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Larry Willis - I Fall in Love Too Easily


GA Russell

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  Artist Title Time    
 
 
 
  Larry Willis Today's Nights 05:48    
  Larry Willis Heavy Blue 03:41    
  Larry Willis Anna 06:09    
  Larry Willis Habiba 06:21    
  Larry Willis The Meaning of the Blues 08:34    
  Larry Willis Let's Play 08:11    
  Larry Willis Climax 05:54    
  Larry Willis I Fall in Love Too Easily 05:55    
 
 

 

New from Larry Willis
Larry Willis - I Fall in Love Too Easily • HighNote Records HCD 7326
Larry Willis, piano
Jeremy Pelt, trumpet • Joe Ford, alto saxophone
Blake Meister, bass • Victor Lewis, drums

 

 

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It may be somewhat ironic, yet ultimately fitting that this, the final recording by Larry Willis, brought the veteran pianist/composer right back to the place where he first began his impressive career as recording artist that spanned over a period of six decades. The Harlem, New York born Willis first entered the hallowed halls of Rudy Van Gelder’s legendary Englewood Cliffs, New Jersey studio as a twenty-two year old graduate of the Manhattan School of Music on January 29, 1965 to record with Jackie McLean for Blue Note Records.  Willis’s expansive resume includes entries with the likes of Cannonball Adderley, Nat Adderley, Blood, Sweat and Tears, Stan Getz, Jerry Gonzalez and the Fort Apache Band, Clifford Jordan, Carmen McRae, David “Fathead” Newman, Woody Shaw, and many more.  He appeared on hundreds of albums as a sideman and dozens more as a leader of his own impressive bands.  The music played here with long-time friends Victor Lewis and Joe Ford, and his relatively new colleague Jeremy Pelt shows Larry Willis displaying the intense creativity and impeccable taste which made him once of the most respected keyboard artists in jazz.
 

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Record Company Contact
Barney Fields • HighNote Records, Inc.
www.jazzdepot.com

 

 

 

 

HighNote Records

 

 

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7 hours ago, bertrand said:

Is Climax the DeJohnette piece?

From the NYT:

Willis marches through a catalog of originals and classics, including “Climax,” a zipping modal composition by Jack DeJohnette that was one of the pieces he recorded with McLean at those early sessions, in that same studio, more than 50 years before.

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