 Jun 2001
Out to Lunch! is one of the most important jazz albums of the 1960s. The clarity of the recording, the individual space accorded each instrument, the meticulous attention to the nuances, the refined texture of the overall sound, the sheer presence of each recorded moment - these were the hallmarks of its sound.

The coming together of Eric Dolphy, Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams on Out to Lunch! was a momentous event. Dolphy had made a clutch of records for Prestige in the years leading up to this record, the most significant probably being the famous Five Spot live sessions with Booker Little that would promise so much but be cut short by Little's death from uraemia. Out to Lunch! was to be his single, most unsettling masterpiece.

It's not an easy album to become fond of. It insinuates melodies before it cuts them short, it ruthlessly breaks up harmony into fragments and it stretches the limits of tonality to extremes, but perhaps its triumph is that it brings swing into a new era. By giving Davis and Williams space and freedom, Dolphy let swing become a by-product of interaction, not a conscious contrivance. The rhythmic complexity of the record knew no precedent.

A Masterpiece, 14 Jan 2001
I have to redress the balance of the other review and bump up the star ratings. This is a CLASSIC and unmissable album, whose sound is still unique today. Despite the 'free'ish jazz, there is a very tight structure and plan to each track. This contradiction is what draws me to Dolphy's music. The second track 'Something Sweet, Something Tender' includes a brilliant inter-change between Dolphy and a bowed bass. This is music of the very highest standard and show-cases the individuality of Dolphy as a composer and soloist. It doesn't fall into any known category, so is as likely to appeal to a modern classical fan as a jazz fan.

Great stuff!, 24 Aug 2008
Somethin' Else: Remastered

Quite by chance I caught just three or four bars of the theme of "Autumn Leaves" on the radio. It was so obviously Miles, and at his very best. I immediately decided, on the basis of that brief snatch of melody, to try to get the CD. But it was not easy to run it down as, of course, the band was under the (nominal) leadership of Cannonball Adderley.

This is a wonderful CD with all players on top form and I heartily endorse what other reviewers have said. It is worth its modest price just for that exposition of the beautiful "Autumn Leaves" theme!


Essential for your collection, 14 Dec 2004
One of the favourite CD's in my collection, this record is right up there with the best. Cannonball may be the leader, but Miles is absolutely superb. He plays the tunes like they belong to him and really inspires the band. The thing that impresses me most is Autumn Leaves. Seeing such a common tune on the track listing one thinks 'Oh not again!', but when Miles comes in with the tune, you have to smile with delight - HE'S THAT GOOD! Don't miss out on this great music.

The greatest of all the Blue Notes?, 29 Feb 2004
This was very much a collaborative effort between Cannonball Adderley and the master himself, Miles Davis, in a rare guest appearance. Adderley was part of Miles' sextet that recorded 'Milestones' around the same time as this recording, and Miles was returning the favour. Miles is, if anything, more dominant on this album than his own.
The beautiful opener 'Autumn Leaves',one of the truly great jazz recordings, is an example of this, as Miles takes three solos to Adderley's one, playing the theme at the beginning and end. The arrangement of this standard is inspired, the piano intro and outro by Hank Jones work superbly well, and Miles is at his lyrical, moody best.
'Love For Sale' is also excellent, particularly Miles' contribution, and it is interesting to compare with the version by Miles' sextet, including Adderley, recorded a few months later, and found on '58 Sessions.'
After those two slow/medium tracks, Miles' own 'Somethin Else' raises the tempo and contains blistering interplay between the two men, both playing brilliantly in a joyful and exuberant performance.
Adderley redresses the balance with 'Dancing in the Dark,' where he takes the only lead role and slowly builds momentum and emotion in his playing.
'One for Daddy O' is another fine track featuring both soloists in great form, and although the additional 'Rangoon' is a pefectly decent performance, the album would be as good without it, as it was in its original form, with Dancing in the Dark' as the closing track.
A classic album, and in my opinion the best of all Blue Note recordings; a must for fans of either star (and the supporting cast isn't bad either including Art Blakey on drums!) It offers yet another element to Miles' remarkable late 50s music, arguably the greatest period of his career.

Flawless, sublime, the finest jazz album I know, 04 Apr 2002
One of my first jazz purchases, and the album against which I measure all others: and usually find wanting!

I picked up at random in the store, and it has become my jazz conversion album -- the one I buy for people who don't see why I love jazz.

A very close second to this album for me is Miles Davis, Kind of Blue.

I challenge you to not love this CD. "Autumn Leaves" alone will melt the hardest hard.

