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...
Kevin Hays opens For Heaven's Sake with a bit of solo piano: an introspective, reverent-sounding, church-like interlude. Then bassist Doug Weiss and drummer Bill Stewart slip into the sound and the trio winds into tenor saxophone great Sonny Rollins' "Sonny Moon for Two," cranking up the intensity/extroversion factor for five minutes, and Weiss takes a solo in front of Stewart's implacable timekeeping and Hays' spare, sparkling comping. It's a well-chosen, beautifully executed opener for a set of familiar jazz standards. This group of tunes includes the much-covered Sam Rivers composition "Beatrice"; Wayne Shorter's "Lady Day"; Burke and Van Heusen's "It Could Happen to You"; and Ellington's "Caravan."
Kevin Hays signed with Blue Note in 1994 and released three albums on the legendary jazz label, including the glowingly reviewed Andalusia (1997), which featured Ron Carter on bass and Jack DeJohnette on drums. The young pianist has also played in Rollins' band and guitarist John Scofield's "Quiet" band.
With For Heaven's Sake, Hays and his bandmates craft a snappy and insistent forward momentum, wrapped around the leader's slightly idiosyncratic piano style, which mixes straightforward melodic beauty with a Hampton Hawes-like angularity. The result is an appealingly differentbut still reverenttake on some nicely chosen jazz standards.
I love jazz because it is the most diverse music genre.
I was first exposed to jazz a long time ago.
The best show I ever attended was Henry Threadgill's very very Circus at SJU jazzpodium in Utrecht.
The first jazz record I bought was Coleman Hawkins Big Band live at The Savoy Ballroom 1940.
My advice to new listeners is to attend as many concerts you can even though you may not know the musicians who are playing.
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!