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.
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.
Heard as a Miles Davis record pure and simple, Rubberband is one of the strongest from the comeback period.
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.
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