If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
This 1973 date, just reissued with fancy new packaging by 32 Jazz, is a thoroughly enjoyable, low-key blowing session featuring the two tenor titans backed by an excellent veteran rhythm section of Jaki Byard, George Duvivier, and Mel Lewis. Both Cohn and Sims are supremely smooth and effortlessly swinging tenor players in the Lester Young mode, and they complement each other perfectly here. Longtime friends and colleagues, dating back to their days as part of Woody Herman's "Four Brothers" saxophone section in the late 1940s, Cohn and Sims display that rare musical affinity that only years of playing together can breed.
While most of the album is played at a fairly relaxed pace, the two tenor players get things off to a rousing start with "Doodle Oodle," a burner in which they challenge each other with increasingly acrobatic solos, recalling the great tenor battles of Sonny Stitt and Gene Ammons. Unlike some other double tenor lineups, which focus almost exclusively on this type of high-energy competitive workout, Cohn and Sims do not neglect ballads. Their version of the title song, for all its familiarity, is stirring and an album highlight, as is a haunting rendition of Johnny Mercer's "Emily." They also pay homage to fellow Herman alumnus Stan Getz with a lovely Brazilian medley including "Girl From Ipanema" and "One Note Samba." Jaki Byard's contribution on piano is especially noteworthy, as he brings some nice avant-garde touches to a mostly straight-ahead session.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!