The best Miles of the mid fifties and a great band, 30 Dec 2001
A suberb mix of the introverted cool thoughtful Miles Davis and the extravert swing of Cannonball Adderley.
Everyone plays perfectly and you would think this was a well established unit, not a one off studio recording.
Each track is a beauty - no fillers or duds.

Haunting, elliptical and mysterious, 01 Oct 2005
This album is proof that the criticisms of Wayne Shorter being just another Rollins-Coltrane imitator were indeed fatuous. Shorter, who has always incorporated a stronger element of the blues to his playing than Coltrane did in the mid-sixties, mixes this with some masterful composition and improvisation. Couple this with some astounding support from the polyrhythmic Elvin Jones, a (sometimes over) brassy and exuberant Freddie Hubbard, with the mercurial Herbie Hancock and journeyman Ron Carter.

The compositions themselves are wondrous, opening with "Witch Hunt", an interesting piece with a separate intro that moves straight into the main theme. It is a haunting blues with great solos from Shorter and Hubbard, driven along by Jones' fiery beat. "Fee-Fi-Fo-Fum" is a track that is utterly ruined by Hubbard, who seems to be content on blowing everyone off the song with no regard for the wonderful introduction. Hancock mimicks the rhythmic chanting of Fee Fi Fo Fum with dissonant chords at the beginning, before moving into a fantastic opening theme over an unusual blues progression. Shorter and Hancock redeem the song with more searching solos. "Dance Cadaverous" is an interesting take on "Valse Triste" by Sibelius, and it is an effective example of a classical progression being adapted for jazz. The title's association with the grislier side of life is well preserved by eerie solos by the two horns. The title track stands out due to challenging solos by all which seem to disregard tonality, indeed, Shorter would continue to develop tonal ambiguities through his compositions with the Miles Davis quintet. This creates an unsettling effect, but it is also combined with Shorter's angular lyricism. A shift of tempo occurs after this, with the ballad "Infant Eyes", which features elegant playing from Shorter, demonstrating that he is capable of playing soulful ballads, in addition to eschewing the cliches usually associated with them. The album finishes with "Wild Flower", a more upbeat track which is played in 6/4 time, a nice variation on the usual 4/4 swing beat in jazz. This track is notable for Jones' propulsive drumming, and Hubbard seems to excel on this track, playing in a more laconic, melodic style a la Miles Davis. This album was an essential moment for Shorter, who had reached his creative peak here which ensured he would record further classics such as Adam's Apple, The All-Seeing Eye, and Schizophrenia. Between this and JuJu, it is a matter of preference.

A peak in jazz ensemble playing., 17 Dec 2004
'Speak No Evil' was produced during one of the most innovative eras of jazz music, the early to mid-60's. 1964 was also the year John Coltrane produced 'A Love Supreme' and Eric Dolphy 'Out To Lunch'. Wayne Shorter managed to assemble some of the best players of that age to produce another jazz masterpiece. Ron Carter from Miles Davis's group, as well as Herbie Hancock on an upward slope to greatness. Elvin Jones fresh from his playing on 'A Love Supreme' and Freddie Hubbard who we heard on 'Out To Lunch' earlier in the year.

Shorter had been playing with Coltrane in the late 50's but his style ended up more melodic as can be heard on the opener 'Witch Hunt', which sounds like the basis of his work with Weather Report in the 70's. Hubbard plays an ode to the past as Hancock arrives with a mellow swing. By the end of the track Shorter and Hubbard are beginning to sound like a full orchestra. 'Fe-Fi-Fo-Fum' has all the smokey charm of a bluesy barroom band much like Hancock's piano on 'Dance Cadaverous'. A track with a smouldering melody, Hubbard and Shorter play in unison, each with an ear for it's seemingly spontaneous development as it builds to a mid-track crescendo. On the title track itself, Hancock's playing is infectious and infused with feeling. Jones lets loose on Shorter's first solo before Hubbard takes over with his energetic and melodic playing. More beautiful and airy sax on 'Infant Eyes' before we get Shorter's introverted solo on 'Wild Flower' followed by Hubbard's loud and engaging one. Hancock is again amazing against Jones's drumming.

Shorter was extraordinarily lucky to have these players at the peak of their powers.

Wayne Shorter- jazz's finest tenor saxophonist, 30 Nov 2004
On Speak no Evil Wayne Shorter manages to reach a level of brilliance that he never even achieved with the great Miles Davis Quintet of the late '60s. Compositionally it is a fantastic album with the open track witch hunt and the title track being particular gems.

There is beauty and joy to this album that comes from Shorter himself. He has a far less serious and intense style than John Coltrane, whom comparisons are inevitably drawn with, which makes his work far less effort to listen to. The other collaborators are more than competant in their perfomances as well with the expert touch of Herbie Hancock on the piano and the bewitching tones of Freddie Hubbard on trumpet blending well.

