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A Love Supreme (Remaster)
A Love Supreme is a suite about redemption, a work of pure spirit and song, that encapsulates all the struggles and aspirations of the 1960s. Following hard on the heels of the lyrical, swinging Crescent, A Love Supreme heralded Coltrane's search for spiritual and musical freedom, as expressed through polyrhythms, modalities, and purely vertical forms that seemed strange to some jazz purists, but which captivated more adventurous listeners (and rock fellow travelers such as the Jimi Hendrix Experience, Cream, and the Byrds), while initiating a series of volatile, unruly prayer offerings, including Kulu Su Mama, Ascension, Om, Meditations, Expression, Interstellar Space. From the urgent speech-like timbre of his tenor, to the serpentine textures and earthy groove of Elvin Jones's drumming, Coltrane's suite proceeds with escalating intensity, conveying a hard-fought wisdom and a beckoning serenity in the prayer-like drones of "Psalm," where Jones rolls and rumbles like thunder as Garrison and Tyner toll away suggestively--all the while Coltrane searches for that one climactic note worthy of the love he wants to share. Click here for more information or to order this CD.
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All For You: A Dedication To
The Nat King Cole Trio
All for You is a tribute to the Nat King Cole Trio of the
1940s, when Cole performed as both a singer and a pianist. Krall, like
her heroes Lena Horne and Carmen McRae, is also a singer/pianist, and
she plays both roles on 11 of the 12 songs here. Krall doesn't possess
an overpowering voice nor dazzling dexterity at the keyboard, but she's
able to link her singing to her playing in sympathetic ways and to project
tremendous feeling through both. Click here for more information or to order this CD.
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Ballads (Remaster)
In 1962 John Coltrane was under assault from conservative critics who had labeled his tumultuous extended performances "anti-jazz." In response he entered the studios to create this classic collection of both well known and obscure ballads. Coltrane was one of jazz's greatest ballad players, a fact sometimes overlooked in the controversy that swirled about his work, and his lyrical gifts are in sharp relief here. They're transmitted through one of the most beautiful tones that jazz has ever produced, suggesting a rare metal that has just been discovered. The material brings out the best in pianist McCoy Tyner, who is prominently featured and whose harmonic subtlety and limpid grace shine throughout. Click here for more information or to order this CD.
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Body Language
As learned from the broad-based popularity of his previous albums, people turn to saxophonist Boney James to do one thing: create sultry audio backdrops well suited for mingling, small talk, and romantic notions. James, rotating between tenor, soprano, and alto saxophones, faithfully delivers more of those goods on this, his sixth album. The mood sustained throughout all nine tracks (42-plus minutes runtime) is urbane, low-key, and cue-ball smooth. Chelle Davis provides breathy background vocals on the slow-grooving opening track, "Are You Ready?" and R&B crooners Shai take a more foreground role on the sweetly disarming "I'll Always Love You." Perhaps the album's most attractive cut is the slow urban crawl of "Boneyizm," with subdued interplay between James's tenor sax and Rick Braun's flügelhorn. Nothing shrill, outrageous, new, or significant awaits here, simply an engaging and pleasant listen. Click here for more information or to order this CD.
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Come By Me
People first smitten with Harry Connick Jr . due to his easy, timeless charm and swoon-worthy croon on the 1989 soundtrack When Harry Met Sally are in for a big treat. Come by Me, a delightful sequence of treasures both old and new, is Connick's first big-band record since 1991's Blue Light, Red Light. What's not to like? With equal precision and confidence, Connick and his 16-piece band (and at times a full symphony orchestra) move seamlessly between the boisterous self-penned title cut, the Mancini standard "Charade," and the Cole Porter gem "Love for Sale." He gives a straight and moving voice and piano take on "Danny Boy," a stepped-up freshness to "There's No Business Like Show Business," and "Cry Me a River," following his unique vision, becomes an emotionally broken Bourbon Street funereal march. Strings swell, horns wail and skronk, high hats tap time, and those magic fingers dance across the keys. All told, Come by Me is a welcome invitation. Click here for more information or to order this CD.
