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No question about it! Gooold is one heck of a goood recording. Ned Goold plays a mean tenor saxophone, backed only by bass and drums, and, in the process, conjures images of Sonny Rollins, by way perhaps, of Bennie Wallace and others. Goold pumps his horn with a very cool sound, with a distinctive attack that places notes solidly behind the beat. His light, airy, yet full tone can combine elements of Ben Webster and Lester Young, but with the confidence of Coleman Hawkins. The results are universally satisfactory, and the off-beat, unexpected turns straddle the harmonies as they hint of mysterious crevices explored. Bassist Ben Wolfe follows judiciously, if somewhat conservatively, while drummer Daniel Friedman kicks hard. The mix of standards (including "Epistrophy," "Sonny Boy" and "A Gal in Calico") with Goold originals, all played with disarming panache, works well. ~ Steve Loewy
eclectic tenor saxophonist (has played in the bands of both Harry Connick, Jr. & Ben Wolfe) debuts in a trio setting, performing originals & Broadway & obscure jazz standards
Personnel: Ned Goold (tenor saxophone); Daniel Freedman (drums).
Recording information: Sound on Sound Studios, New York, NY.
Ned Goold Goold Songs | 1. | Gooold | $0.99 | |
| 2. | Goold Bound | |
| 3. | Scapegrace | |
| 4. | Sonny Boy | |
| 5. | Epistrophy | |
| 6. | Gal in Calico, A | |
| 7. | Edsol | $0.99 | |
| 8. | Hazmat | |
| 9. | Who? | |
| 10. | Each Dog | |
| 11. | We'll Be the Same | |
| 12. | Michael vs. Mikan | $0.99 | |
| 13. | Thus This | |
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Goold Review
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Purchase Goold CD To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.
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It may or may not be significant that Diana Krall's first album of new material since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy album of her career. In any case, it marks Krall's biggest departure to date; THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that constituted her previous repertoire, and it contains her first recorded batch of original songs. It's possible that new husband Elvis Costello, who co-wrote all six of those tunes with his wife, was the agent provocateur. It's also feasible that Costello, who has previously recorded Mose Allison material and palled around with Tom Waits, nudged Krall toward such choice selections as Allison's bluesy plaint "Stop This World" and Waits's cocktail rhumba "Temptation." Nevertheless, Krall delivers them--like the rest of the songs here--in a misty, laconic style very consistent with her earlier work.
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