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ALBUM REVIEWS

Curtis Amy: Mosaic Select 7

Read "Mosaic Select 7" reviewed by Colin Fleming

Relatively unknown as far as storming tenor players go, Texas-born Curtis Amy perhaps wasn't so storming after all, as this set suggests.

Familiar to rock fans for his solo on the Doors' “Touch Me, Amy was more restrained, more a player of shadings and touch, than his reputation and birthright might lead one to believe. These sessions for the Pacific Jazz label, all cut in the early '60s, open with two albums of the then exceedingly popular combo of organ ...

EXTENDED ANALYSIS

Mosaic Select 7: Curtis Amy

Read "Mosaic Select 7: Curtis Amy" reviewed by C. Andrew Hovan

Curtis Amy Mosaic Select 7 Mosaic Records

I can still remember doing an interview with Mosaic's Michael Cuscuna several years back when I felt compelled to probe him about the lack of reissues from African American artists who happened to record for the Pacific Jazz label. Many still associate Richard Bock's imprimatur with the 'cool school' and such artists as Gerry Mulligan and Chet Baker and fail to understand the full scope of the label's deep ...

ALBUM REVIEWS

Curtis Amy: Mosaic Select 7: Curtis Amy

Read "Mosaic Select 7: Curtis Amy" reviewed by AAJ Staff

Although saxophonist Curtis Amy gained wide exposure taking solos on pop tunes like the Doors' “Touch Me" and Carole King's “It's Too Late," he was in fact a superior jazz musician, a soulful, warm hard bop Texas tenor, and a probing soprano soloist. He was also a provocative, wholly original composer. Between 1960 and 1963, Amy recorded six albums for Pacific Jazz, including the brilliant Katanga!, all of which are reissued here on the seventh installment in the Mosaic Select ...


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