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Sombras De Noite (Night Shadows)
Album: Secrets from the Jazz Ghetto
By George Kahn
Label: Playing Records
Released: 2010
Duration: 4:47
George Kahn: Secrets from the Jazz Ghetto
by Edward Blanco
West Coast jazz pianist George Kahn revisits past successes on Secrets From The Jazz Ghetto selecting some of his best compositions from five of his previous six albums for this compilation recording. This seventh outing contains 26 pieces covering a range of styles from contemporary to bebop, and from Bossa Nova to Latin and Cool jazz. ...
Cover Up!
By George Kahn
Label: Playing Records
Released: 2009
Track listing: Sunshine of Your Love; Wes' Coast; Mr. K.V.; Use Me; Eleanor Rigby; Mitchell's Blues; Cover Up!; Yesterday/Yesterdays; Comfortably Numb; Waiting On The World To Change; My Favorite Things.
George Kahn: Cover Up!
by Edward Blanco
West Coast jazz pianist George Kahn presents fresh new arrangements to pop and rock tunes associated with such groups as Cream, The Beatles, Pink Floyd, Bill Withers and John Mayer, in a sense redefining or adding to the controversy, or, as the title of his album would suggest, the Cover Up! of what truly defines the ...
George Kahn: Cover Up!
by Jay Deshpande
In the liner notes to Cover Up!, George Kahn discusses his goal of drawing upon the heritage of west coast jazz. For most people, this brings to mind Gerry Mulligan, Chet Baker, or the Lighthouse All Stars. For Kahn, though, it means a particular way of portraying the popular songs of his youth--tunes ...
Wes' Coast
Album: Cover Up!
By George Kahn
Label: Playing Records
Released: 2009
Duration: 5:00
Gnome Sayin'
Album: ...Compared to What?
By George Kahn
Label: Playing Records
Released: 2004
Duration: 05:59
...Compared to What?
By George Kahn
Label: Playing Records
Released: 2004
Track listing: On Green Dolphin Street, Mercedes for the Lady, Compared to What, 5 to Get Ready 10 to Go, Too Much Sax, Woodstock, Soul Sauce, Gnomesyain', Alice in Wonderland, The Hero's Journey
George Kahn: ...Compared to What?
by Dan McClenaghan
This crisp, well-crafted, straight-ahead (mostly) set opens auspiciously, with tenor saxophonist Justo Almario wandering into the studio blowing solo, wailing, strolling around seemingly aimlessly; but you can feel there's a method to his melodic madness. About a minute later the bass throbs in behind him with repeated two note statements, followed by the drums, and finally ...
