Jazz
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.
For me, about half of the compositions here successfully reflect the artistic visions of the painters that inspired the music.
Blue World is valuable for its pellucid recording of takes of tunes Coltrane’s fans already love. They will have to have it.
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.
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.
Nothing in this session reminds us of the age of the principals. That in itself, if not miraculous, is at least impressive.
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.
“It’s not something to be tolerated,” saxophonist Kamasi Washington said. “It’s something to be celebrated.”
Melhor do que isso só mesmo o silêncio, melhor do que o silêncio só joão (The only thing better than [music] is silence, the only thing better than silence is João)—Caetano Veloso (“Pra Ninguém”)
This year’s Montreal Jazz Festival Festival would have been more successful had it not been for all the construction ripping apart the city.
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