Jazz
Saxophonist Stan Getz knew whom to listen to and whom to borrow from, and the repertoire for the 1961 Village Gate gig was particularly satisfying.
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Emily Remler took a particularly clear-eyed view of her work. She didn’t want to be judged by a lesser standard because she was a woman in the overwhelmingly male world of jazz.
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Heard as a Miles Davis record pure and simple, Rubberband is one of the strongest from the comeback period.
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Octave is issuing twelve sessions (“newly restored and expanded”) of Erroll Garner material from the ’60s and ’70s, when the popular pianist was at the height of his career.
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For me, about half of the compositions here successfully reflect the artistic visions of the painters that inspired the music.
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Blue World is valuable for its pellucid recording of takes of tunes Coltrane’s fans already love. They will have to have it.
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Johnny Hodges was originally a Cambridge/Boston guy, and one of the most interesting sections of Con Chapman biography is his knowledgeable description of the local jazz scene in the 1910’s and ’20s.
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The powerful quartets on The People I Love and Terra Incognita work toward locating places beyond notation where, in each moment, new vistas may emerge.
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Nothing in this session reminds us of the age of the principals. That in itself, if not miraculous, is at least impressive.
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I left thinking that holding a blues (or a jazz) festival in every city and town would not be a bad idea. It’s a better way for municipalities to spend their money — with a surer payoff — than tax abatements for Amazon.
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Arts Remembrance: Tribute to Jazz Producer Alex Lemski