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Bill Evans: Consecration: The Final Recordings Part 2 [Box Set]
![Read "Consecration: The Final Recordings Part 2 [Box Set]" reviewed by Samuel Chell](http://cover6.cduniverse.com/CDUCoverArt/Music/Large/02521844362.jpg)
by Samuel Chell
I had assumed that these recordings fit into the category of “he plays well under the circumstances." Forget the qualifiers. Listening to this set and the previously released The Last Waltz is a bit like sharing the experience of the wild-eyed poet who has returned from feasting on the milk of paradise in Coleridge's “Kubla Khan." ...
Jimmy Cobb's Mob: Cobb's Groove
by Jack Bowers
Some decisions are good, others bad, and a few are quite simply inspired, such as producer Todd Barkan's decision to invite tenor saxophonist Eric Alexander to join drummer Jimmy Cobb's Mob on its latest album, Cobb's Groove. I can picture the session as being a pretty good one without Alexander sitting in; with him, it rises ...
Chet Baker: Plays The Best of Lerner & Loewe
by David Rickert
Shelly Manne’s album of tunes from My Fair Lady was a huge success, and thus it was a natural move to follow it with other swingin’ Broadway records. Chet Baker was an obvious fit for this type of project, an artist whose handsomeness and fragile playing pegged him as a boyishly romantic interpreter of songs. He ...
Thelonious Monk: Thelonious Monk Plays Duke Ellington
by David Rickert
Alfred Lion was so captivated by Monk that once he got him in the studio, he recorded everything he had. However, most of the jazz listening public wasn’t quite open to such a maverick approach, and Monk struggled to find an audience early on. Once Monk hopped to Riverside after a brief stint at Prestige, producer ...
Thelonious Monk: Thelonious Monk Plays Duke Ellington
by C. Michael Bailey
I listen to a great deal of music. Categorically, I can say there are really only two types'good and better. As with the appreciation of anything, time must pass before the inherent value can be appropriately realized. That is why it is such great pleasure to review re-released recordings. More often than not, older recordings that ...
Jimmy McGriff: McGriff Avenue
by Joel Roberts
Jimmy McGriff was originally slated to record this album on September 11, 2001 at Rudy van Gelder's studio in New Jersey, but the tragic events of that day led to an obvious need for rescheduling. As a result, the session was split in two, with somewhat different lineups at each. However, fans of the organist's trademark ...
Wes Montgomery: Boss Guitar
by Kurt Gottschalk
Wes Montgomery recorded Boss Guitar at age 38, near the end of his acclaimed Riverside years and just five years before his death. While the records that followed would give him some radio hits (and lose him some fans), the 1963 session was a time when he really could make the bold claim of the album’s ...
Bill Evans: Getting Sentimental: Live at the Village Vanguard
by Dr. Judith Schlesinger
Devotees of the immortal Bill Evans will jump at this bouquet of previously unreleased cuts, taped by fan Mike Harris at the Village Vanguard on January 15, 1978. During that week, Evans was trying out a different replacement for bassist Eddie Gomez each night, among them Rufus Reid and George Mraz. This recording was Michael Moore's ...
Bud Freeman: All-Star Swing Sessions
by Florence Wetzel
In the ‘20s, Chicago was one of jazz’s key geographic streams, and at the heart of the city’s music was the famed Austin High School gang, a group of young men who loved the new music so much they decided to play it. Amongst this group—which included Frank Teschemacher, Eddie Condon, Jimmy McPartland, and sometimes Benny ...
Cal Tjader: Cuban Fantasy
by Chris M. Slawecki
George Shearing's bands with percussionists Willie Bobo, Armando Peraza, and Mongo Santamaria also featured Cal Tjader. After his time with Shearing, Tjader employed his drums, timbales, percussion and vibes as a longstanding pillar of the San Francisco jazz scene. Bobo and Santamaria would later realign with Tjader in some of these bands. So did Vince Guaraldi, ...
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