Ren Woods was born in Portland, Oregon, and became a child singing prodigy, appearing on NBC's Soul Special at the age of 10. Shortly thereafter "Sundays Child" her pre-teen 3 girl group soared to fame. Woods then starred in the first National Tour of The Wiz. In 1979, Woods released a solo album entitled "Out of the Woods", which was supposed to be produced by Maurice White, however, due to the label being in transition, it was produced by Earth, Wind & Fire member Al McKay.
Coming off the success of the previous year's Reconciled, the Call returned in 1987 with Into the Woods. The slow-building "I Don't Wanna" is a bit ragged at moments but reaches an impressive sonic swell and Michael Been's vocals are passionate as always. "In the River"'s tone is forlorn, but backed by a solid, smoldering melody and gospel background vocals. A tumbling, percussive beat drives "It Could've Been Mean," a rumination on fate that is simple, yet effective. "Day or Night" probably comes the closest to best capturing the band's usual anthemic style. Much of In the Woods has a darker, more serious feel to it…
This was one of the great touring and recording bands of the 1980s, Harrell and Woods inspiring each other and the rhythm section inquiring and swinging. Woods didn't need to change anything about his own style, but it blossoms anew in counterpoint with Harrell's lyrical fire, and each album is handsomely programmed and delivered … Flash, the final album with Harrell (who has since been replaced by Hal Crook as the front-line horn), has the edge of some outstanding composing by the trumpeter – "Weaver" and "Rado" are particularly sound vehicles – and Crook's extra tones on a few tracks.
Faced with diminishing opportunities in the U.S. to play and record jazz in the 1960s, saxophonist Phil Woods moved to Europe in the spring of 1968. Based in Paris, he quickly formed the now-legendary group called Phil Woods and The European Rhythm Machine, with Swiss pianist George Gruntz and two Frenchmen, bassist Henri Texier and drummer Daniel Humair. Their first record, Alive And Well In Paris was recorded in the same year for the Pathe label, followed by the present album Woods Notes recorded live in Rome in 1969 and released by an Italian label called Joker. Based on bebop and having absorbed modal jazz and even jazz rock, this group was at the cutting edge of jazz at the time, and their incredible power and excitement are awe-inspiring.
Reissue with the latest remastering. Comes with liner notes. Phil Woods really outdoes himself here – offering the world a whole new side of his talents, and stepping forth at the head of a larger ensemble than usual! The album features Woods' core quartet augmented by larger strings and horns – all in shadings and tones that are incredibly expressive, and filled with warm colors and rich tones that never get bogged down in hoke or too-easy inflections!
WOODS 5: GREY SKIES & ELECTRIC LIGHT, the new and final album from Canadian blackened doom metallers WOODS OF YPRES. WOODS 5 was the last album recorded by the band before the tragic passing of founding member DAVID GOLD in December last year. The album was recorded at Beach Road Studios in Ontario, Canada with producer SIEGFRIED MEIER, and was mixed by famed UK producer JOHN FRYER (NINE INCH NAILS, PARADISE LOST).
This long-out-of-print CD has finally been reissued and it's a must-have for Phil Woods fans, or for anyone interested in an excellent example of post-Parker be-bop saxophone. The sound quality is excellent, the rhythm section is very competent and Phil is at the top of his game on a nice mix of standards and originals. It's easy to see why he has been the benchmark for jazz alto for decades. His swing and inventiveness are nicely showcased as he eases his way through the list of tunes. If one were to buy one or two CD's that best show Phil Woods' ability to create meaningful jazz, this one would have to be high on the list for consideration. Don't miss it!
Rick Tomlinson aka Voice of the Seven Woods stumbled in to Manchester's vivid musical landscape as a vinyl hungry psyched-out sidekick to Andy Votel on his formative Twisted Nerve road show. The self-taught jack of all musical trades has since drawn influence from an oblique archive of obscure LPs and bizarre instruments and forged his own unique approach to making music, his very own hybrid blend of instrumental progressive folk. Enlisting the skills of drummer Chris Walmsley in a quest to create the authentic sound typified by the likes of Tery Cox in Pentangle with an added rhythmic influence of Turkish psychedelic bands first heard in the mid 70's, who has recorded with forward thinking groups like Broadcast, along with upright bass player Paul Blakesley - both of which are the perfect reactionary accompaniment to Rick's sporadic flirtations with time and tempo. – Amazon
Reissue with the latest remastering. Comes with liner notes. Phil Woods toured Japan in 1975 with the Japanese Rhythm Machine (pianist Hideo Ichikawa, bassist Mitsuaki Furuno, and drummer George Otsuka), recording this album at during a concert at Kosei Nenkin Kaikan in Tokyo. The alto saxophonist is at the top of his game, while the rhythm section provides excellent support, with Ichikawa especially shining in the solo spotlight.
Reissue with the latest remastering. Comes with liner notes. The meetings of alto saxophonist Phil Woods and Gene Quill, such as this 1956 sextet date for RCA, are always enjoyable. In addition to baritone saxophonist Sol Schlinger, Woods and Quill are joined by pianist Dave McKenna, bassist Buddy Jones, and drummer Shadow Wilson. The focus is on the two altoists, but there is occasionally blowing room for Schlinger and McKenna, too. Gene Orloff's snappy "Sax Fifth Avenue" and Woods' brisk "Four Flights Up" are the highlights of the date, along with several works by Bill Potts. This is a typically solid effort by Phil Woods and Gene Quill.