Michael Ullman
Wes Montgomery and Joe Pass are master jazz guitarists who sound nothing alike.
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The album’s message about the triumph of A.I. is unconvincing, but the music, with its variety of sounds and tempos, its zigzaggy shifts, written and improvised, is totally engrossing.
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On his live recordings, B.B. King displayed his brilliant use of stagecraft and pacing. He was one might call a mastro of manipulation.
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“Cookin’ at the Queens” is an invaluable addition to the legacy of guitarist Emily Remler.
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As usual, Elemental’s pressings are pristine and the packaging is artful and informative, with new photos.
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We should be grateful for Ohad Talmor’s wide-ranging curiosity, not only because of the detective work he put into the Ornette Coleman/Lee Konitz recordings, but because of his uniquely varied presentations of these mostly unknown pieces.
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The music in Avishai Cohen’s album, written and recorded soon after Oct 7, expresses a persistent hopeful gentleness.
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This 65-year-old recording features some of the best players in L.A. and it is bright, sharp, and revealing. There’s plenty to marvel at here even if I would have wished for more ballads and fewer Stan Kenton-like brass fanfares.
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The recording proves to be both an excellent example of Andrew Hill’s unusual creative methods, particularly the wonderful results he managed to get with ensembles.
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“Ornithology: The Best of Bird” might better be described as the best of Bird on Savoy.
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