For me this is one of the classic jazz albums, and it proves the lack of justice in the world when John Coltrane is remembered more fondly by the public than the master behind this work.

Memorable and mysterious music...., 17 Aug 2002
One of Wayne Shorter's finest records. The track "Speak No Evil" is memorable and marvellous, whilst "Witch Hunt" and "Dance Cadaverous" are magical and mysterious. Worth listening to again and again.

One of Shorters many highights, 06 Feb 2000
A stunning piece of work featuring the virtuoso playing of a young Freddy Hubbard amongst others. This recording finds Shorter at his imperious best. The title track "Speak no Evil" is a must for all Jazz Fans

What a waste!, 24 Jun 2008
I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!


nauseating, 22 May 2008
This takes the cherries out of two cakes and leaves the cakes behind. They are glace cherries. Horribly sweet.

The sound of perfection, 04 Mar 2008
There are moments in life when you can become speechless,I have always liked the ethos of the ECM label,and in the the vast majority of albums they release hit such a standard that other labels can only dream of,this is aone such album.
Garbarek and the Hilliards are in a stratosphere of their own,this truly stunning album achieves a benchmark even in ECMs high standard.the music is never short of stunning with Garbarek weaving his magic spell with beautiful,gracefull and moving sounds so much so that the problems of the world seem to disapear.
The Hilliard ensembles vocal ambience was never better,and having seen Garbarek and the Hilliards perform this live in concert,this is no one hit wonder.
This album changed the way that i listen to music,if you get a chance let this into your life,soul and heart and you will feel much better for it.
The music is enchanting,haunting and beautiful,and dates from the 13th14th and 15th century and it is a credit to all performers that it still sounds fresh today,if you like this try Gothic Voices "A Feather on the breath Of God"
Buy this album and be at peace with yourself

Beautiful sounds., 16 Jan 2007
The first track on this CD takes my breath away every time I hear it. It really is stunningly beautiful.

However, if you are like the poor unfortunate "music fan" above who has become such a purist that you fail to just sit back and listen to beautiful sounds and melodies (this being after all what music is in its most basic form) then please don't buy this. No, saxaphone and choral music at first sounds like a disaster...but this WORKS. Yes, as one reviewer has already mentioned, some tracks work better than others, but music is there to be enjoyed, to be played with, to have fun with and enjoyed. I am betting the reviewer above is also one of the select few who cannot abide Classic FM because it has "commercialised THEIR music". Such a shame. Enjoy this music for what it is and if, like our friend "the above reviewer" you do not like the sound of a beautifully played saxaphone, this is fine, just acknowledge that you don't like sax music, rather than slating a talented musician.

To those who still let their ears and their hearts do the listening, rather than some pompous ideas about "knowing about music", listen to this. You'll love it.

It's how music makes you feel that really matters.Officium makes me feel just great!, 11 Oct 2006
While driving over the dreamy mountains of Leek and Buxton, I was fretting over whether or not I would get enough time to finish the job of laying a floor for my present demanding customer.I was taking those hairpins like a madman.I nearly skidded off the road and into a ravine hitting a high grass verge,which fortunatly saved my life.The car stalled,all was quiet except for a stiff breeze blowing through the open window and the radio.At that very moment a tone of emense wonderment and beauty, struck my ear, it was pure with great clarity, even angelic. Jan Garbarek was actually talking to ME,yes! directly communicating to me! Of course I did'nt know him it at the time, but his sax playing touched me so deeply it rested and stilled my racing heart. I was spellbound and was forced to listen to its magic voices right to its regretful conclusion.I sat there and made the time to reflect on what I had just heard,it took me an hour.I sedatly drove on with a smile on my face and a bent bumper,but I did'nt care.The next day I went out and purchased "Officium",(after much searching).Since discovering this masterpiece I have found it to be beneficial, in its calming influence and the best thing of all- IT'S JUST HOW IT MAKES YOU FEEL,GREAT!

ABC 'classic'!, 18 Dec 2008

'ABC' were certainly one of the most unique sounds to come out of the 80s. Martin Fry's voice being certainly unique and immediately recognisable.

A string of hits ensued from: 'The Lexicon Of Love' between 1981 and 1982 - including the classic epic 'All Of My Heart' which always reminds me of when we got our first Video Recorder and captured the fabulous Video to this song from TOTOP. This album features only two parts from the collection of the four of 'The Look Of Love' (parts 1 & 4) and so if you want to hear the other two, then you'll have to buy the 12" Single where all four parts were brought together as a Collectors' Item!

Great sounding band with a great debut album - still sounds great today!

