The guitar of Toninho Horta is always a treat, but on this 2005 album it's made even better by some lyrically light flute work from Nicola Stilo! The set's got a dreamy quality that really gets at the gentler sound of Horta's work on guitar – and a few tunes even feature his vocals, singing in a laidback way that has echoes of the earlier bossa era, but a more gently jazzy approach overall. Stilo plays a variety of flutes on the set, and titles include a great version of Coltrane's "Naima", plus "Very Early", "Vento", "My Ideal", "In A Sentimental Mood", "Meu Canario", "Bons Amigos", and "Illusion".
The subtitle of Burning Your Playhouse Down makes plain that this compilation rounds up scraps from the Possum's vaults – unreleased cuts not from the '60s or '70s, but a more recent vintage, as this relies on recordings from the '90s and beyond…
This LP comprises one of altoist Lee Konitz's greatest sessions. In 1967 he recorded a series of very diverse duets, all of which succeed on their own terms. Konitz is matched with valve trombonist Marshall Brown on a delightful version of "Struttin' with Some Barbecue" and matches wits with the tenor of Joe Henderson on "You Don't Know What Love Is." He plays "Checkerboard" with pianist Dick Katz, "Erb" with guitarist Jim Hall, "Tickle Toe" with the tenor of Richie Kamuca (Konitz switches to tenor on that cut), and an adventurous and fairly free "Duplexity" with violinist Ray Nance. Konitz also has three different duets in five versions of "Alone Together" and, on "Alphanumeric," welcomes practically everyone back for a final blowout. The music ranges from Dixieland to bop and free, and is consistently fascinating.
Sir Thomas John Woodward OBE (born 7 June 1940), also known by his stage name Tom Jones, is a Welsh singer. His career has spanned six decades, from his emergence as a vocalist in the mid-1960s with a string of top hits, regular touring, appearances in Las Vegas (1967–2011), and career comebacks—to coaching on The Voice UK from 2012 (with the exception of 2016). Jones's powerful voice has been described as a "full-throated, robust baritone"..
This charming collection of duets features the bass of Rob Wasserman in a variety of different roles, from supportive to lead to orchestral. With the exception of Stephane Grappelli's violin, Lou Reed's guitar and Rickie Lee Jones' guitar and bells/percussion, every sound on this album is bass and voice, demonstrating that these two musical forces can be everything by themselves.
While the blues is one of the clearest roots of conventional jazz tradition, few but saxophonist Dave Liebman could release an album that covers as many stylistic bases as Blues All Ways. There's good reason why Liebman can create a blues homage ranging from the 7/4 Memphis shuffle of "Elvis the Pelvis" and lithe, harmonically sophisticated swinger "Down Time" to the ethereal "Riz's Blues." With a quartet with this much shared history, the saxophonist has a lean but highly flexible unit that can not only handle anything he throws at it, but can lob more than a few surprises back at him. Any release from this group is worth hearing but Blues All Ways, like the largely undiscovered masterpiece Conversation (Sunnyside, 2003), stands out amongst its growing discography.