Jazz music reviews

This album has it all; it's got fantastic playing, it is extremely catchy, and very engrossing all at the same time. I have only recently begun to enjoy jazz, and I still love this album. There is nothing more that I can say that has not been said before, but I will say this; BUY THIS ALBUM! You will love it.

Miles Davis-Kind Of Blue *****

To say that this, Kind Of Blue, by the man, the one and only Miles Davis is the perfect Jazz album is well a complete understatement. Kind Of Blue is THE Jazz album. To be able to put together a album so good could have only been done under the order of the great "king of cool" Miles. But he didn't do it alone, oh no far too easy for a man of his stature. He called upon such heavy hitters as the amazing John Coltrane to blow some sax, which is always a wise choice as he is the best. But not just Coltrane alone he also called upon "Cannonball Julian Adderley. The great Bill Evans on piano. Jimm Cobb and Paul Chambers on drums and bass. Talk about an all star line-up. What these musicians came together to do was create the greatest jazz album of all time, and the coolest jazz album of all time, and that they did.

To sit and nit pick the album in it's completeness would be too hard. With a album full of nothing but good tracks you can't find any stand outs or any weak links. The textures of each song and the mood of all the songs bring together one of the best feelings of satisfaction at the end of the record.

'Blue In Green' being a personal favorite of my own, a true classic in Mr. Davis' musical cannon. 'All Blues' is a real classic among classics. Here you have everyone in the group especially Miles at the top of their game. The alternate version of 'Flamenco Sketches' is in my opinion superior, but thats not to say that the other is of lesser quality, quite the opposite in-fact it is fantastic. 'Freddie Freeloader' is a nice piano driven song which just an all around good feel. And as the album opens with the upbeat 'So What' which couldn't have opened the album any better then it did, it asures that this album is a sure win for any listener.

So to realease my final verdict on this album, well if you can't tell I think it is absolutly amazing. Quite simply the best album in the genra of Jazz. To any one who is even curious I do recomend this to all.

I spent three hours with Bill Evans--at his motel room north of the Capitol Records Bldg. on Vine St. in Hollywood. This meeting occurred during Bill's second visit to L.A. in the mid-sixties. It was one of those sublime events in my artistic life. During our talk, I asked him about "Kind Of Blue". I asked, "Was the prospect of greatness with regard to this music at all anticipated?, . "well, not really; this was just another recording date at the time", Bill replied. I assume that none of the musicians, at the outset of the session, realized the staying power or the sublime attainment of artistic expression that would result from this date.

Bill Evans' contribution to this recording is much greater than most people realize. His comping and soloing approaches were so different from Miles' other pianists, his uniqueness becomes apparent to the listener right away. The whole sound-scape was laid out by Bill. Just listen to Miles' other recordings prior to this one. The differences in approach are immediately noticable.

The contributions of the other musicians were enhanced by the under-pinning of Bill's accompaniement. I personally never heard 'Trane or Cannonball or Miles play more lyrically than on this recording--and I heard these artists, all in live performances, often in the ensuing years.

This is a must-own recording. All the artists are in peak form and respond to the musical challenges with great insight and empathy. This material required new approaches of each player--a more thoughtful expression in performance than these players were used to in the hard bop style. Trane's solo on "Blue and Green", and Cannonball's--as well as "'Trane's solo--on "Flamenco Sketches" are some of these artists' most lyrically eloquent on record.

Buy this CD! It could change your life. The moments of peace and tranquility offered up here will be welcome relief in our turbulent times. Oh...by the way; I asked Bill point-blank if he, indeed, did write BOTH "Blue and Green" AND "Flamenco Sketches". His reply was a quiet, but definitive, "Yes".

This album has it all; it's got fantastic playing, it is extremely catchy, and very engrossing all at the same time. I have only recently begun to enjoy jazz, and I still love this album. There is nothing more that I can say that has not been said before, but I will say this; BUY THIS ALBUM! You will love it.

Miles Davis-Kind Of Blue *****

To say that this, Kind Of Blue, by the man, the one and only Miles Davis is the perfect Jazz album is well a complete understatement. Kind Of Blue is THE Jazz album. To be able to put together a album so good could have only been done under the order of the great "king of cool" Miles. But he didn't do it alone, oh no far too easy for a man of his stature. He called upon such heavy hitters as the amazing John Coltrane to blow some sax, which is always a wise choice as he is the best. But not just Coltrane alone he also called upon "Cannonball Julian Adderley. The great Bill Evans on piano. Jimm Cobb and Paul Chambers on drums and bass. Talk about an all star line-up. What these musicians came together to do was create the greatest jazz album of all time, and the coolest jazz album of all time, and that they did.

