An unusual sort of setting for tenor saxophonist Paul Jeffrey – an overlooked player from the east coast scene of the early 70s, and one who only cut a handful of records at the time! The date features Jack Wilkins on guitar, playing with these bright chromatic hues next to Jeffrey's sharper horn – a pairing that makes for an unusual sound, despite a familiar quartet setting – one that's even different from other matches of this nature, such as the work between Sonny Rollins and Jim Hall! Jeffrey's clearly got some bop roots here, but also opens up in other directions too – and the group features Thelonious Monk Jr on drums and Richard Davis on bass.
From 1964, Archie Shepp's first date as a leader featured – as one would expect from the title – four tunes by John Coltrane, his mentor, his major influence, and his bandleader. The fact that this album holds up better than almost any of Shepp's records nearly 40 years after the fact has plenty to do with the band he chose for this session, and everything to do with the arranging skills of trombonist Roswell Rudd. The band here is Shepp on tenor, John Tchicai on alto, Rudd on trombone, Trane's bassist Reggie Workman, and Ornette Coleman's drummer Charles Moffett. Even in 1964, this was a powerhouse, beginning with a bluesed-out wailing version of "Syeeda's Song Flute." This version is ingenious, with Shepp allowing Rudd to arrange for solos for himself and Tchicai up front and Rudd punching in the blues and gospel in the middle, before giving way to double time by Workman and Moffett. The rawness of the whole thing is so down-home you're ready to tell someone to pass the butter beans when listening.
This book focuses on a selection of 126 Impressionist and Post-Impressionist pictures from the Museum’s collection. It begins with the work of Johan Barthold Jongkind and Eugfcne Boudin, two painters who, in the early 1860s, exerted a strong influence on many of the young artists…
At the royal court in 17th-century England, musicians were expected to perform at high days and holidays: the king’s birthday, New Year, and when the monarch returned to London from his summer break. Purcell adds his usual musical panache and genius for word setting to such miniature jewels as the 15-minute Welcome, Viceregent of the Mighty King and Fly, Bold Rebellion, a seven-movement ode celebrating the king’s return to the Palace of Whitehall after the quelling of a “disloyal crowd.” Harry Christophers assembles musical forces in line with Purcell’s own, and all perform with flair and elegance.