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Stan Kenton/The Los Angeles Neophonic Orchestra: New Horizons Vol. 1 & 2
by George Harris
Stan Kenton/The Los Angeles Neophonic Orchestra New Horizons, Volumes 1 & 2 Tantara Productions 2005 Looking back on Stan Kenton, it's important to keep his bands in perspective. In '65, when these concerts were recorded, there just wasn't anything happening in big bands. Ellington was coasting, Basie was doing Beatles ...
Prestige Profile Reissue Series
by Charlie B. Dahan
Like many of the great independent labels of the mid-twentieth century (i.e. Dial, Commodore, King, Stax to name a few), Prestige began out of a solely owned record store. Who better to best assess the current sounds and demands of the customer than the record shop proprietor. Bob Weinstock began the transition from record store to ...
Roger Kellaway: I Was There; Remembering Bobby Darin
by Ernest Barteldes
For a number of years, pianist Roger Kellaway performed alongside Bobby Darin, and on two recent releases he pays tribute to the late frontman by playing instrumental renditions of some of the songs (plus a couple of originals) he played and/or arranged during his years with the singer, who passed away too soon in 1973 at ...
The Motion Trio: Pictures from the Street; Play Station
by Tom Greenland
"We are peasants somehow...we grew up in small towns, writes Janusz Wojtarowicz in the liner notes of Pictures from the Street, the Motion Trio's debut CD. Don't be fooled. These three squeeze-box Bachs are all conservatory trained virtuosos who are going boldly where no accordionists have gone before. Playing custom-built, extended range Piginis--"the Rolls-Royce of accordions, ...
Jon Madof's Rashanim: Masada Rock; Irving Fields: Bagels and Bongos
by Kurt Gottschalk
John Zorn's ever-growing Masada cottage industry continues with another reinterpretation of the songbook, this time a rock version in the hands of Jon Madof's excellent trio Rashanim. Last month marked the beginning of the second year of celebrating the tenth anniversary of the Masada project, but never mind. The discs have been as diverse as they ...
Django Reinhardt: Genius of Improvisation; Blanchard/Schmitt: Rendez-vous
by Florence Wetzel
One of jazz' most distinctive voices, guitarist Django Reinhardt (1910-1953) was a master of melodic improvisation and swing. Two new releases continue Reinhardt's legacy: Django Reinhardt: Genius of Improvisation and Rendez-vous by Pierre Blanchard and Dorado Schmitt. Django Reinhardt Genius of Improvisation Definitive-Disconforme 2005 Genius of Improvisation is a sublime ...
Yusef Lateef, Gabor Szabo, Oliver Nelson and Albert Ayler: LPRs from Impulse!
by David Rickert
Yusef Lateef Psychicemotus Impulse! 2005 (1965) Yusef Lateef had the misfortune of playing in a very crowded field of Coltrane and Dolphy enthusiasts and thus his records, which are always compelling and dynamic, tend to get ignored. Part of the problem may be that Lateef's records featured a kaleidoscope of ...
Bob Dylan: No Direction Home & Live at the Gaslight 1962
by Doug Collette
Bob Dylan No Direction Home Legacy Music 2005 No Direction Home, like so many Bob Dylan projects, is more than meets the eye and ear. In both the compact disc and DVD configurations, each comprised of two-discs, the music and the presentation itself will challenge your preconceptions, perceptions and recollections ...
Tommy Dorsey: The Sentimental Gentleman of Swing, The Essential Frank Sinatra & Tommy Dorsey
by Andrew Velez
Tommy Dorsey's efforts paid off. He was intense, combative and relentless in pursuit of the excellence he demanded of his orchestras. As George T. Simon observed in his definitive opus The Big Bands, “... Dorsey's band...must be recognized as the greatest dance band of them all... and capable of “doing more things better than any other ...
Meat Beat Manifesto: Off Centre; Opsvik & Jennings: Floyel Files
by Mark F. Turner
On both sides of the pendulum the view of electronic music has swung from the mindsets of pseudo-musicians who think composing is as easy as pushing a few buttons to purists that believe that technology should never be a part of the creative process. These two releases though widely different in their approaches are clear examples ...
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