To sit and nit pick the album in it's completeness would be too hard. With a album full of nothing but good tracks you can't find any stand outs or any weak links. The textures of each song and the mood of all the songs bring together one of the best feelings of satisfaction at the end of the record.

'Blue In Green' being a personal favorite of my own, a true classic in Mr. Davis' musical cannon. 'All Blues' is a real classic among classics. Here you have everyone in the group especially Miles at the top of their game. The alternate version of 'Flamenco Sketches' is in my opinion superior, but thats not to say that the other is of lesser quality, quite the opposite in-fact it is fantastic. 'Freddie Freeloader' is a nice piano driven song which just an all around good feel. And as the album opens with the upbeat 'So What' which couldn't have opened the album any better then it did, it asures that this album is a sure win for any listener.

So to realease my final verdict on this album, well if you can't tell I think it is absolutly amazing. Quite simply the best album in the genra of Jazz. To any one who is even curious I do recomend this to all.

I spent three hours with Bill Evans--at his motel room north of the Capitol Records Bldg. on Vine St. in Hollywood. This meeting occurred during Bill's second visit to L.A. in the mid-sixties. It was one of those sublime events in my artistic life. During our talk, I asked him about "Kind Of Blue". I asked, "Was the prospect of greatness with regard to this music at all anticipated?, . "well, not really; this was just another recording date at the time", Bill replied. I assume that none of the musicians, at the outset of the session, realized the staying power or the sublime attainment of artistic expression that would result from this date.

Bill Evans' contribution to this recording is much greater than most people realize. His comping and soloing approaches were so different from Miles' other pianists, his uniqueness becomes apparent to the listener right away. The whole sound-scape was laid out by Bill. Just listen to Miles' other recordings prior to this one. The differences in approach are immediately noticable.

The contributions of the other musicians were enhanced by the under-pinning of Bill's accompaniement. I personally never heard 'Trane or Cannonball or Miles play more lyrically than on this recording--and I heard these artists, all in live performances, often in the ensuing years.

This is a must-own recording. All the artists are in peak form and respond to the musical challenges with great insight and empathy. This material required new approaches of each player--a more thoughtful expression in performance than these players were used to in the hard bop style. Trane's solo on "Blue and Green", and Cannonball's--as well as "'Trane's solo--on "Flamenco Sketches" are some of these artists' most lyrically eloquent on record.

Buy this CD! It could change your life. The moments of peace and tranquility offered up here will be welcome relief in our turbulent times. Oh...by the way; I asked Bill point-blank if he, indeed, did write BOTH "Blue and Green" AND "Flamenco Sketches". His reply was a quiet, but definitive, "Yes".

For those that get this album it is nothing short of a masterpiece. For those that don't it is just noise. I recommend giving this album a listen before buying it, but for those that have a hard time getting into this album I recommend multiple listenings over a fairly extended period of time. Try listening to it 4 or 5 times with in a couple of weeks time span. I've actually known people who at first thought this album was awful, but after a while their ears just opened up to it.

To the reviewer who said:

"Art reaches out, speaks to the universal, appeals to the heart. Jazz excludes, speaks in code, demands analysis. I prefer art."

I think that it is pretty ironic that you criticized this particular album in this manner. Essentially this album was Coltrane's attempt to reach out, speak to the Universal, and appealing to the heart. If you missed that you missed the entire point. I'll admit this is an album some people are going to love and others are going to hate, but Coltrane's purpose is undeniable. Also your claim that jazz isn't art is laughable.

