| | Brew Moore I Should Care CD - Import Brew Moore Discography of CDs
Recorded two weeks after his other Steeplechase set, If I Had You, the legendary but always somewhat overlooked tenor saxophonist Brew Moore (a disciple of Lester Young) is heard taking extended solos on four numbers during this radio broadcast from Copenhagen's Montmartre Jazzhus. The Steeplechase CD features Moore along with pianist Atli Bjorn, bassist Benny Nielsen, and drummer William Schiopffe sounding in top form on his "Brew's Blues," the standard "I Should Care," "Manny's Tune" (based on "Indiana"), and particularly "In a Mellotone." This set (which gets the edge over If I Had You) serves as a strong introduction to the talented but generally forgotten Brew Moore. ~ Scott Yanow Brew Moore I Should Care Songs | 1. | Brew's Blues |
| 2. | I Should Care |
| 3. | Manny's Tune |
| 4. | In A Mellotone |
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I Should Care Review
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Purchase I Should Care CD To buy, Click on price to add to cart | Roger Wolfe Kahn CD (2000)
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| | Terry Gibbs 52ND & Broadway: Songs Of The Bebop Era CD (2004)
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Terry Gibbs has left an indelible mark on the jazz world since 1947. With more than 65 albums to his credit and as the creator of over 300 compositions, the vibist continues to impress his fans with the addition of 52nd & Broadway: Songs of the Bebop Era to his repertoire. Gibbs pays homage to the jazz artists and their timeless standards with the accompaniment of an excellent rhythm section, a string section, and guest soloists James Moody, Nicholas Payton, Sam Most, and Tom Ranier. The 12-track recording opens with Monk's "Round Midnight," which Gibbs treats as a bossa nova. With two superior solos and sublime call and response from Gibbs on vibes and Payton on trumpet, this song is both reflective and buoyant. On Lester Young's blues "Jumping With Symphony Sid," tenor saxophonist master James Moody and Gibbs compliment each other with their bouncing bebop elements and share that personal quality so essential in great jazz. No homage to the Bebop Era would be complete without "Groovin' High," one of the signature songs from the time period. Great soloing from Gibbs, ...
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Saxophonist Sam Rivers certainly assembled a team of hot soloists for this album. However, his compositions are more than just vehicles for improvisation. Rivers's largely angular, even jarring, melodies clearly seek to define a new direction in jazz; they do not fall back on bebop forms or hard-bop funkiness. Each composition contains an abstract "head" and the harmonic underpinning flatly rejects the usual chord progressions found in most standard repertoire. On this 1965 date, Rivers and his band also avoid the blues format.
"Mellifluous Cacophony" (performed twice here) is one such example. On this composition, Rivers begins with an asymmetrical melody that suggests atonality. However, the soloing remains firmly rooted in the jazz lexicon, as pianist Herbie Hancock, trumpeter Freddie Hubbard, and Rivers himself rip into these changes with abandon. "Euterpe" ...
| | Terry Gibbs Feelin' Good: Live In Studio CD (2005)
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Vibraphonist Terry Gibbs invited select guest audience members into a studio for this recording, giving it the club date feel and interaction that usually pumps up the excitement quotient. Gibbs (age 80) also has added to his handpicked band the very exciting organist Joey DeFrancesco, adding more of the chitlin' circuit feel to the proceedings. With guitarist Dan Faehnle and tenor saxophonist Eric Alexander, this elevates the session further to a legitimate classic soul-jazz groove date. While vibes have been used before in this setting, and Gibbs is not the first, it is not typical in contemporary times. Many originals written by Gibbs, a few standards done differently, and the noticeable symmetry between the participants take these recordings to an even different plateau. The band works well together, and except for the sheer amplified volume level on DeFrancesco's organ, no one player dominates. There's some super hot hard bop here, starting with the soul-jazz flavored opener "Smoke 'Em Up" in a similar groove to "Got My Mojo Working," the 250 m.p.h. "Hot Rod" closer with ...
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Altoist Bud Shank recorded frequently as a leader during 1954-1969 for Richard Bock's Pacific Jazz and World Pacific labels, but very few of those diverse records (other than his collaborations with guitarist Laurindo Almeida) are currently available. ...
| | Ella Fitzgerald Fitzgerald & Pass...Again CD (1976)
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Digitally remastered by Joe Tarantino (1988, Fantasy Studios, Berkeley, California).
Joe Pass' virtuoso solo albums receive a lot of attention, but the guitarist actually shines brighter in tandem with Ella Fitzgerald. To paraphrase another guitarist, Jim Hall, having to play tennis without a net is the greater test of one's imagination and skill. Fitzgerald holds the dynamic reins. She croons ...
| | Challenge Experience Turn Around CD (2006) (Import)
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9 Mixes.
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A consummate Nashville songwriter, Jim Lauderdale has penned hits for folks like George Strait and Patty Loveless over the years, but he has long been underappreciated as a solo artist. One of Lauderdale's songwriting strengths is to craft seemingly simple tunes set around smart but not excessively clever lyrics, and several songs here serve as excellent case studies. On "Morning," he uses the start of the day as a metaphor to gently suggest the possibilities life holds that often slip by "as the afternoon pulls you away." The twangy, jazz-flavored "It's a Trap" utilizes the games cats and mice play to discuss human relationships. The title track, one of the disc's crowning glories, uses hummingbird imagery in a story of love renewed. Lauderdale's voice, while perhaps not slick enough for music row, is full of character and warmth. He can give a suitably rough edge to rocking honky tonk numbers like "There and Back Again" ...
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Baritone Thomas Buckner and saxophonist Roscoe Mitchell have been playing together for many years. The former's record label, Mutable Music, reissued early in 2001 the two Space LPs they ...
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Leggo Beast has a new album "Tales From The Crib" released on Big Chill Recordings (factor20). It's an upbeat, chunky gem and a departure from the more horizontal side of the Beast's musical output. It's been 2 years in the making, "Much of the time was spent just revising the way I work in the studio, trying to get rid of old habits and make the whole creative process more spontaneous, dynamic, refreshing" 14 years toil as a music producer under various guises, with Pork Recordings as one half of the Bullitnuts ...
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