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From Manhattan to Staten
Bridging the channel between smooth jazz and hip-bop/acid jazz are Down to the Bone, a band that mixes live horns with grooves and beats and comes up with something classy smooth. Down to the Bone are more about the dance floor than the listening room, but they do spice the mix with some up-front horn charts and often use interesting instrumentation (is that an oboe?) to keep things moving. Click here for more information or to order this CD.
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From Q, With Love Vols. 1 &
2
From Q, With Love is mature stuff, and while grown-up might mean shimmering and studied, in Quincy's hands, it never means dull. Somehow this collection of 25 love songs ... rises above the usual smarm. Click here for more information or to order this CD.
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Gershwin's World
Perhaps the most ambitious of album tributes to George Gershwin on the occasion of the 100th anniversary of his birth, Gershwin's World earns its title by encompassing not only jazz versions of key pop songs from his catalog and a version (with the Orpheus Chamber Orchestra) of his Prelude in C-Sharp Minor but also reminding us of the composer's sources in everything from Ellington, W.C. Handy, and stride pianist James P. Johnson to Ravel. Those four are represented by versions of key pieces that affected Gershwin, in a bid to place his achievement in a context that is often discussed but perhaps too little listened to. This is an album that could have been a massive, pretentious failure; instead, with the likes of Wayne Shorter and a nearly unrecognizably torchy Joni Mitchell on hand, it's as close to a triumph as this type of thing reaches. Click here for more information or to order this CD.
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Getz/Gilberto [ORIGINAL RECORDING
REMASTERED]
Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist João Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd. Jazz Samba remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of Getz/Gilberto since the company did not want to compete with its own hit; it was a good thing he did. Getz/Gilberto, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." Getz/Gilberto spent 96 weeks in the charts and won four Grammy's. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. Click here for more information or to order this CD.
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Jim Hall & Pat Metheny
The presence of Pat Metheny on Jim Hall's 1998 By Arrangement fulfilled the younger guitarist's long-standing dream of recording with Hall. But these duets confirm how beautiful their performing together could become. Unlike many encounters between high-profile guitarists, these recordings, from both a New York studio and a Pittsburgh concert, show no sense of competition or interest in displays of empty virtuosity. Instead, the CD's true to the enduring spirit of Hall's music, emphasizing interaction and a subtle complexity. Hall plays the lightly amplified electric guitar that is his trademark, with a gorgeous liquid tone, while Metheny brings a bevy of instruments to the meeting, including a standard electric (no synth), several acoustics--including a fretless classical--and his 42-string model for some remarkably harplike effects. There's tremendous variety in the music and thought in the choices of tunes and approaches. "The Birds and the Bees," played in memory of its composer, the late guitarist Attila Zoller, has a haunting depth, while the frequently played "Summertime" achieves a new identity in Metheny's arrangement, with spare and vibrant lead contrasting with animated rhythm guitar. Both musicians are adept composers, and highlights include Metheny's "Ballad X" and Hall's increasingly propulsive "Cold Spring." Given that Hall participated in one of the first recorded examples of free improvisation, "Free Form" with the Chico Hamilton Quintet in 1955, and Metheny has recorded with the British avant-gardist Derek Bailey, it's fitting that the two guitarists test the limits of their empathy in five brief and intriguing collective improvisations that sometimes explore unusual textures and microtonal harmonies. Whatever the material, though, the earmarks of the set are a quiet energy and a sustained lyric invention that invite and reward repeated listenings. The recording quality is superb, capturing every nuance of this music that seems to live near the core of the jazz guitar ethos. Click here for more information or to order this CD.
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John Coltrane & Johnny Hartman
[Remaster]
This is one of the three all-ballad albums that John Coltrane recorded in late 1962 and early 1963. Johnny Hartman was apparently Coltrane's suggestion, and his deep, dark voice meshes perfectly here with Coltrane's tenor. The material is well-chosen, including definitive readings of "My One and Only Love" and "Lush Life." McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner. This is beautiful jazz. Click here for more information or to order this CD.
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![Jazz Music - Joao Gilberto, Stan Getz : Getz/Gilberto [ORIGINAL RECORDING REMASTERED] Cd](getz.gif)
![Jazz Music - Johnny Hartman, John Coltrane : John Coltrane & Johnny Hartman [Remaster] Cd](johnhartman.gif)
