Michael Ullman
Wes Montgomery and Joe Pass are master jazz guitarists who sound nothing alike.
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.
On his live recordings, B.B. King displayed his brilliant use of stagecraft and pacing. He was one might call a mastro of manipulation.
“Cookin’ at the Queens” is an invaluable addition to the legacy of guitarist Emily Remler.
As usual, Elemental’s pressings are pristine and the packaging is artful and informative, with new photos.
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.
The music in Avishai Cohen’s album, written and recorded soon after Oct 7, expresses a persistent hopeful gentleness.
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.
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.
“Ornithology: The Best of Bird” might better be described as the best of Bird on Savoy.
Recent Comments