The English violinist transcribed with this first album the spirit of gypsy nights he runs every Wednesday evening "Aux Petits Players", the Parisian venue has become a benchmark in the gypsy jazz. At the first notes of "Urban Gypsy" the spirit of Stephane Grappelli and Django flat, but never stifle creativity of the musician. From the second title (sung), it is clear that we are not there in "imitation." Flirting with bossa nova, blues and folk, original compositions on the album (and "Minor Swing," the only cover) offer a personal vision of gypsy jazz, a nomadic jazz chooses to drink to multiple sources. A disc that refreshes the genre and artist to discover.
"Barenboim continues to favour a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas…John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus…but he does at all times create a lively personality, a force to be reckoned with…" (Gramophone)
The album was recorded live in the Studio, along with Daniel Ruiz Estrada (piano, organ), Steve Harrish (bass), Stephen Morin (drums) and played on three songs with Joe Murphy (harmonica).With what damn casual relaxed, he and the band interpreted here well-known and lesser-known songs, already bordering the insolence.Where a Gary Moore recorded his "walking by myself" on "Still got the Blues" in a violent way, Campbelljohn Estrada leaves the introduction to the song Daniel Ruiz on piano.Also vocally he brings out more quite a bit from the song, as it is capable of Moore at all."Walking by myself" is equipped with a slide solo, but the lion's share is part of the fine strumming of Estrada….
John Pizzarelli lays it all out in the title of his 2015 album: this tribute to Paul McCartney is designed for play in the smoky late-night hours, when everything turns sweet and mellow. Furthermore, this is a tribute to McCartney, not the Beatles. There isn't a Fab song to be found here, as Pizzarelli focuses entirely on Paul's solo work (for these intents and purposes, this includes Wings records), concentrating on the '70s but also sliding McCartney's Great American Songbook wannabe "My Valentine" into the mix.
This is the indispensable reference book on science fiction that now contains over 4,300 entries–a staggering 1,500 more than the original–and, at 1.2 million works, it is nearly half a million words longer than the first edition. For every reader who loves, uses and wishes to know more about science fiction.
In addition to being bandmates within Miles Davis' mid-'50s quintet, John Coltrane (tenor sax) and Red Garland (piano) head up a session featuring members from a concurrent version of the Red Garland Trio: Paul Chambers (bass) and Art Taylor (drums). This was the second date to feature the core of this band. A month earlier, several sides were cut that would end up on Coltrane's Lush Life album…
Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train – Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities…