Michael Ullman
There are unplanned moments in this three LP collection, times when the musicians seem to be waiting to hear what is going to happen next. Something exciting usually does come out of their interactions.
What is most striking here is Paul Bley’s patience as a pianist, his practice of playing a chord or even a couple of notes and letting them hang in the air as if he were an outside observer, listening to their gradual fading.
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.
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