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Bill Evans Trio: Sunday At The Village Vanguard & Waltz for Debby
By Bill Evans
Label: Fantasy Jazz
Released: 2005
Isaac Hayes: Can You Dig It?
by Jim Santella
We've all been exposed to the music of Isaac Hayes. His film soundtracks and jazz-tinged funk have had their effect. Today he's also known for his role as a school cafeteria worker in the animated television series South Park. A leading romantic icon in the popular music world, he's given Stax Records a pile of great ...
Thelonious Monk: Thelonious Alone in San Francisco
by David Rickert
Thelonious Monk's solo recordings offer fascinating insight into the compositional and improvisational talents of one of music's true oddballs, and Alone In San Francisco is widely considered to be his best in this format. Unencumbered by bass and drums, Monk is at his most introspective, taking advantage of the liquid tempo to patiently work ...
Abbey Lincoln: Abbey Is Blue
by David Rickert
In 1959 Abbey Lincoln was poised to make a truly great album, and Abbey Is Blue was it. Not only was it a breakout performance for Lincoln, who delivered on the promise she had already shown, it was also a breakthrough performance in jazz singing. With the civil rights movement looming over the horizon, ...
Count Basie: Good Time Blues
by Donald Elfman
Is there any sound more timeless in all of jazz than that of the Basie Orchestra? The title of this new Pablo release might be a perfect description of the essence of the Basie band--except one might add the word swingin'. This is the band that perfected a sound and a feeling that define what's best ...
Gerry Mulligan/Thelonious Monk: Mulligan Meets Monk
by Francis Lo Kee
Mulligan and Monk: what is their common ground? Certainly not the “Cool School West Coast pianoless groups of Mulligan and Baker. Nor do you think of the Lester Young-influenced Mulligan in the same sphere (pun intended) as some of Monk's preeminent sax players, like Johnny Griffin or John Coltrane.Perhaps it is their mutual love ...
Bill Evans Trio: Sunday At The Village Vanguard & Waltz for Debby
by C. Michael Bailey
To look at Bill Evans in the 1950s and '60s, one might think that he was the most unlikely looking jazz titan to ever depress a piano key. Thin and bespectacled with a dweeb's haircut, Evan's was the picture of a bookish intellectual. He was well versed in the European Impressionism of Les Six and Debussy, ...
Bud Powell: The Complete Jazz at Massey Hall
by C. Michael Bailey
In 1953 the jazz genre called Be Bop, Bop, Re Bop, or Modern Jazz had fully matured and was settling in as the established mainstream rather than the cutting edge movement it had been in the early 1940s. Jazz as a style collective had begun to further fray at the ends and Be Bop gave way ...
Bud Powell: Bebop
by AAJ Staff
By P. Christopher Dowd Bud Powell, forever known for his groundbreaking bop piano, represents a key link to the evolution of an art form, but he's also a glaring reminder that jazz is first and foremost black music. Powell is a testament to the horrors of racism and the musical expression that emerged from the black ...
Count Basie & His Orchestra: Good Time Blues
by Chris M. Slawecki
Recorded in Budapest, this previously unissued 1970 performance proves that nobody could make feeling the blues swing good and hard like Count Basie. Especially when fronting a typically first-rate orchestra, in this case featuring Eddie “Lockjaw Davis on tenor sax, returning son Harry “Sweets Edison (who first played with Basie in the late 1930s) on trumpet, ...
