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Ted Rosenthal Trio: Rhapsody In Gershwin

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The glories of George Gershwin have been well-documented in jazz settings. In fact, many would argue that Gershwin's music has been done to death. So does the world really need another tribute to this iconic tunesmith? In theory, it does not. Supply and demand, and the very nature of saturation, would say that a more-than-sufficient dose of Gershwin has been given to the world, so it's time to move on. However, these principles have never applied to this type of art. When somebody has something valuable to add to the jazz canon, it doesn't matter if they're the first, tenth, ...

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2013 Yuletide Offerings

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It's clear that the holidays are coming when the mercury dips and the cheery tidings of the season are balanced out by shopping-fueled malaise. When it comes to music, said shopping is often centered on a series of new holiday-themed releases that seem to arrive like clockwork in the weeks and months prior to Christmas; this year--surprise, surprise--is no different than any other year in that respect. In some ways, it's hard to understand the ever-continuing fascination that the world has with this same music done up over and over by different artists, but in some ways ...

CD/LP/TRACK REVIEW

Ted Rosenthal Trio: Wonderland

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Lots of “Christmas Albums" come out every year. Many of them are nice for an easy holiday listen, but let's face it, expectations are low in terms of endurance, and they can often be rightfully seen as quickly done, quick buck affairs. Then there are the ones that have endured: the Vince Guaraldi Trio's A Charlie Brown Christmas (Fantasy, 1965); Elvis Presley's A Christmas Album (RCA, 1957); and Frank Sinatra's A Jolly Christmas From Frank Sinatra (Capitol, 1957). And aside from the Guarldi Trio's set, the jazz genre--for whatever reason--hasn't contributed more than a handful of lastingly memorable Holiday discs, ...

CD/LP/TRACK REVIEW

Ted Rosenthal Trio: Out of This World

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2011 has been productive year in the recording realm for pianist Ted Rosenthal. His contribution to The Westchester Jazz Orchestra's superb Maiden Voyage Suite (WJO Records) helped elevate the re-imaging of pianist Herbie Hancock's classic Maiden Voyage (Blue Note, 1965) to the highest level of big band artistry. With Out of this World, Rosenthal slips back to the more minimal piano trio, for his exquisite interpretations of some of The Great American Songbook's most beloved compositions.Covering classic tunes by some of the Songbook's best-known composers with a high sheen and Rosenthal's distinctive style and refined touch, the trio ...

CD/LP/TRACK REVIEW

Ted Rosenthal Trio: Out of This World

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Borrowing from The Great American Songbook is a standard practice for many jazz artists, who include one or more pieces when rounding out a repertoire of primarily new material. Not so for pianist Ted Rosenthal, whose affinity for music from the Songbook is reflected on at least two previous recordings, Rosenthology (Concord Jazz, 1994) and One Night in Vermont (Planet Arts, 2003), focusing on music from Irving Berlin, Jimmy Van Heusen, Tadd Dameron and Matt Dennis. On Out of This World, Rosenthal takes his featured trio of bassist Noriko Ueda and drummer Quincy Davis on another musical journey, revisiting the ...

CD/LP/TRACK REVIEW

Ted Rosenthal Trio: Out Of This World

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Standards, when presented in their original form, speak of the time and place of their creation, but part of their longevity is due to the fact that they aren't encased in an early twentieth century amber that fossilizes and dates the material. The music of George Gershwin, Cole Porter, Billy Strayhorn, and Richard Rodgers is timeless, but it can all be refashioned, refitted and recast to serve any musician's vision and taste. The songs are bodies and the artists are musical clothiers waiting to drape them in their designs. On Out Of This World, pianist Ted Rosenthal ...

CD/LP/TRACK REVIEW

Ted Rosenthal Trio: Impromptu

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On Impromptu, pianist Ted Rosenthal modestly credits every track to the original classical composer on which the song is based. It's a nice, self-effacing touch, but probably unnecessary. No one will misconstrue this album as anything but a modern jazz recording--and a good one at that--even if Rosenthal is performing adaptations. For the most part, the classical music themes are relatively easy to pick out against the jazz trio format, but they've been heavily adjusted for tempo and pacing, and include a lot of improvisation that classical devotees aren't necessarily used to hearing--especially since improvisation, a common thing ...



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