Really Superb Brubeck SACD, 08 Jan 2008
Below is the review I recently posted on Amazon.com for the Dave Brubeck Take Five SACD. I really felt I should post the reveiw on Amazon.co.uk also, as there appear to be reviews which relate only to the CD release - same story with US Amazon. Surely there must be others out there that could stand up for this superb SACD album??!!

Although I'm not what I consider to be a great fan of jazz, I have enjoyed Dave Brubeck's music for quite some time. For the last two and a half years or so, I have bought almost only high resolution music (DVD-A or SACD), and was determined to buy this disc soon. For a short while, several years ago, I owned the standard CD version of this album - until I donated it to my father-in-law. For anyone reading this reveiw, I can confirm that there is little comparison possible between the CD version of this album, and this SACD version. Please note; this is an SACD, and not an SACD hybrid. This means that a dedicated SACD player is required for playback, unlike the hybrid SACDs where at least the CD layer can be accessed with a standard CD player. If you have an SACD player, and a half-decent set of speakers, I can't imagine how anyone would fail to be impressed. The clarity of the recording, and it's 3-dimensionalism is amazing. It is really like having someone play in your living room. For those interested, this disc offers a stereo and a 5.1 audio option, and comes packaged in a "standard CD" jewel case - unlike many SACDs which come in so-called "Super Jewel Boxes". My universal disc player is set to default to multi-channel playback wherever possible on SACDs or DVD-A, and I have therefore not listened to this disc in stereo. The multi-channel mix though is very subtle, and most of the sound comes from the front speakers, leaving the rear speakers to help create a surround effect. This works perfectly well on this disc, and I coudn't imagine how it would work any other way.

If you like Dave Brubeck and have an HD audio player, go out an buy this album. If you don't yet own an HD audio player, go out and buy one! It's high time that the standard CD hurried up and died, and made way for music only on the hi-res formats such as SACD or DVD-A!

Great Memories of Childhood, 12 Jun 2007
My review title may seem a bit strange but for a child who was born in the late 1950s and whose childhood was mainly in the 1960s these tunes feel as familiar and comfortable as a well worn pair of slippers. I can remember all the tunes being played at some time or other on TV programmes but in particular the track "Take Five" stands out for my generation as it was used for the animated "keep the countryside tidy" campaign. Who cannot forget the startled line only deer running away from a forest fire caused by a carelessly dropped cigarette.

The music is of a high standard and although Jazz was always one type of music I could take or leave I have found myself liking more and more as I discovered where many rock groups derived their influences from.

This is an essential addition to any music lover's collection and is a great album for putting on at the end of a warm day and for listening to whilst sipping a nice cold Sauvignon Blanc (New Zealand of course!) dreaming about how great the world seemed when one was young and you know what it still is!


The Best Jazz Album Ever?, 01 Jun 2007
I think this is an excellent album. It experiments, but still sounds totally commercial and melodic. The different time signatures give the album a unique element that other bands of the era couldn't grasp. All of the playing is tuneful and tastefully done; you'll definitely be humming the melodies for days afterwards. The standout track is obviously 'take five', which incorporates an infectious saxophone riff, plodding piano and a simple but very effective drum solo.

This should be in every Jazz collection full stop. And if the word Jazz normally scares you off, don't worry, this is the creme de la creme, its definitely worth the money if your looking for something different to contemporary music.

Songs that made him famous, 06 Apr 2007
This is perhaps Dave Brubeck's most famous album, though not necessarily his best. These are the studio recordings that launched the quartet's most famous phase and established their international reputation. Strictly speaking this record should be called, the songs that made him famous. Modern jazz of a more commercial flavour was frowned on when this work saw the light of day and Brubeck was suitably admonished. Brubeck may have his faults but like Picasso he managed to turn them to his advantage. This recording will live in the annals of history with "Take Five" appearing in the pop charts and establishing the quartet's manifesto. The performances here are laid back and ultra cool, for more atomic renderings of the quartet's immortal repertoire try "The Dave Brubeck Quartet at Carnegie Hall". "Time Out" is well worth the effort; it's the modern jazz album for people who don't like modern jazz. Having it in your collection could change your musical ear forever, even if you limit yourself to only one Brubeck album. The quartet's members are virtually all famous in their own right, at least in the jazz world; with many musicians paying their respects at worldwide sell out concerts. In the climate of the sixties the band had managed a break through in an age dominated by the simplistic rhythms of rock`n'roll. They were drawing attention to musicianship and technique, which a decade later became the foundation for more progressive rock. So if you missed the Brubeck group first time round and spent the time listening to some dreadful one hit wonder, this is your chance to make up for lost time.

Way ahead of it's time</