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The Other Side of Ellington
By Wilson-Berkman-Frahm-McCann-Allison
Label: Palmetto Records
Released: 2000
Lee Konitz Plays French Impressionist Music from the 20th Century
By Lee Konitz
Label: Palmetto Records
Released: 2000
Track listing: 1. Bandar-Log 2. Colibir 3. Sur Un Lanterne 4. Reverie 5. Berceuse Sur le Nom De Gabriel Faure 6. L
Lee Konitz: Lee Konitz Plays French Impressionist Music from the 20th Century
by David Adler
Joined by the Axis String Quartet, alto sax veteran Lee Konitz puts a very unique spin on pieces from French Impressionist repertoire. Claude Debussy is the album’s most prevalent composer, represented by “Rêverie," “Soupir," and “Valse Romantique." Erik Satie is a close second with “Sur Un Lanterne" and “Seul à La Maison." There are also pieces ...
Thirteen Ways: Focus
by AAJ Staff
Focus, the second record by the trio of Fred Hersch, Michael Moore, and Gerry Hemingway, continues with the same emphasis on intimacy and subtlety found on their self-titled debut. To quote from the fifth verse of the Wallace Stevens poem “Thirteen Ways of Looking at a Blackbird": I do not know which to prefer ...
The Mass: Collective Identity
by Glenn Astarita
The all saxophone quartet, “Collective Identity” was formed due to woodwind specialist Alex Harding’s affinity for the world renowned “World Saxophone Quartet” as this band also features Sam Newsome, Jorge Sylvester and Aaron Stewart. And while the results are somewhat mixed, the band turns in a multidimensional rendition of Wayne Shorter’s classic, “Nefertiti” as they expound ...
Joel Frahm: The Navigator
by David Adler
Joel Frahm’s second Palmetto release again features the fabulous pianist David Berkman, who contributed four of the album’s 10 tracks. Scott Colley and Billy Drummond lay down the rhythm on this terrific set, which also includes four of Frahm’s originals, a no-frills “My One and Only Love," and a soul-style tune by Matt Wilson titled “Hymn ...
Joel Frahm: The Navigator
by Mark Corroto
Joel Frahm’s second disc as leader has all the trappings of a John Coltrane legacy recording. Sure that’s a heavy burden, but one he proves worthy. Like his 1999 disc Sorry, No Decaf, Frahm mines hard-bop with a self-admission (like Coltrane) that he is not comfortable on up-tempo tunes. Fine, grace not speed signifies great art. ...
