One of the finest pianists of the bop era (and one who learned from Bud Powell's innovations quite early), Al Haig was quite busy during two periods of his career but unfortunately was pretty obscure in the years between. After serving in the Coast Guard (playing in bands during 1942-1944) and freelancing around Boston, Haig worked steadily with Dizzy Gillespie (1945-1946), Charlie Parker (1948-1950), and Stan Getz (1949-1951); and was on many recordings, mostly as a sideman (including some classic Diz and Bird sessions) but also as a leader for Spotlite, Dawn, and Prestige. However (other than little-known dates in 1954 for Esoteric, Swing, and Period), Haig did not lead any more albums until 1974. He played fairly often during the 1951-1973 period, but was generally overlooked. That changed during his last decade, when he was finally recognized as a bop giant and recorded for Spotlite, Choice, SeaBreeze, Interplay, and several Japanese and European labels. ~ Scott Yanow, AMG.
1. Sweet Loraine (C.Burwell-M.Parish) 2. Tea For Two (V.Youmans-I.Caesar) 3. You Go To My Head (F.Coots-H.Gilespie) 4. You Stepped Out Of A Dream (Brown-Kahn) 5. Undecided (C.Shavers-S.Robin) 6. The Man I Love (G&I Gershwin) 7. Woodyn' You (D.Gillespie) 8. Stella By Starlight (Young-Washington) 9. Someone To Watch Over Me (G&I Gershwin)
Featuring: Al Haig (p), Benny Weeks (g), Teddy Kotick (b), Phil Brown (d)
The attitude of the gallant Six Hundred which so aroused Lord Tennyson's admiration arose from the fact that the least disposition to ask the reason why was discouraged by tricing the would-be inquirer to the triangle and flogging him into insensibility.
Advance to Barbarism
(Mitre Press, 1968).
Music posted here is for information purposes only. I don't subscribe to the notion that record companies are ripped off by the proliferation of blogs like this one. It is my firm belief that quite the contrary happens i.e. by bringing awareness to hitherto virtually unknown artists to the general public the music benefits greatly and a new level of interest is created.
Listeners are therefore kindly requested to buy the original music and support artists if they fancy what they hear - remember: if you like it, buy it!