Jazz
The musicians assembled here for the updated recordings of tunes from fifty years ago are first-rate, and Peggy Lee still convincingly inhabits a wide range of material.
Gigs by superb bands led by Mary Halvorson and Mehmet Ali Sanlıkol at the Regattabar.
The McCoy Tyner Legacy Band, in a program called “Blues on the Corner” had it all: the unrelenting, all-enveloping power that was a hallmark of Coltrane’s bands, but also an attention to dynamics, detail, and, most important, melody.
A rare chance to listen to saxophonist Charlie Rouse with a biggish band, the new “Cinnamon Flower” is a welcome set.
Ideally, if the verse and the music work seamlessly together, they can create a third kind of art that is neither fish nor fowl. It can stand alone on its own merits.
Pianist Marcus Roberts is aware of the artistic community’s criticism of AI, but maintains an attitude of optimism tempered by realism.
Recommendations for albums from multi-instrumentalist Roger Glenn and vibraphonist Mike Freeman.
Aruán Ortiz’s energy, his skill at creating surprises and variations, and his impressive keyboard mastery make his solo album fascinating.
At the age of 80, pianist Keith Jarrett can no longer perform, but his legacy is secure. “At the Deer Head Inn” is a significant part of it.
Perhaps the most well-known jazz piano-vocal duo recordings were made in 1975 by Bill Evans and Tony Bennett. For me, these performances are sui generis — a high-water mark of the form.
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