All Categories — All Formats  

Great recent work from legendary bassist Chuck Israels – a player known for his famous work with Bill Evans, but a musician who's just kept on growing over the years! This set's got a great 50s modern jazz vibe – bass by Israels and guitar from co-leader Axel Hagen – in a setting that also features drums from Peter Kahlenborn and tenor and clarinet from John Ruocco. The bass and guitar often take the lead – in ways that echo the vibe of an older Jim Hall-styled session – and when clarinet's in the mix, there's a wonderfully open style to the record – not exactly the Jimmy Giuffre trio on Atlantic, but not far off either! Titles include "Koko", "Slow Freight", "The Boy Next Door", "Chaconne A Son Gout", "The Sweetest Sounds", and "Minor Tributary".

The self-titled debut of Mostly Other People Do The Killing – an exciting NYC quartet that manages to both celebrate and skewer jazz traditions, blending the past with modern experimentalism – and also making simply exciting records that are a joyful blast! These guys have chops, dexterity and smarts – but they somehow strip all pretenses down to the bone and make viscerally enjoyable compositions. Players include bassist Moppa Elliot, trumpet from Peter Evans, Jon Irabagon on sax, and drums by Kevin Shea. Titles include "Elliot Mills", "Between Panic And Desire", "Good Intent", "Moanin", the 13+ minute "Aspers" and more.

Marvelous work from Mostly Other People Do The Killing – and a record that's quite different from its cheesy looking cover! The quartet never fail to amaze us with their creative energy – and this time around, they're paying homage to that moment in 80s jazz when the underground was brimming up in the mainstream – that great point when creative musicians were finding wider exposure on labels like Columbia, Novus, or Blue Note – yet still serving up sounds that were true to their roots. The cheesy packaging is a nod to the visual aesthetics of the time – and the music is a great contrast, which was not uncommon for the period – lots of sharp reeds from Jon Irabagon, percolatedly soulful trumpet riffs from Peter Evans, snapping percussion from Kevin Shea, and these warm, round, deep lines on acoustic bass from Moppa Elliott – who also wrote and produced the set. Titles include "Sayre", "President Polk", "Can't Tell Shipp From Shohola", "Hearts Content", "Jersey Shore", and "Dexter, Wayne, & Mobley".

Marvelous work from Mostly Other People Do The Killing – and a record that's quite different from its cheesy looking cover! The quartet never fail to amaze us with their creative energy – and this time around, they're paying homage to that moment in 80s jazz when the underground was brimming up in the mainstream – that great point when creative musicians were finding wider exposure on labels like Columbia, Novus, or Blue Note – yet still serving up sounds that were true to their roots. The cheesy packaging is a nod to the visual aesthetics of the time – and the music is a great contrast, which was not uncommon for the period – lots of sharp reeds from Jon Irabagon, percolatedly soulful trumpet riffs from Peter Evans, snapping percussion from Kevin Shea, and these warm, round, deep lines on acoustic bass from Moppa Elliott – who also wrote and produced the set. Titles include "Sayre", "President Polk", "Can't Tell Shipp From Shohola", "Hearts Content", "Jersey Shore", and "Dexter, Wayne, & Mobley".

A really exciting avant jazz set from Mostly Other People Do The Killing – a killer quartet who manage to roll through a wide variety of styles that show a true depth of understanding of some of the greatest jazz of the past half century – and have a heck of great time playing it! Ostensibly a tribute to Ornette Coleman, MOPDTK do a lot more than pay homage to a master on this album. They manage to roll in and out of elements of hard and post bop, nod reverently to the international 60s avant garde scenes, and so much more – all with infectious enthusiasm. It would be mess in lesser hands, but these guys pull it off! Players include Peter Evans on trumpet, Kevin Shea on drums, Jon Irabagon on sax and Moppa Elliot on double bass. Titles include "Drainlick", "Two Boot Jacks", "Fagundus", "The Bats In Belfry", "East Orwell", "My Delightful Muse", "Allentown" and more.

A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin!

Gil plays Jimi? Sounds like a gimmick, but it comes off pretty darn great – and it helps you forgive him for trying to convince the kids that he's not as old as his grey hair might make you think! As always with Evans, the key to the album is a beautiful balance between the strength of the players and vision of the arrangements – a hip mix of musicians who include Billy Harper on tenor and flute, Marvin Hannibal Peterson on trumpet, and both Ryo Kawasaki and John Abercrombie on guitars! Arrangements are great too – handled by Tom Malone, Warren Smith, and Howard Johnson – all of whom make the album way more than just an instrumental reading of Jimi Hendrix tunes – and instead a great platform for improvisation that uses tunes that include "Up From The Skies", "Foxy Lady", "Gypsy Eyes", "Voodoo Chile", "Angel", "Crosstown Traffic", and "Castles Made of Sand".

A pretty great 70s album from Gil – with some nice electric playing, and a good groove on the best cuts! The overall approach is still very striking – a 70s equivalent to Gil's famous 60s work – and as always with Evans, the players in the ensemble are impeccably well-chosen, with giants like Hannibal Marvin Peterson, Billy Harper, Ryo Kawasaki, Joe Gallivan, and a young Dave Sanborn handling the solos. Includes the odd spacey Tony Williams number "There Comes A Time", plus a cover of Hendrix's "Little Wing" – both of which have vocals by Peterson. Other tracks include "Aftermath Of The Fourth Movement Children Of The Fire", "Anita's Dance", and "Makes Her Move".

Features Hannibal Marvin Peterson on trumpet, Arthur Blythe on alto and soprano, George Dadams on tenor and soprano sax, Masabumi Kikuchi on organ, Pete Levin on clavinet and moog, and Gil Evans on electric piano!

Gil plays Jimi? Sounds like a gimmick, but it comes off pretty darn great – and it helps you forgive him for trying to convince the kids that he's not as old as his grey hair might make you think! As always with Evans, the key to the album is a beautiful balance between the strength of the players and vision of the arrangements – a hip mix of musicians who include Billy Harper on tenor and flute, Marvin Hannibal Peterson on trumpet, and both Ryo Kawasaki and John Abercrombie on guitars! Arrangements are great too – handled by Tom Malone, Warren Smith, and Howard Johnson – all of whom make the album way more than just an instrumental reading of Jimi Hendrix tunes – and instead a great platform for improvisation that uses tunes that include "Up From The Skies", "Foxy Lady", "Gypsy Eyes", "Voodoo Chile", "Angel", "Crosstown Traffic", and "Castles Made of Sand". CD features 4 bonus alternate takes, too!