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jasapaal
 Into the Rhythm
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2008: Martin Taylor - Double Standards |
Swing, Mainstream |
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 Artist: Martin Taylor Album: Double Standards Label: P3 Music Year: 2008 Format, bitrate: MP3, VBR Time: 52.4 minutes Size: 70,99 MB AMG Rating:  Martin Taylor has long been one of the most accomplished guitarists on the jazz scene and while he has performed with a number of different guitarists in a duo setting, this time around he chose to play duets with himself via overdubbing. Choosing a dozen tunes, including standards, jazz classics, and bossa novas, Taylor weaves masterful mostly improvised arrangements, recording one line while imagining what the accompanying part might sound like in his head as he was playing. The duo performance of Duke Ellington's "Drop Me Off in Harlem" is a highlight, with an intricate introduction and a punchy chart that swings like mad. One can just imagine how his old boss, the late Stéphane Grappelli, would have enjoyed taking part on this track, along with the buoyant setting of Toots Thielemans' engaging "Bluesette." His poignant take of "Young and Foolish" and light-hearted brisk waltz setting of "Alice in Wonderland," two gems not played very often in the early 21st century, are great melodies rejuvenated by his imaginative scoring. His intimate reading of "Estaté" and lyrical treatment of "Triste" almost seem to sing though there are no vocals. It's impossible not to break into a smile and think of pianist/vocalist Nat King Cole when Taylor offers his take of "When I Take My Sugar to Tea." Double Standards easily doubles the listening experience for jazz guitar fans from start to finish. ~ Ken Dryden, All Music Guide |
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1965-1966: John Coltrane - Infinity |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: John Coltrane Album: Inifinity Label: Impulse Years: 1965-1966; release: 1972 Format, bitrate: MP3 Time: 36.7 minutes Size: 50.06 MB Recorded at several sessions in the two years prior to his death but not issued until 1972, Infinity was the subject of much controversy among Coltrane aficionados when it finally appeared. The horror on the part of Coltrane purists was directed to the posthumous string arrangements written by Alice Coltrane, his widow, which were grafted onto the performances. But however much the strings softened or unnecessarily augmented the music, it must be said that Alice Coltrane really didn't do such a bad job and the ultimate result is an unusual and oddly attractive work. The juxtaposition of the fiery, very free playing of late Coltrane against the dreamy, consonant strings is seductively appealing and one might even make the argument that, given the increasing mystical proclivities of his later years and the presence of Eastern instruments in his ensemble, he may well have approved. The pieces include some of his more powerful late compositions such as "Leo" and "Peace on Earth," and his playing (with a rare smidgen of bass clarinet) is typically inspired, if not reaching the raging heights of releases like Live in Japan. Whatever problems the Coltrane ideologue may have with his wife's embroideries, Infinity still deserves a place in his/her collection. ~ Brian Olewnick, All Music Guide |
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1956,1958: Hampton Hawes - Bird Song |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Hampton Hawes Album: Bird Song Label: OJC/Contemporary Years: 1956,1958; release: 1999 Format, bitrate: MP3, 320 kb/s Size: 110 mb Total time: 55:27 AMG rating :  The essence of this set is Charlie Parker's numerous variations on "I Got Rhythm" and Parker's key blues-based tunes, such as "Confirmation." The result is a spirited, highly communicative session, where pianist Hampton Hawes gets to the core of the bop idiom. It's a mystery why these tracks from 1956 and 1958 went unreleased until 1999. They come from a key creative period in Hawes' career when he was enjoying new levels of commercial and critical acclaim. Regardless, the music has now been done justice in a well-mastered release that will please fans of Hawes and of bop piano in general. From a lesser artist, the dry, unadorned, direct style at the center of Hawes' playing could expose technical vulnerabilities. In Hawes' case, it exposes a natural, fluent grace of phrasing and rhythm. Each track is a freshly interpreted joy ride across familiar chord changes. Bassist Paul Chambers and drummer Larance Marable, not Hawes' regular partners from this period, are prominent, supportive parts of the pianist's heartbeat. Besides the Parker originals and Parker-derived themes, there are fine versions of several standards, "Yesterdays" and "Stella by Starlight" being just two deliriously swinging highlights. The three tracks from a 1958 date, with Scott LaFaro on bass and Frank Butler on drums, maintain the same joyous pulse of the earlier tracks. ~ Jim Todd, All Music guide |
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