Jazz Articles about Eliot Zigmund

About Eliot Zigmund

Album Review

The Bill Evans Trio: On A Monday Evening

Read "On A Monday Evening" reviewed by Stefano Merighi

by Stefano Merighi
May 16, 2017

Ricordo interviste in cui Bill Evans puntualizzava l'ossessione per l'esercizio, un'insicurezza stabile, che lo faceva provare in continuazione anche il minimo dettaglio. Sembra grottesco, all'ascolto soltanto del prologo di “Sugar Plum," dove la fraseologia evansiana sgorga come acqua di fonte e dove si intuirebbe un'innata facilità per l'assoluta padronanza strumentale. Ma evidentemente c'era un lavoro febbrile e anche un po' angosciato dietro quel tocco scultoreo, quei legami tentacolari tra linea melodica e spezzature ritmiche, quel preludiare o rapsodiare che fin ...

Album Review

The Bill Evans Trio: On A Monday Evening

Read "On A Monday Evening" reviewed by Dan McClenaghan

by Dan McClenaghan
April 22, 2017

Bill Evans, one of the most influential of jazz pianists, died in 1981. He left a legacy. The brilliant shine of his artistry gained widespread recognition in 1959 with his contribution to Miles Davis classic Kind Of Blue (Columbia Records, 1959), and surged into stellar territory with the release of his own Sunday At The Village Vanguard (Riverside Records, 1961), a trio outing featuring bassist Scott LaFaro and drummer Paul Motian. The interactivity and equality of input of that particular ...

Album Review

Antonio Zambrini - Eliot Zigmund - Carmelo Leotta: Long Distance

by AAJ Italy Staff
February 7, 2013

Meno in vista di quanto meriterebbe, Antonio Zambrini è uno dei migliori pianisti italiani e lo ha dimostrato ampiamente nell'ultimo decennio, con dischi a suo nome (Quartetto, Due Colori, Musica) e felici collaborazioni col quartetto di Ron Horton (It's a Gadget World, Abeat 2009) e con Lee Konitz (Comencini, Standardslee, Alone and Together, Philology 2007). Questo trio s'è formato in occasione dei concerti italiani di Eliot Zigmund del novembre 2011, alcuni dei quali dati con questa formazione. Vista la particolare ...

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Rhythm In Every Guise

Eliot Zigmund

by David A. Orthmann
March 22, 2009

Recently I've been listening to Breeze, drummer Eliot Zigmund's 2008 release on the SteepleChase label. In part my interest in the recording stems from catching a couple of Zigmund's sideman gigs at The Turning Point Café in Piermont, NY. On those occasions I couldn't get a handle on all of the things that felt right about his playing. And describing some of the highlights in a live performance review didn't come close to capturing the essence of his style.

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Album Review

Bill Evans: You Must Believe In Spring

Read "You Must Believe In Spring" reviewed by Chris M. Slawecki

by Chris M. Slawecki
May 21, 2004

After more than a decade as one of the pianist's most sympathetic bassists, this was Eddie Gomez's last recording with Evans, a trio set with drummer Eliot Zigmund recorded in 1977 and released after Evans' death in 1980.Evans never stopped searching for new ideas. He might be faulted for repeatedly looking for them in the same tunes, but this program is quite varied, including Johnny Mandel's “Suicide is Painless" (the theme from M.A.S.H. ); Michel Legrand's title track; ...

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Album Review

Bill Evans: You Must Believe In Spring

Read "You Must Believe In Spring" reviewed by Mark Corroto

by Mark Corroto
April 3, 2004

Somewhere between the huge box sets of Bill Evans’ work on Verve, Riverside, Fantasy and his final works (and almost final live dates) lie some true gems. Romantics fall easily for the gritty sounds of Evans accompanying singer Tony Bennett from 1975 and his two Paris concerts from 1979, both released on Blue Note, which are indeed triumphs of his spirit. I’d put my vote in for this session released originally in 1981, a year after Evans’ passing. ...

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Album Review

The Marvin Stamm Quartet: Elegance

by Jack Bowers
May 1, 2002

The “invisible man” returns. Trumpeter Marvin Stamm, who played with big bands led by Woody Herman, Stan Kenton and Thad Jones / Mel Lewis, among others, before vanishing in the early ’70s into the wilderness of studio work in New York City, is playing Jazz again — has been for some time now — and that is good news indeed for those of us who appreciate the sort of “elegance” he invariably espouses. Indeed, there’s no more appropriate word than ...