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Manhattan After Hours

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Album Review

Recorded in mid-November 2000, Manhattan After Hours was clearly intended as a sequel of sorts to the Cedar Walton Trio's Criss Cross Jazz release Manhattan Afternoon, which came together in December 1992. Manhattan After Hours contains seven rock-solid jazz standards and two original compositions by the trio's guest soloist, Australian tenor saxophonist Dale Barlow. The Walton Trio's signature sound owed fully one third of its sonority and cohesiveness to the presence of Trinidadian bassist Dave "Happy" Williams. Manhattan After Hours was among the last albums ever to include Walton's fellow modern jazz veteran drummer Billy Higgins, who passed away in early May 2001. During the first decade of the 21st century, Walton would continue to perform and record straightforward jazz of the highest order, in a welcome burst of creative maturity that has been documented on a series of albums for the HighNote label. Issued in several different editions with variable cover art, Manhattan After Hours is warmly recommended for nocturnal driving or staying up late with friends at home.


Born: 17 January 1934 in Dallas, TX

Genre: Jazz

Years Active: '50s, '60s, '70s, '80s, '90s, '00s, '10s

One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes ("Mosaic," "Ugetsu," and "Bolivia," to name a few) that found their way into Art Blakey's book during the pianist's early-'60s stint with the Jazz Messengers....
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Manhattan After Hours, Cedar Walton Trio
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