1. Phil Woods - Capricci Cavallereschi [11:05]
2. Phil Woods - I Remember Bird [10:44]
3. Phil Woods - Ad Infinitum [11:11]
4. Phil Woods - Riot [06:47]

Bass – Henri Texier
Drums – Daniel Humair
Piano – George Gruntz
Saxophone [Alto] – Phil Woods

Recorded June 19, 1969 at the Montreux Jazz Festival, Switzerland.

Phil Woods' recordings with his short-lived European Rhythm Machine are among the most adventurous of his career, though few of them have been available in the CD era. This 1969 concert at the Montreux Jazz Festival features the alto saxophonist with pianist George Gruntz, bassist Henri Texier and drummer Daniel Humair in a wide ranging set. Gruntz's "Capricci Cavaleschi" begins with slash-and-burn solos by both Woods and Gruntz before giving way to Texier's soft solo, which is backed by Humair's hand drumming. Liner note writer Leonard Feather's bluesy tribute to Charlie Parker, "I Remember Bird," is revisited by Woods with gusto. Carla Bley's samba-flavored "Ad Infinitum" is especially appealing, while a blazing (though brief) run through Herbie Hancock's "Riot," features the leader's almost screaming sax (backed initially only by Humair) closes the set with a flourish. Long unavailable, this rewarding album was finally reissued on CD in the summer of 2003. ---Ken Dryden, Rovi

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1. Blood Count
2. Flower Is A Lovesome Thing
3. Balcony Serenade										play
4. Isfahan
5. Ballad Medley~I Didn't Know About You ~Lotus Blossom ~Don't You Know I Care
6. How Little We Know
7. Ballad For Very Tired And Very Sad Lotus Eaters
8. Lush Life											play
9. My Little Brown Book
10. Rain Check
11. Jonny Come Lately
12. Take The A Train

Personnel: 
Phil Woods: alto sax; 
Brian Lynch: trumpet; 
Bill Charlap: piano; 
Steve Gilmore: bass; 
Bill Goodwin: drums

Alto saxophonist Phil Woods is a consummate musician whose mastery of improvisation is second to none. He extends from the holy alto trinity—Benny Carter, Johnny Hodges, Charlie Parker—and has carved a distinctive, influential style. If Paul Desmond's sound is akin to a dry martini, Woods' is like high-grade cognac, sensual and luxurious, burnished with virile delight that warms your body.

His apprenticeship with Charlie Barnet, Dizzy Gillespie, Gerry Mulligan, Quincy Jones, Oliver Nelson, Buddy Rich, Thelonious Monk and Clark Terry prepared him for leadership, especially of his quartets and quintets, which, over the past 30+ years, have included bassist Steve Gilmore and drummer Bill Goodwin. The three recordings here feature these rhythm section stalwarts, who provide sympathetic support for Woods in any context.

Ballads & Blues celebrates compositions by Billy Strayhorn and Duke Ellington (as well as one by Hoagy Carmichael). Trumpeter Brian Lynch, a member of Woods' quintet since 1992, is a good foil for the alto legend, as on Carmichael's "How Little We Know". Lynch's solo is a model of tasteful note selection and his unison lines with Woods blend perfectly. Bill Charlap's solo rendition of "Lush Life" has a tender, precise quality, which epitomizes his attitude in Woods' ensemble for 14 years. The band sways with a tinge of sadness on "Blood Count" and swings "Johnny Come Lately" with optimism. ---Greg Thomas, allaboutjazz.com

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1. Chasin' The Bird (Parker)
2. Israel (Carisi)
3. Everything Happens To Me (Dennis/Adair)
4. Autumn Thieves (Woods)
5. Charlie's Wig (Parker)					play
6. Tribute To Blue (Lynch)
7. Clinicology (Woods)

Musicians:
Phil Woods - alto saxophone
Brian Lynch - trumpet
Bill Charlap - piano
Steve Gilmore - bass
Bell Goodwin – drums

Phil Woods is at the peak of his powers during these 1997 sessions for Venus, leading his regular quintet (Brian Lynch, Bill Charlap, Steve Gilmore, and Bill Goodwin) through a set of songs he's played for decades, along with some originals likely written for this outing. The alto saxophonist navigates Charlie Parker's "Chasin' the Bird" and "Charlie's Wig" with the finesse of the master that he is. The interplay between the leader and Lynch in the former tune indicates that the younger musician is a force to be reckoned with. They also work well together in the dissonant "Israel," long a favorite of boppers. Woods' unaccompanied introduction to "Everything Happens to Me" is simply breathtaking. Woods is also a fairly prolific composer. "Autumn Thieves" is a barely disguised reworking of the standard "Autumn Leaves" (also indicating his love of puns in the title) that swings nicely. The source of the rapid fire "Clinicology" is a little less obvious at first ("Cherokee"), though little doubt remains once the quintet gets cooking. Lynch contributed "Tribute to Blue," a strutting, yet very lyrical hard bop vehicle. Charlap, who has since left the group to lead his own trio, is one of the greatest pianists of his generation. Gilmore and Goodwin have continuously worked with Woods since 1975; enough said. ---Ken Dryden, allmusic.com

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