| | Cold Spring Jazz Quartet Same Place. Different Time. CD Cold Spring Jazz Quartet Discography of CDs
Cold Spring Jazz Quartet Mark Osteen, tenor, alto and soprano saxophones and vocalsBrian B. Smith, pianoGary Kerner, bassGreg Mack, drums and percussionFor over eight years Cold Spring Jazz Quartet has appeared regularly in nightclubs, restaurants and bookstores in the Baltimore-Washington area, winning a broad and loyal following. Now both devoted fans and new listeners can enjoy their music at home with the release of their long-awaited CD, Same Place. Different Time. The thirteen-song CD presents CSJQ's trademark diversity of styles. So you'll hear passionate performances of classic bop and hard bop instrumentals such as Bud Powell's "Webb City," Dexter Gordon's "Cheesecake," and Kenny Dorham's "Short Story," but you'll also be delighted by pianist Brian Smith's four distinctive compositions: the lovely title ballad; his two Latin-flavored pieces, "Quiet Are the Nights" and "Imagine That"; and his haunting 3/4 tune "Winter Wind." You'll also tap your feet to the group's exciting renditions of saxophonist Mark Osteen's gospel-inflected romp, "The Amen Corner," and his update of the twelve-bar blues form in "Cam's Blues." But what sets the group apart from other straight ahead quartets are Osteen's appealing vocals which, reflecting the influence of singers such as Nat "King" Cole, Mark Murphy and Kurt Elling, lend songs such as "Doxy," "The Old Country," and "It's All Right With Me" their piquant flavor. Mixing vocals and instrumentals, classics and new compositions, CSJQ offers a rich menu for any music lover. Same Place. Different Time. Music | Category | Jazz Albums | | Label | Cold Spring Jazz Quartet | | Orig Year | 2004 | | CD Universe Part number | 7160410 | | Catalog number | 7720 | | Discs | 1 | | Release Date | May 11, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Recording Time | 57 minutes |
Cold Spring Jazz Quartet Same Place. Different Time. Songs | 1. | Quiet Are the Nights |
| 2. | Doxy |
| 3. | Cheesecake |
| 4. | Winter Wind |
| 5. | Frim Fram Sauce, The |
| 6. | Same Place, Different Time |
| 7. | Cam's Blues |
| 8. | It's All Right With Me |
| 9. | Imagine That |
| 10. | Amen Corner, The |
| 11. | Webb City |
| 12. | (The Old Man From) The Old Country |
| 13. | Short Story |
| Same Place. Different Time. Review
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$15.05 Orchestral and choral arrangements of rock songs have been a curious subgenre ever since the mid-'60s when Andrew Loog Oldham arranged The Rolling Stones Songbook for syrupy strings, but The Kinks Choral Collection stands apart from the pack for the simple reason that it's not the project of some associate or admirer, but rather chief Kink Ray Davies. His very presence as arranger and lead vocal means The Kinks Choral Collection isn't nearly as stuffy and middlebrow as so many of these orchestral rock albums; he manages to inject some semblance of rock & roll by pushing ...
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This compilation hits a bull's-eye by pulling together two key sessions: Chick Corea's first as a leader, a blazing, advanced hard bop set from 1966, and Miroslav Vitous' Mountain in the Clouds, recorded in 1969 just prior to the bassist joining the original Weather Report. Corea's writing on Tones for Joan's Bones has an affinity with McCoy Tyner's seminal hard bop structures from this period. Tenor player Joe Farrell and trumpeter Woody Shaw are ideal for this music. They deliver virtuoso performances that are both visceral and cerebral. Steve Swallow, while later focusing exclusively on electric bass, often with a melodic, impressionistic approach, is pure thunder here. In a blindfold test his acoustic bass could be mistaken for Buster Williams'. Drummer Joe Chambers is all relentless, propulsive energy, but subtle too. Corea is a torrent of harmonic and melodic imagination, couched in unerring rhythm. On Vitous' fusion classic, Herbie Hancock's electric piano and John McLaughlin's electric guitar merge in a rich, dense, colorful foundation that affords Vitous and drummer Jack DeJohnette considerable freedom. McLaughlin combines the dreamy state he evokes on Miles Davis' In a Silent Way with the juddering rhythm attack heard on his own Extrapolation. Like Chambers, who actually takes the drum chair for two tracks, DeJohnette is powerful, creative, and passionate. The superbly recorded Vitous has a sound, technique, and concept that consistently sustain interest. Tenor giant Joe Henderson is on four tracks, including an intense, open-ended exploration of Eddie Harris' "Freedom Jazz Dance." Anybody with an interest in this vital and exciting period will find both of these sessions indispensable. ~ Jim Todd
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Steven HancoffSteve Hancoff's approach parallels Jelly-Roll Morton's notion of 'piano as band.' He translates the complex rhythms and polyphonies of band and piano jazz into the techniques he developed for the guitar...Amazing transcriptions and uncanny technical skills... (William Schafer, Mississippi Rag)Steve began playing guitar when he was 13 years old, captivated by the folk music craze of the 1960's. Within a year he was performing in coffee houses around Baltimore and Washington, DC.Steve began transcribing Scott Joplin's classic piano rags for the guitar when he was 23. Two years later, he attended his first ragtime festival in Joplin's hometown, Sedalia, Missouri. For the thrill of performing at the original Maple Leaf Club, he entered the competition there. Unaware of the uniqueness of his style, he was astonished when he won. This instantly attracted the attention and encouragement of Eubie Blake, Rudi Blesh, Trebor Tichenor, Max Morath and William Bolcom -- the judges and the Who's Who of the ragtime world. It also led to his recording two LP's of classic rags for the Dirty Shame label.He then put together his first CD, Steel String Guitar. Guitarists and ...
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