I resort many times to this record when I really want to get carried away with music. For me this record is medicine. So Coltrane, Tyner, Jones and Garrison are here like a group of therapists so to speak.
This one is truly unique. Never listened to something even similar and don't want to. Because "A love supreme" is just perfect. I have other Coltrane works like "Giant Steps" or "Blue Train" but these ones don't mean much to me. And I even don't like much John's way of playing: too many notes in such a little time space. Many times they don't tell me anything. And it is the same reaction that I get sometimes from Bird. "Ok, you're a virtuoso. Congratulations!. So what?".
But this record was really his cornerstone for me. He was in a different approach. He meant something to me in every note he blew from his sax. He really got into something. And he's here with the great McCoy Tyner. With his piano helps Elvin Jones to create a mystic atmosphere where you can feel they are in some kind of spiritual voyage. And everything is a wonder.
So if you are one like me who's not very fond of Coltrane, it doesn't matter at all. This is a must have. Who told you that "Kind of Blue" was the all-time best?. It is "a love supreme". It is about pure inspiration from four geniuses of Music. It'll change you. For good!.

It's a testament to John Coltrane's artistic vision that a piece of uncomprimising music such as a 'A Love Supreme' can be heard for the universalism it stands for. Recorded in a studio in New Jersey in late 1964, Coltrane had spent a week alone in a room in his house away from his wife and children. During that time of contemplation and isolation, he put pen to paper to bare his soul to God and the essence of 'A Love Supreme' was born. I don't think it was a coincedence that at the time this album was recorded in the mid-60's, a new philosophy of spirituality and peace & love began to prevade popular music in general. The Church of St. John Coltrane still resides in that bastion of hippiedom, San Francisco.

The music on the album itself is powerful not just for Coltrane's playing itself but also for the fanatical interplay of the quartet. 'Acknowledgement' opens with Garrison's passionate bass line, leading into Coltrane's dynamic and ingenious playing, the quartet's spirited performance like a fervant, untamed emotion that has gripped them all. 'Resolution' blazes from the record with Tyler burnishing the track with some brilliant playing of his own. Jones's frantic drumming comes to the fore on the opening of 'Pursuance', a track where the meaning of 'Chasin' The Trane' becomes self-evident as Garrison, Tyler and Jones follow in hot pursuit of their leader's furious joy. Tyler's playing is again compelling as the quartet trade notes with such alarming velocity before Garrison's bass tip-toes and leads us like the pied-piper to the concluding 'Psalm'.

It's refreshing in this day and age to hear an artist whose sincerity and integrity shines through his work.

For those that get this album it is nothing short of a masterpiece. For those that don't it is just noise. I recommend giving this album a listen before buying it, but for those that have a hard time getting into this album I recommend multiple listenings over a fairly extended period of time. Try listening to it 4 or 5 times with in a couple of weeks time span. I've actually known people who at first thought this album was awful, but after a while their ears just opened up to it.

To the reviewer who said:

"Art reaches out, speaks to the universal, appeals to the heart. Jazz excludes, speaks in code, demands analysis. I prefer art."

I think that it is pretty ironic that you criticized this particular album in this manner. Essentially this album was Coltrane's attempt to reach out, speak to the Universal, and appealing to the heart. If you missed that you missed the entire point. I'll admit this is an album some people are going to love and others are going to hate, but Coltrane's purpose is undeniable. Also your claim that jazz isn't art is laughable.

I resort many times to this record when I really want to get carried away with music. For me this record is medicine. So Coltrane, Tyner, Jones and Garrison are here like a group of therapists so to speak.
This one is truly unique. Never listened to something even similar and don't want to. Because "A love supreme" is just perfect. I have other Coltrane works like "Giant Steps" or "Blue Train" but these ones don't mean much to me. And I even don't like much John's way of playing: too many notes in such a little time space. Many times they don't tell me anything. And it is the same reaction that I get sometimes from Bird. "Ok, you're a virtuoso. Congratulations!. So what?".
But this record was really his cornerstone for me. He was in a different approach. He meant something to me in every note he blew from his sax. He really got into something. And he's here with the great McCoy Tyner. With his piano helps Elvin Jones to create a mystic atmosphere where you can feel they are in some kind of spiritual voyage. And everything is a wonder.
So if you are one like me who's not very fond of Coltrane, it doesn't matter at all. This is a must have. Who told you that "Kind of Blue" was the all-time best?. It is "a love supreme". It is about pure inspiration from four geniuses of Music. It'll change you. For good!.

It's a testament to John Coltrane's artistic vision that a piece of uncomprimising music such as a 'A Love Supreme' can be heard for the universalism it stands for. Recorded in a studio in New Jersey in late 1964, Coltrane had spent a week alone in a room in his house away from his wife and children. During that time of contemplation and isolation, he put pen to paper to bare his soul to God and the essence of 'A Love Supreme' was born. I don't think it was a coincedence that at the time this album was recorded in the mid-60's, a new philosophy of spirituality and peace & love began to prevade popular music in general. The Church of St. John Coltrane still resides in that bastion of hippiedom, San Francisco.

