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Eliane Elias: Sings Jobim
by Keiran Smalley
What the world needs right now is another CD of Jobim covers, right? Admit it: this isn't the most original idea ever. I am starting to lose count of how many people have covered “Desafinado, and when you consider that Eliane Elias is possessed of a paper-thin voice a la Astrud Gilberto, you have to again ...
Donald Harrison: Free Style
by Keiran Smalley
Coming across the music of Donald Harrison was something of a happy accident for me. I was not really listening to our local jazz radio station late one evening; my thoughts were wandering elsewhere. Suddenly this great tune came on. It consisted of a stripped-down funky rhythm overlaid with a simple yet insistent alto line which ...
Oliver Nelson: Straight Ahead
by Keiran Smalley
Contrast is everything. Think of food for example: A big salty hunk of mature cheese is nicely offset by a couple of sweet grapes. Gastronomes would never dream of eating a rich foie-gras without the accompaniment of the honeyed sweetness of a glass of Sauternes. The same is true with music; a whole ...
Freddie Redd: Redd's Blues
by Keiran Smalley
Many times in the history of jazz, album titles have played word games with artists' names. Think of Grant Green and Green Street and Green is Beautiful. There is also Freddie Hubbard, with Ready for Freddie, Hub-Tones, and Hub-Cap. You may not have heard of the bop-pianist Freddie Redd, who not to be left out, made ...
Wayne Shorter: The Classic Blue Note Recordings
by Keiran Smalley
An artist undergoes many stages in his personal and creative development. Typically this can range from a period of youthful experimentation, a mid-period where he hit his professional peak, followed by the mature reflection of an old master. With Wayne Shorter, who has towered over the tenor saxophone for 40-odd years, it is difficult to assess ...
The Orchestra: Look Away Now
by Keiran Smalley
The dramatic role of soundtracks in movies is undisputed. Try to imagine Jaws without the scary “here comes a big shark” theme, or a horror film without the spooky church-organ or theremin. Very few movies, such as Alfred Hitchcock's The Birds, have challenged this approach, proving that you can build tension without music. ...
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