Chris Mitchell | The Witches of Redbeard (feat. Phil Woods)

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CANADA - Nova Scotia

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Jazz: Mainstream Jazz Jazz: Contemporary Jazz Moods: Type: Instrumental
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The Witches of Redbeard (feat. Phil Woods)

by Chris Mitchell

Genre: Jazz: Mainstream Jazz
Release Date: 

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Tracks

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1. The Royal Toe
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6:20 $0.99
2. Alone Together
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6:23 $0.99
3. Like Someone in Love
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5:47 $0.99
4. You Don't Know What Love Is/Weaver of Dreams
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6:08 $0.99
5. Cleet Street
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5:44 $0.99
6. You See But You Don't Hear
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7:47 $0.99
7. A Night in Tunisia
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6:06 $0.99
8. Waltz Not
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6:34 $0.99
9. Old Folks
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6:03 $0.99
10. The Buddy System
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6:35 $0.99
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Miriam Beach

Sent From Fan
Please Note: This review was sent to me by one of Chris's fans and was posted on i tunes - I thought I would share it with the cd baby family.

Canada keeps growing very good jazz musicians, especially those advanced in the art of bop. On The Witches of Redbeard, baritone and alto saxman from Kitchener, Ontario, Chris Mitchell, is joined on his second album as a leader by foremost Canadian jazz musicians, with the addition of eminent alto sax player Phil Woods, who showstracks, “The Royal Toe” and “Cleet Street.” The playlist is a mixture of originals and standards, the latter including bop anthem “A Night in Tunisia.” The Mitchell baritone which dominates this session, calls to mind one of the early baritone sax pioneers in tuning the big horn to bop, Serge Chaloff, with a touch of another bari sax innovator, Cecil Payne.
The kick-off tune “The Royal Toe” establishes Mitchell’s credentials at the outsat. There he and another premier tenor saxman from the North, Kirk MacDonald, are joined by Phil Woods for some excellent solo work. Woods also solos extensively on Mitchell’s “Cleet Street.” There’s impressive soloing and ensemble work on “Alone Together”, with Jerry Fuller’s drums thumping out the beat. A pensive, aching Mithcell baritone dominates “Old Folks,” and the group swings on MacDonald’s aptly titled “The Buddy System,” where bass player Neil Swainson takes off on a long solo, with Jerry Fuller striking his traps lightly behind him. Kirk MacDonald’s “You See But You Don’t Hear” is a raucous freewheeling exchange between the saxes and drums; it is one of the album’s superior cuts. Mitchell takes out his Cannonball Adderly-influenced alto for “You Don’t Know What Love Is,” with the bass providing the appropriate backdrop. The other half of that melody once more combines Mitchell’s deeply toned baritone with MacDonald’s tenor, and the outcome is excellent; these two simply play very well together. This album is a very satisfying session by a small group of Canada’s preeminent players with a ringer from the United States added.