Home » Search Center » Results: Samuel Chell
Results for "Samuel Chell"
Spike Robinson: I Wish I Knew: Live in Dublin 1979
by Samuel Chell
This release, dedicated to jazz promoter, producer and late founder of the German label bearing his name, Nagel Heyer, should come as a pleasant surprise to the fans of tenor saxophonist Spike Robinson. It had seemed almost certain that The CTS Session (Hep, 2005) was the final chapter in the story of this musician from Kenosha, ...
Joey DeFrancesco: Live: The Authorized Bootleg
by Samuel Chell
Organist Joey DeFrancesco deserves credit for showcasing some comparatively neglected voices on the music scene, like tenor saxophonist Houston Person and clarinetist Mort Weiss. George Coleman, the featured guest on this outing, came up playing alto (Lee Morgan, City Lights, Blue Note 1957), though he would soon shift exclusively to tenor while retaining much of the ...
Helen Merrill: The Helen Merrill-Dick Katz Sessions and Casa Forte
by Samuel Chell
Music-making, from conception to realization, is contaminated by the rhetoric of personality. And even more than instrumental music, vocal performances are often poorly served by language focused on the desires and disappointments, frustrations and satisfactions of the artist's “self" rather than on the “art." But quite apart from the self-expression (since the Romantic era, a birthright ...
Miles Davis: Someday My Prince Will Come
by Samuel Chell
Miles Davis Someday My Prince Will Come Sony BMG 2008 Recorded over the course of three days in April of 1961, Someday My Prince Will Come is at once a curiosity and a masterpiece, a recording that not only captures trumpeter Miles Davis' group in ...
Ari Erev: About Time
by Samuel Chell
Ari Erev About Time A.B.C.D. Music 2008 A reviewer is no longer doing a new pianist or the listener any favors (let alone earning his or her keep) by invoking the name of Bill Evans. Yet Israeli pianist Ari Erev all but makes unavoidable some reference to the seminal predecessor ...
Toscha Comeau: This Could Be Love
by Samuel Chell
"How can you separate the dancer from the dance?" When the poet W.B. Yeats asked this paradoxical, rhetorical question to express the organic, indivisible relation between the artist and his or her creative work, he couldn't have had so-called “contemporary," or “smooth," jazz in mind. There's no shortage of superior musicians paying the rent by playing ...
Dave Brubeck: Jazz Goes to College
by Samuel Chell
It's out again, and affordable. But shame on Sony/Columbia for ignoring this essential recording for twenty years, resulting in prohibitive collectors' prices. This was Brubeck-Desmond's greatest period, before the comparatively sterile, more formulaic studio albums, including Time Out (Columbia, 1959). And shame on those (including this writer) who ever dismissed this recording as too white, too ...
Roy Eldridge: Coleman Hawkins and Roy Eldridge All-Stars at Newport
by Samuel Chell
After the triumphant, news-making appearance by the Duke Ellington Orchestra the preceding year, the 1957 Newport Jazz Festival was eagerly awaited by Verve impresario Norman Granz, no doubt hopeful of replicating the success of the best-selling album of Ellington's entire career (Ellington at Newport 1956 Complete, Columbia/Legacy). Although Verve's releases marking the 50th anniversary of the ...
Lee Morgan: Lee Morgan
by Samuel Chell
Were it not for the mature and ceaselessly lyrical contributions of tenor saxophonist Hank Mobley, this RVG remaster of an eponymous 1956 Lee Morgan date (subtitled, on the backside of the album, Volume 2: Sextet) would appeal only to Morgan completists. The trumpeter's early Blue Note recordings and meteoric rise have already been documented by a ...
Cannonball Adderley: The Cannonball Adderley Sextet in New York
by Samuel Chell
Jazz musicians are antisocial when measured by the public's standards. Tell someone you're a musician, and the response is: “What's the name of your group?" Truth of the matter is that, the MJQ and Art Blakey notwithstanding, group identity seems an ill fit with the music's emphasis on individual expression. For this reason, it's all too ...
Giveaway
Days remaining: 16
