Michael Ullman
The Regattabar, located in the Charles Hotel, re-opened after being shuttered for three years following the Covid epidemic.
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Listening to the superb “El Arte Del Bolero, Volume Two,” I feel that these are two masters who, while recalling their various ancestries, are talking to me.
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These witnesses to history are no longer playing with the fire of their youth, but they exude the confidence, warmth, and sure instincts of veterans.
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Trumpeter Terell Stafford never seems to be straining; he can be exuberant without sounding brassy.
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Three re-issued albums reinforce the claim that jazz recordings hit their peak from 1956 to 1964.
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The music this band produced was famously challenging: it was also often surprisingly beautiful.
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Lost amid a flood of new music in the early ’70s, the three lps under review here never received their due.
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The clarity and focus of Ron Carter’s bass is exemplary here, as is the balance with Richard Galliano’s accordion.
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Keith Jarrett has said that he thinks there is room for C.P.E. Bach recordings on a modern piano. He proves himself right with these 1994 recordings.
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Thelonious Monk can sound like someone skipping (or even tripping) — and yet the swing is there.
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Book Interview: Heather Cox Richardson on “Democracy Awakening”