Jazz Articles about Al Cohn

About Al Cohn

Multiple Reviews

La Elemental Music ristampa il catalogo della Xanadu Records

by Maurizio Zerbo
January 23, 2017

Grazie a produttori illuminati come Don Schlitten, il jazz degli anni Settanta ebbe modo di sottrarsi alle facili contaminazioni del rock o bossa nova. Il catalogo della sua label indipendente, la Xanadu, testimonia la capacità di attrarre con rispetto della tradizione il nuovo pubblico del jazz, riservando ampio spazio ai cosiddetti musician's musicians: artisti di culto per colleghi e addetti ai lavori, ma poco noti al grande pubblico. La riedizione di queste gemme da parte della Elemental, tutte concentrate tra ...

515

Album Review

Al Cohn: Four Classic Albums Plus

Read "Four Classic Albums Plus" reviewed by David Rickert

by David Rickert
February 4, 2011

Saxophonist/clarinetist Al Cohn could have spent his life as either an arranger or a player, but fortunately he chose to do both, creating a series of records that weren't classics, but nevertheless reached the sublime and poetic elements of jazz. In this collection of four sessions, one is an orchestral session from the fifties, with charts by Cohn; the others are from partnerships, where Cohn tended to do his best work: one from his celebrated collaborations with Zoot Sims; and ...

367

Album Review

Al Cohn: We Remember You

Read "We Remember You" reviewed by Johnny Wills

by Johnny Wills
January 6, 2003

Al Cohn was a tenor saxophonist from New York, born in 1925. Sadly he died in 1988, but his performance at the 1986 Oslo Jazz Festival in Norway is documented on this live recording. On this session Cohn teams up with Totti Bergh also on tenor sax, bringing back memories of his many famous past partnerships with Zoot Sims. The first track introduces the female vocalist Laila Dalseth on the Gershwin ballard “Someone To Watch Over Me," ...

295

Album Review

Al Cohn & Zoot Sims: Easy As Pie

Read "Easy As Pie" reviewed by AAJ Staff

by AAJ Staff
January 1, 2001

Once again, Label M mines the vast resources of jazz performances that Baltimore's Left Bank Jazz Society sagaciously recorded, knowing that they were hearing unparalleled music in their midst but not knowing that it would entertain jazz listeners thirty-plus years hence. It seems that the Left Bank group was at its best when it recorded horns, and particularly saxophonists. Even on Easy As Pie, Dave Frishberg's piano lacks clarity due to the on-site instrument's limitations. Unfortunately, the same problem occurred ...