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Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

ALBUM REVIEW

Ehud Asherie Trio: Wild Man Blues

Read "Wild Man Blues" reviewed by Dan McClenaghan

Ehud Asherie must have an old soul. The pianist's 2016 release, Shuffle Along (Blue Heron Records), explored the music from the 1921 Eubie Blake/Noble Sissle Broadway musical, Wild Man Blues. The disc at hand opens with the title tune, penned by Louis Armstrong and recorded with his Hot Seven in 1927. A relaxed and gorgeous take on “Oh, Lady Be Good" comes to us from the Gershwin brothers, from the 1924 musical of the same name. Asherie is ...

ALBUM REVIEW

Ehud Asherie: Shuffle Along

Read "Shuffle Along" reviewed by Dan McClenaghan

Israeli-born pianist Ehud Asherie delves deep into a quintessentially American Music on Shuffle Along. The score for the 1921 Broadway musical--tunes that were crafted before the beginning of a true “Popular" recording industry--was groundbreaking. Written by Eubie Blake and Noble Sissle, Shuffle Along, with an all-black cast, was the first Broadway production that treated African Americans a serious characters, as something other than caricatures. Asherie draws on his knowledge of ragtime, stride, bebop and modern jazz to to ...

ALBUM REVIEW

Ehud Asherie with Harry Allen: Lower East Side

Read "Lower East Side" reviewed by Dan Bilawsky

In this day and age, when shock-and-awe maneuvers and new-thing sounds tend to get all the plaudits and press in jazz, it says a lot when a throwback duo date is widely admired by critics and fans alike. Such was the case with pianist Ehud Asherie's Upper West Side (Posi-Tone, 2012), which brought him into contact with like-minded saxophonist Harry Allen and presented a program of old chestnuts that were revived by their expert hands. Now, a year after that ...

ALBUM REVIEW

Ehud Asherie and Harry Allen: Lower East Side

Read "Lower East Side" reviewed by Bruce Lindsay

Pianist Ehud Asherie and tenor saxophonist Harry Allen are established musical partners with a shared fondness for a time when songwriting giants like Irving Berlin and Richard Rodgers were at their creative zeniths. Lower East Side is the pair's second duo outing, following on from Upper West Side (Posi-Tone, 2012), and once again the two demonstrate how this fondness for a bygone era can still produce fresh and joyous music.The journey from Upper West Side to Lower East ...

ALBUM REVIEW

Ehud Asherie with Harry Allen: Upper West Side

Read "Upper West Side" reviewed by Raul d'Gama Rose

Upper West Side is as fine a duet album as has been made by a pianist with another instrumentalist. This declaration may very possibly include the albums made by Hank Jones with Tommy Flanagan and Oscar Peterson with Dizzy Gillespie. It is a credit to pianist Ehud Asherie that he made this album at such a young age in comparison to the masters who have been mentioned in the same breath, perhaps with seeming blasphemy. However, considering Asherie's instrumental mastery, ...

ALBUM REVIEW

Ehud Asherie with Harry Allen: Upper West Side

Read "Upper West Side" reviewed by C. Michael Bailey

Wherever tenor saxophonist Harry Allen shows up, there is sure to be a major outbreak of Old School. Along with Scott Hamilton, Allen is a keeper of the flame encompassing saxophone practice from Frankie Trumbauer to Lester Young. Pianist Ehud Asherie is cut from the same bolt as Ralph Sutton and Dick Hyman. His previous Posi-Tone recordings, Look Out (2007), Modern Life (2010), and Organic (2010) all demonstrate that Asherie is well-schooled in stride and modern keyboard styles, as well ...

ALBUM REVIEW

Ehud Asherie with Harry Allen: Upper West Side

Read "Upper West Side" reviewed by Dan Bilawsky

The closing track on pianist Ehud Asherie's Modern Life (Posi-Tone, 2010), whether intentional or not, came to serve as musical foreshadowing for this album. Modern Life has Asherie leading a crack quartet through a program of largely lesser-performed gems by cream-of-the-crop composers like George Gershwin, Jerome Kern and Tadd Dameron, but when the album reaches its conclusion the rhythm section is relieved of its duties, while tenor saxophonist Harry Allen stays onboard for an emotionally riveting two-man take on Billy ...


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