The music on the album itself is powerful not just for Coltrane's playing itself but also for the fanatical interplay of the quartet. 'Acknowledgement' opens with Garrison's passionate bass line, leading into Coltrane's dynamic and ingenious playing, the quartet's spirited performance like a fervant, untamed emotion that has gripped them all. 'Resolution' blazes from the record with Tyler burnishing the track with some brilliant playing of his own. Jones's frantic drumming comes to the fore on the opening of 'Pursuance', a track where the meaning of 'Chasin' The Trane' becomes self-evident as Garrison, Tyler and Jones follow in hot pursuit of their leader's furious joy. Tyler's playing is again compelling as the quartet trade notes with such alarming velocity before Garrison's bass tip-toes and leads us like the pied-piper to the concluding 'Psalm'.

It's refreshing in this day and age to hear an artist whose sincerity and integrity shines through his work.

I can't believe it's late May and here I am listening to A Charlie Brown Christmas that I just got in from an Amazon seller in anticipation of this upcoming Christmas season... but like most people my age, it's almost the definitive icon of Christmas memories no matter what the actual season may be.

I just had to crack the seal and play it. Now, here I sit listening to the entire thing. No fancy words can describe it but anyone who grew up with it knows exactly what I'm talking about... just two or three notes of that piano and the magic happens and then you're 8 years old again and plopped down in front of that grainy, rabbit earred t.v. set waiting for Charlie Brown to come on way back in the 'it only runs once a year' days. (remember those?)
Man - there wasn't any WalMart, no Target and do ya remember having that same crappy Christmas tree that Charlie had?

Buy this c.d. if ya remember it and for sure buy the video for your kids so they won't grow up with some idiot Power Rangers Christmas of Doom [...]....

Hey - if this music doesn't put you in the mood for Christmas, I hope someone gives ya a shovel for Christmas because you're already dead from the shoulders up.

I almost cried tears of Joy when I listened to this. Anyone who grew up watching "Charlie Brown Christmas" is likey to do the same. Vince Guaraldi's accompaniment to the Peanuts gang is one of the most perfect marriages of music to visuals in the modern era. Make no mistake though, this music stands completely on its own, even outside the Christmas context.

I'm not going to pick out individual tunes because you'll recognize them all instantly when you hear them. Excellent from start to finish and one of those CDs sure to brighten your mood.

Everybody knows somebody who professes to hate jazz. Play this for them and smirk.

"A Charlie Brown Christmas" is not just a Christmas album to be hauled down from the attic along with the ornaments and lights once a year but is a smooth, sensitive jazz album that you can enjoy all year long.
Mr. Guaraldi's original compositions and renditions of seasonal standards helped make "A Charlie Brown Christmas" the classic it has become.

It just doesn't get much better than this for music fans, especially those of blues and rock guitar. The vocals of Greg Allman are exceptional, he sings with intense feeling and has a great "white blues" voice. The rhythm section is also tremendous. Everything is great, but the guitars take one's breath away. Dickey Betts is a great sidekick to Duane Allman and is a major factor in the greatness of the recording, but in the end it's Duane that makes us gasp and want more. There's no other player in the world quite like Duane; he plays one heck of a mean fretted guitar, but on slide, he's from another planet, with the exception of Muddy Waters and Ry Cooder, no one belongs in the same universe as Allman on slide. He is the god of slide, the Zeus, the MAN! You must hear him to believe it, buy now!

Yea, only 7 songs but the songs are performed at such a high level. This album is almost perfect in excecution and like the Band's Rock of Ages, it almost seems to be done in a studio, the Brother are so tight! Absolute delight. In Memory Of Elizabeth Reed is almost 13 minutes long and you never tire of the song - a real tribute to Dicky Betts great style and licks. Hot 'Lanta is also very solid and intriguing, and Stormy Monday and You Don't Love Me are great rides also. Gregg Allman has a very soulful voice and is solid on the organ. This was playing every night in someone's college dorm in the early 70's. If you didn't have this album, you just weren't cool. Great album.

