Cecil Taylor to Don Byron. That dynamic, decades-long tradition is apparent on this CD, with the World Saxophone Quartet finding ways to adapt Ellington and Stra...
Cecil Taylor to Don Byron. That dynamic, decades-long tradition is apparent on this CD, with the World Saxophone Quartet finding ways to adapt Ellington and Stra...
Cecil Taylor to Don Byron. That dynamic, decades-long tradition is apparent on this CD, with the World Saxophone Quartet finding ways to adapt Ellington and Strayhorn classics to its four-saxophone format and free vocabulary. From the early '30s, the Ellington Orchestra always possessed a great reed section, and Duke excelled at wringing lush and varied textures from it. Those reed sections clearly inspired this project, with the sounds of Ellingtonians like Harry Carney, Johnny Hodges, and Russell Procope echoing here in the work of Julius Hemphill, Oliver Lake, David Murray, and Hamiet Bluiett. The gorgeous melody of "Come Sunday" inspires a superb solo from Murray, who reaches back through a tradition of radical tenor saxophonists to touch on the lyric wellspring of Ben Webster. Similarly, altoist Oliver Lake seems to use the leaping style of Eric Dolphy to reinvent "Prelude to a Kiss." The results are always intriguing, and this is among the WSQ's most durable recordings. --Stuart Broomer
Cecil Taylor to Don Byron. That dynamic, decades-long tradition is apparent on this CD, with the World Saxophone Quartet finding ways to adapt Ellington and Strayhorn classics to its four-saxophone format and free vocabulary. From the early '30s, the Ellington Orchestra always possessed a great reed section, and Duke excelled at wringing lush and varied textures from it. Those reed sections clearly inspired this project, with the sounds of Ellingtonians like Harry Carney, Johnny Hodges, and Russell Procope echoing here in the work of Julius Hemphill, Oliver Lake, David Murray, and Hamiet Bluiett. The gorgeous melody of "Come Sunday" inspires a superb solo from Murray, who reaches back through a tradition of radical tenor saxophonists to touch on the lyric wellspring of Ben Webster. Similarly, altoist Oliver Lake seems to use the leaping style of Eric Dolphy to reinvent "Prelude to a Kiss." The results are always intriguing, and this is among the WSQ's most durable recordings. --Stuart Broomer
World Saxophone Quartet Plays Duke Ellington, The - World Saxophone Quartet
Main specs
Title: World Saxophone Quartet Plays Duke Ellington, The
Performer: World Saxophone Quartet
Genre: Jazz Instrument
Sub Genre: Avant-Garde / Downtown
Release Date: 07/1994
Label / Distributor: Nonesuch / Cinram Logistics
Pieces in Set: 1
Studio / Live: Studio
Stereo: Stereo
Format: Performer
EAN: 75597913729
Catalogue Number: 7559791372
SPAR code: DDD
Additional notes
Album Notes: Personnel: Julius Hemphill, Oliver Lake (alto & soprano saxophones, flutes); David Murray (tenor saxophone, bass clarinet); Hamiet Bluiett (baritone saxophone, alto clarinet).
Advantages: Outstanding compositions and playing Disadvantages: None
...Stefano di Battista brings a welcome touch of Mediterranean warmth to the jazz quartet in this recording from 2000. And it's not just in the (endless!) dedications to his family in the acknowledgements, but in the flavour of his alto and, particularly, his soprano sax playing.
The three tracks where the quartet are joined by trumpeter Flavio Boltro are outstanding, as they yield dialogues between the two lead instruments as exciting as you will find on a recent issue.
There is a fine mixture of delicate and up-front playing. Debts are acknowledged (most openly on the boppish "Adderley"). All the tunes are composed by members of the quartet; the best among them are "Your Romance", "Song for Flavia" and "Time for a Solo" - the latter not just because of the nonchalance of its title.
Elvin Jones adds the benefit of his years of his...
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Ciao members have rated this review on average somewhat helpful
Advantages: SImply Brilliant music Disadvantages: Slightly too short
...beat on the drums. Gradually the rest of the quartet enters, bringing in such a great sound. Written in a 5/4 signature this track seems to swing, the beat is so strong. Not the best showcase for Brubeck's individual talent, but none-the -less is exactly what any fan of jazz is expecting to hear on a CD like this.
4)THREE TO GET READY: This is an extremely simple melody, made brilliant by the quality of the playing. Rather than overcomplicate the sound they keep each individual simple. Couple this with a classic 3/4 time signature the piece flows classically. This is another piece that is easy to listen to, no clashing notes or strange saxophone solos to contend with here!
5) KATHY'S WALTZ: A firm favourite with Brubeck fans, and it is easy to understand why. Dedicated to Brubeck's daughter this is again simple jazz. Morello carries...
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Ciao members have rated this review on average helpful
helpful 04.03.2008
Still Got The Licks Review ofStill Life (American Concert 1981) - Rolling Stones (The)by
SINATRA1
Advantages: The big comeback tour Disadvantages: Too many "b" sides
...What a comeback tour, sure there were a few bum notes from Ronnie Wood, sure Jagger tried to sound like a Yank the whole time, but just pop on the cd and remember how close they were to falling apart two years before and rejoice in the comeback.
From the little played classic of under my thumb to the devastating guitar into of start me up, the album has everything fot the diehard fan. Never has a DukeEllington track been used so well to open a rock CD (or will again). If you want to learn how big the stones were in the US at this time, listen to the audience reaction to start me up. Never has an into been greeted with such emotion. Even Motown soul gets the JAgger treatment with Smokey Robinsons "Just My Imagination" being given a new lease of life thanks to a blistering saxophone back up.This is the stones at their rawest and most...
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Ciao members have rated this review on average somewhat helpful
somewhat helpful 08.10.2002
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