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261

Article: Album Review

Monty Alexander: Concrete Jungle - The Music of Bob Marley

Read "Concrete Jungle - The Music of Bob Marley" reviewed by Woodrow Wilkins


Bob Marley lives. Though the legendary Jamaican songwriter/musician left this Earth in 1981, his music and, therefore, his spirit remain with us. Among those keeping the Marley sound alive is Jamaican-born pianist Monty Alexander. After recording more than sixty solo albums, Alexander joined the Telarc family in 1999 with the release of Stir It Up, a ...

346

Article: Album Review

Monty Alexander: Concrete Jungle: The Music of Bob Marley

Read "Concrete Jungle: The Music of Bob Marley" reviewed by Jim Santella


Seven years after Monty Alexander's first Bob Marley tribute, Stir it Up (his Telarc debut), the pianist interprets Marley's music again on Concrete Jungle, performing eleven of the legendary reggae artist's compositions and one of his own. This time out, the pianist interprets Marley's songs with a feeling for the blues and folk music textures contained ...

Album

Live At The Iridium

Label: Telarc Records
Released: 2005
Track listing: 1. Work Song, The; 2. Slappin'; 3. My Mother's Eyes; 4. Happylypso / Funji Mama; 5. River, The; 6. Runnin' Away; 7. Little Darlin'; 8. Mount Zanda; 9. That's The Way It Is.

343

Article: Multiple Reviews

Monty Alexander: In Tokyo, Live at Iridium and Steaming Hot

Read "Monty Alexander: In Tokyo, Live at Iridium and Steaming Hot" reviewed by AAJ Staff


The task of listening to all three of these CDs led by the great pianist Monty Alexander (actually four, Steaming Hot being a double disc) is both pleasurable and daunting. There's a “something for everyone type of quality: great for a person that you would like to interest in jazz because of their “good times feel; ...

152

Article: Album Review

Monty Alexander: Live at the Iridium

Read "Live at the Iridium" reviewed by Samuel Chell


Take equal parts of Oscar Peterson, Ahmad Jamal, and Gene Harris, add a jigger of Jamaican rum, steep the mix in the spirits of Louis, Nat, and the Count--and you've got a master musician, not to mention a superior piano album and an inspired live recording session that is already looking like one of the outstanding ...

135

Article: Album Review

Monty Alexander: Live at the Iridium

Read "Live at the Iridium" reviewed by Woodrow Wilkins


It's always good to open a concert with something familiar--especially when said opening is an extended play offering that allows the performers plenty of opportunity to stretch out. That's how Monty Alexander and his sidemen approached “The Work Song"? on Live at the Iridium. Comprised of some of Alexander's finest compositions and a few ...

166

Article: Album Review

Monty Alexander: Live at the Iridium

Read "Live at the Iridium" reviewed by Franz A. Matzner


Celebrating almost fifty years of professional music, Live at the Iridium is a fitting testament to the unique passion and tremendous talent of master improviser Monty Alexander. Alexander began his career as a youth in Jamaica, where he first encountered jazz through live concerts performed by such iconic figures as Louis Armstrong. This ...

182

Article: Album Review

Monty Alexander: Live at the Iridium

Read "Live at the Iridium" reviewed by C. Michael Bailey


Monty Alexander belongs to the same piano tradition as Gene Harris and Junior Mance. All have a firm command of the blues that can effectively be translated into the ballad realm. Monty Alexander has been cultivating this style and approach for thirty years, with fresh evidence on his new live recording. Alexander's affiliation with the two-fisted ...

Album

Rocksteady

Label: Telarc Records
Released: 2004
Track listing: Double Barrel; Confucius; Stalag 17; Marcus Garvey; Nightwork; East Of The River Nile; Israelites; Row Fisherman; Freedom Street; Pressure Drop; At The Feast; Redemption Song.

179

Article: Album Review

Monty Alexander: Rocksteady

Read "Rocksteady" reviewed by Franz A. Matzner


Monty Alexander’s totally idiosyncratic current release, Rocksteady , a conceptually confounding cross-breed of Jamaican ska, bluesy jazz, and the film scores of classic American Westerns, might have resulted in nothing more than a campy romp if Alexander and guest guitarist Ernest Ranglin weren’t the devilishly talented musicians they once again prove themselves to be.


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