All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Los Angeles in the 1940s and '50s was a jazz incubator in search of a genre movement. The City of Angels found itself in the "cool" jazz given life by Miles Davis' famous nonet recordings of 1949, The Birth of the Cool (Capitol); not strictly accurate, but close enough for this purpose. All four these singers produced cool jazz, but that was after their stints in big bands during the last gasp of swing. Instrumentally, during this transitional period, West Coast jazz adopted a keen emphasis on arrangement, often to the point of over-arrangement. When a creative happy medium is achieved, the art of the arrangement is elevated to the level of composition; Kosins and company grasp this concept and run with it on To the Ladies of Cool.
Elegance and sophistication are two descriptors perfectly capturing Kosins' intention on To the Ladies of Cool. Pianist Tamir Hendelman arranged all of the songs, taking great care to balance the modern and contemporary with the 1950s' chic art of LA's Central Avenue. His instrumental and rhythmic figures are calculated and precise, but not at the expense of the songs' natural swing.
Kosins' voice is perfectly suited for the repertoire, being well- balanced and evenly distributed. She makes To the Ladies of Cool an effortless labor of love, and one given gladly.
Track Listing: Tracks: Learnin’ The Blues; Nightbird; Don’t Wait Up For Me; All I Need
Is You; Free and Easy; Hershey’s Kisses; Lullaby in Rhythm; November In
Twilight; Kissing Bug; Where Are You?.
Personnel: Kathy Kosins: vocals; Tamir Hendelman: piano; Kevin Axt: bass (1, 5, 7,
8, 10); Paul Keller: bass (2, 3, 4, 6, 9); Graham Dechter: guitar; Bob
Leatherbarrow: drums, vibs; Steve Wilkerson: woodwinds; Gilbert
Castellanos: trumpet, flugelhorn.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.