Al Haig Albums (16)
What The Critics Say
Pianist Al Haig and his longtime bassist Jamil Nasser are heard co-leading a quartet in London that also includes the fine tenorman Art Themen and drummer Tony Mann. Despite the title, the repertoire is not exclusively by Duke Ellington; of the eight songs, four are by Duke and there is a song apiece from Billy Strayhorn and Juan Tizol, in addition to "Flamingo" and "Body and Soul." Few surprises occur, but the boppish music on this LP is enjoyable and should be of interest to straight-ahead jazz collectors. ~ Scott Yanow, All Music Guide
What The Critics Say
Pianist Al Haig, a veteran of the bebop era, plays pretty modern on this quartet date which is co-led by guitarist Jimmy Raney. With backing by bassist Jamil Nasser and drummer Frank Gant, Haig and Raney interpret two bop standards and such later material as Herbie Hancock's "Dolphin Dance" and Eddie Harris' "Freedom Jazz Dance." Haig and Raney inspire each other to stretch out, including on an 11-minute version of "'Round Midnight." Thought-provoking music well worth hearing several times. ~ Scott Yanow, All Music Guide
What The Critics Say
This difficult to find recording is worth the search; it contains some of the finest recorded work of Al Haig's enigmatic career. Haig was an important figure in the early development of bebop piano and can be heard as a sideman on many seminal recordings from the 1940s, including Salt Peanuts and Hot House. His refined classical technique was relatively unique at the time, and he was admired as a superb accompanist. Between the mid-'50s and the early 1970s there is a curiously large gap in his recorded output evidently due to personal problems. In fact, Al Haig Today! appears to be his only release as a leader during the '60s. The pianist is joined by Ed DeHaas on bass (who worked with Martial Solal, Kai Winding, Chet Baker, and Chris Conner among others) and the relatively unknown Jim Kappes on drums. (Kappes would later work with the Paul Winter Consort). This well-recorded date showcases a versatile selection of tunes including Haig's minor blues entitled "Thrio," Toots Thielemans' "Bluesette," and Oscar Brown's "Brother Where Are You." From his book of standards Haig pulls "Willow Weep For Me," "Polka Dots and Moonbeams," "You Don't Know What Love Is," and "Satin Doll." The pianist's rendering of "Bag's Groove" is harmonized in dark, folky tones. "The Good Life," an evocative melody by French guitarist/vocalist Sacha Distel, is given a Latin treatment. One can hear many influences in Haig's piano work -- from the early inspiration of Nat King Cole, Billy Kyle, and Teddy Wilson to the bebop syncopation of his contemporary Bud Powell. Haig's lyrical playing on Today! also invokes the more modern work of Hank Jones and Bill Evans. Although his keyboard technique is typically lighter, neater, and less fiery than Powell's, Haig's subtle harmonies often have an appealing edge. His playing -- though cool and calm -- is still rhythmically interesting and highly creative; the overall sound is authentic bebop! On Al Haig Today! this underrated musician demonstrates his complete mastery of jazz piano -- impeccable swing, rich chording, and inventive improvisation. ~ Lee Bloom, All Music Guide
'Jazz-Will-O-The-Wisp'
Release Date 1/1/1957
Tracks 13
Label Counterpoint
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