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Jazz Articles about Gil Goldstein

8
Album Review

Letizia Gambi: Blue Monday

Read "Blue Monday" reviewed by James Nadal


As the world continues to shrink--musically speaking of course--the melding of American jazz with Mediterranean melody is another spin cycle that makes appreciation of this evolving art form so interesting. With high expectations, Neapolitan vocalist Letizia Gambi, which hails from a theatrical family, and has extensive jazz education, releases Blue Monday, an exuberant and ambitious production that takes jazz on a romantic Italian holiday. After a collaboration with drummer extraordinaire Lenny White in 2009 led to “Introducing Letizia ...

293
Album Review

Gil Goldstein: Under Rousseau's Moon: Live at the Blue Note

Read "Under Rousseau's Moon: Live at the Blue Note" reviewed by John Kelman


Instrument endorsements have become standard fare in CD liner notes. On pianist/accordionist Gil Goldstein's first album as a leader in nearly fifteen years, they say that “He uses Sibelius Music Writing software and pencils by Rocket Manufacturing --and that's a statement. Always a fine player since emerging on three 1976 albums with guitarist Pat Martino, including the now-classic duet record We'll Be Together Again (Muse, 1976), Goldstein has become equally in demand as a first-call arranger, orchestrator, conductor and producer. ...

181
Album Review

Tom Scott with Special Guest Phil Woods: Bebop United

Read "Bebop United" reviewed by Michael P. Gladstone


The unblemished record of Pittsburgh's Mancheaster Craftsmen's Guild as a venue for recording jazz albums continues with the this new recording from Tom Scott with special guest Phil Woods. Scott has amassed a lengthy discography which has reflected high energy fusion, pop-soul and smooth jazz over the past two decades. His earlier years, however, found him playing strongly as a member of the Don Ellis and Oliver Nelson Big Bands.

In 1992, Scott returned to the mainstream with Born Again, ...

241
Album Review

Tom Scott: Bebop United

Read "Bebop United" reviewed by Jim Santella


For Bebop United Tom Scott convened a a group of veterans for a straight-ahead live auditorium performance in Pittsburgh. His cohesive ensemble interprets each selection with a comfortable groove and a lot of soul. Featuring Phil Woods on three numbers, the concert brings slow ballads and up-tempo romps to its audience convincingly. Trumpeter Randy Brecker and tenor saxophonist Scott provide much of the dialogue, each bringing a warm presence to the concert.

For “His Eyes, Her Eyes, soloists ...

187
Album Review

Tom Scott: Bebop United

Read "Bebop United" reviewed by John Kelman


He's had a multifaceted career in almost every imaginable area of jazz--not to mention working as a gun for hire on albums by singer/songwriters like Joni Mitchell and Carole King. It's easy to forget that saxophonist Tom Scott actually started out as a jazz traditionalist. While his own albums have leaned more towards fusion and contemporary jazz, the early days of his career found Scott cutting his teeth on albums by Oliver Nelson, Don Ellis and Thelonious Monk.

So when ...

411
Album Review

Herbie Mann & Phil Woods: Beyond Brooklyn

Read "Beyond Brooklyn" reviewed by George Kanzler


Herbie Mann and Phil Woods met when they were two barely adult beboppers jamming together at a joint called Tony's Bar on Flatbush Ave. in Brooklyn in 1951. A couple years later, Woods would play on Mann's Yardbird Suite LP. They finally shared the front line on an album again with this CD, the last Mann made before he died on July 2, 2003.Beyond Brooklyn is a fine envoi to Mann's career, featuring the flutist in many of ...

211
Album Review

David Sanborn: Inside

Read "Inside" reviewed by Ian Nicolson


Since the days when he left his hometown St Louis to play for the Butterfield Blues Band during the sixties Blues boom in California, Sanborn has worked hard at staying top dog among the LA studio sessioneers - and succeeded.He has also commuted effortlessly between sophisticated Jazzpop solo albums stressing his distinctive alto tone and R'n'B roots, and the occasional full-ahead Jazz outing - like 1990's Another Hand, or Upfront a year or two later. This time he's ...


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