Okay, so I do have a couple complaints. Both Whipping Post and You Don't Love Me are endless and aimless. But I'll overlook that due to the strength of the other songs. Take Statesboro Blues. About a year ago, I turned on the radio and heard the opening notes of this song. This was the first time I'd ever heard the Allmans, so I remember thinking, "That kicks ass! Who recorded it?" Thankfully, the good lasts. Done Somebody Wrong is great, and Stormy Monday gives us a jaw-dropping redition of one of my favorite blues songs, ever. You Don't Love Me could've been cut in half, but stick around for the pair of instrumentals Hot 'Lanta and (especially) a dramatic In Memory of Elizabeth Reed. If you liked the original, wait till you hear this version! Sadly, Whipping Post sounds almost like Rock's version of The Song That Gets On Everybody's Nerves", as I learned when, even though the song had reached what was its climax on the original record, it still had about six minutes to go live. Which is too bad, considering the original.
Oh well. Don't let that stop you from buying this as soon as possible!

A very relaxing album from Van, with plenty of great songs. Example? Try the opening one-two punch of And It Stoned Me and the title track, two of Van's most popular songs. But wait! Don't go away yet. There's also Caravan, a song that SHOULD be a classic but isn't quite, as well as Crazy Love and Into the Mystic, two songs I like but not as much as the first two and Caravan. It really is a shame about side two, since one song rises above the average level: Brand New Day, with a joyful chorus.
Oh well. Even if you have the best-of, it's still worth it for Caravan, Crazy Love and Into the Mystic.

Van Morrison's Moondance is a great, soulful record from one of the best of the late 60's and early 70's. Featuring his finest collection of songs, the album has a little bit for everyone. Romantic songs like "Moondance" and "Crazy Love" as well as energy-filled tunes like "Caravan" and just great songs like "And it stoned me" help to make this one of the finest collection of songs ever assembled.

This is early Van Morrison and Great Blues from a Well Traveled Artist. I recommend you add this to your collection if your a Real Blues collector.

This wonderful collection of standards, given superb treatment by Steve Tyrell and his A1 musicians, takes me back to the time when music and lyrics had class. A CD to add to my top-drawer collection.

This collection of songs has to be one of the best collection of renditions I have ever heard.
Steve Tyrell's voice is very distinct. Sometimes playful, other times a true crooner. But he really does justice to the choice of music here.
'Give Me The Simple Life', 'On The Sunny Side Of The Street' and 'The Way You Look Tonight' (An all-time favorite of mine) are done to perfection.
All tracks are done straight with a great orchestra and arrangements, no doubt. Hearing this cd I thought to myself that he would be a better 'sinatra-esque' than a few others out there. The reason being his voice.
I can't say much more than that. I promise if you like standards, you will really really really like this cd. Give it a shot.

The title may seem overstated by some of you, but honestly this is such a terrific CD. Steve Tyrell was an A&R man in the record business for decades, and always had the dream of producing a record of standards. This is it, and a more delightful blend of jazz, vocals and arrangement you will not find. Steve's voice is certainly not the crooner type a'la Frank Sinatra, but has a gravely tone that quickly grows on you. Of all his CD's this one is the best. If you come out to LA, check the Catalina Bar and Grill because he performs there quite frequently and I have seen Burt Bacharach and Rod Stewart in the audience.

Completely fun jazz from maestro Brubeck and company, this will appease any enthusiast of the genre. The stellar re-mastering brings out the true context of their classic Take Five, while the brief disc exchanges between traditional and adventurous tracks, all the while retaining a sense of joy and excitement few artists convey without sounding equally as heavy.

Being this an enhanced version, it sounds brighter than the original album. Some hiss from the original master tape can be heard between songs, but this should be no excuse to avoid buying it. The net result is an excellent sound from an excellent album.

The remastered CD was clear I could here every note. The CD is great.

Completely fun jazz from maestro Brubeck and company, this will appease any enthusiast of the genre. The stellar re-mastering brings out the true context of their classic Take Five, while the brief disc exchanges between traditional and adventurous tracks, all the while retaining a sense of joy and excitement few artists convey without sounding equally as heavy.

Being this an enhanced version, it sounds brighter than the original album. Some hiss from the original master tape can be heard between songs, but this should be no excuse to avoid buying it. The net result is an excellent sound from an excellent album.

The remastered CD was clear I could here every note. The CD is great.