Tom Harrell - Light On Year: 2007
Style or Subgenre: Mainstream Jazz, Post Bop
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Tom Harrell really seems to have a knack for making accessible, even safe sounding jazz that still holds interest and reveals additional depth upon repeated listenings. This album of all originals composed by Harrell himself puts that phenomenon on full display. Harrell spends most of his time giving us his gorgeously smooth brass tone, but when appropriate lets those valves rip. The most aggressive solos generally come from tenor Wayne Escoffery. Danny Grissett gives us good variety playing well on both acoustic and electric keys. And there are times drummer Johnathan Blake really grabs you. This is a very solid mainstream-ish but contemporary outing.
Brian Shankar Adler - Fourth Dimension Year: 2019
Style or Subgenre: Post Bop, Avant Garde, Progressive Jazz
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I found this 2019 release to be highly intriguing as well as an enjoyable listen. Leader Adler is a dynamic percussionist and this album certainly doesn't lack for excellent banging. But the real intrigue on the album comes from the complex, often progressive compositions, that unfold in all sorts of exotic counterpoint, especially between pianist Santiago Leibon and vibraphonist Matt Moran. Add in some superb distortion guitar from Johnathan Goldberg and you get a real winner.
Ruth Price - Ruth Price with Shelly Manne & His Men at the Manne Hole Year: 1961
Style or Subgenre: Vocal Jazz
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I wanted to like this more than I did, especially given the accompaniment. Price is certainly an accomplished vocalist, but there was often a brassy timbre to her voice that didn't really fit my ear.
Grant Green - Alive! Year: 1970
Style or Subgenre: Hard Bop, Soul Jazz, Jazz Funk, Guitar Jazz
Grant Green Alive!
Alive indeed!
Alive.... soulful.... and super funky. Yeah, the ol' hard bop master really gets the funk out on this one, but without totally dropping his hard bop roots. The result is a singularly excellent live set at the turn of the decade. A full five archtop guitars for this one. Oh, and the rest of the sextet ain't shabby either.
Ahmed Abdullah - Liquid Magic Recording Date: 1987
Release Date: 1992
Style or Subgenre: Post Bop, Avant Garde, World Jazz
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This was a fascinating album. Ahmed Abdulla was a trumpeter for Sun Ra and as such you would expect to hear all sorts of exploration and aggressively modern, far out sounds. There are definitely strong hints of that, especially as Abdullah employs a number of Don Cherry-like stylings and techniques. But this album is very melodic. Nothing here to scare off those squeamish about the avant garde. In fact, as much as I heard Cherry, I also heard the spirit of the likes of Al Hirt and even Herb Alpert. This is highly accessible exploration. A number of world jazz sounds are employed, all to good effect, giving the album solid variety. Most importantly though, the album plays with a light heart without ever descending into jazz lite. In that vein, I almost couldn't help but think of Vince Gauraldi at times. This is fun.... but serious enough to be serious fun.
Tina May - One Fine Day Recording Date: 1999
Release Date: 2000
Style or Subgenre: Vocal Jazz
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Voice, phrasing, great material, excellent accompaniment.... this is everything I need to really get into a vocal jazz album. I'll definitely be looking for more from this artist.
Derek Smith/Dick Katz/Rene Urtreger - Jazz Piano International Year: 1958
Style or Subgenre: Piano Jazz
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This album has a few cuts each from trios led by the three international pianists: Derek Smith (England) Dick Katz (U.S.) Rene Urtreger (France). Critics say there's nothing challenging here, no new ground broken, nothing lock in your brain memorable... and I couldn't argue with any of that. But the album is loaded with the most delightful, even joyous trio music. This is put a smile on your face music, even if it doesn't fully engage the intellect or emotions.
McCoy Tyner - Extensions
Recording Date: 1970
Release Date: 1973
Style or Subgenre: Post Bop, Modal Jazz, Spiritual Jazz
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I needed an old friend, but a conversation not already overly familiar. That in mind, I reached for this wonderful but less heard outing from my favorite pianist, McCoy Tyner. While this album may not peak any of the elements that make Tyner elite, all the things that make Tyner great are here in force. The powerful left hand, the inventive harmonics, the verve for life and expression.... all there for sure. While not overt, Tyner has always had slight spiritual bent to his music and that is further enhanced here by the presence of Alice Coltrane's harp. Also of note, saxman Wayne Shorter is on fire on this album. Yes, I think this album is everything a Tyner album should be, but in it's own distinct way.
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