…Marianne has spent her life researching this work. She displays that rare intelligence that allows all "misfortunes" to be converted to her benefit. There is a detachment that allows one to be intimately involved with, but not consumed by this type of work. This is her best work in quite some time. She deserves all the accolades that come her way as a serious singer who can pull off the piece. A wonderful disc from one whose live presence we must count as miraculous considering what she has lived through.
With longtime bassist Steve Swallow, the return of drummer Roy Haynes, and the debut of guitarist Jerry Hahn, Gary Burton's second quartet continued his open-minded policy toward other styles of music. In addition to both melodic and advanced jazz, Burton incorporates elements of country, rock, pop and even classical music on this fairly rare LP, Country Roads and Other Places. Whether it be a "Ravel Prelude," "Wichita Breakdown" or "My Foolish Heart," the music is full of logical surprises that foreshadow the eclectic nature of much of '80s and '90s jazz.
One of those uniquely '70s groups, Middle of the Road were a Scottish pop vocal group whose singles "Chirpy Chirpy Cheep Cheep," "Tweedle Dee Tweedle Dum," and "Soley Soley" were huge European hits, selling in the tens of millions. Formed by Sally Carr (vocals), Ian McCredie (guitar), Eric McCredie (bass), and drummer Ken Andrew in 1970 (the group had been playing together since 1967, but under the moniker of "Part Three") Middle of the Road had trouble finding success until they uprooted from the United Kingdom and settled in Italy. There they met famed producer Giacomo Tosti, who revamped the group, and molded them in the sound and image that would take them to pop heights…
Beatles fans love to explain that the key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities – Lennon was the tongue in cheek sardonic wit, McCartney the earnest balladeer. On John Pizzarelli Meets the Beatles, a sharply conceived tribute which sets the duo's classics in a jazz trio with big-band arrangements, the singer/guitarist hits the mark more often when he's taking on the Lennon persona. He approaches "Cant' Buy Me Love," "When I'm 64," and "Get Back" with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy, and adding colorful touches like scatting and even ad libbing his own lyrical verses based on the originals. Likewise, he attacks the all-instrumental "Eleanor Rigby" with a jumpy, swinging aggression. Pizzarelli, however, becomes overly schmaltzy in presenting ballads like "You've Got to Hide Your Love Away" and "Long and Winding Road" too seriously, with maudlin, straightforward arrangements that grind the party to a halt. The one exception is the more percussive "Oh Darling," where his intense vocal helps the tune rise above the hotel lounge mentality.
Reissue with the latest 2015 DSD remastering. Comes with liner notes. Pianist Denny Zeitlin is sporting a beard on the cover of this fourth album for Columbia Records – and his music here definitely reflects a bit of a change from his earlier cleaner-cut image! Denny steps a bit outside at times – never to much so to make the album a session of avant jazz, but definitely showing the listener at the start that he's able to stretch out in the same way as some of the more adventurous pianists of his generation – yet really sound best as a master of lyrical understatement, as on his previous few records! Zeitlin's command of chords is wonderful – these blocks of color and subtle sound in his hands – inspired by Bill Evans, but taken in a whole new direction – and set up here in two different trios, with either Charlie Haden or Joe Halpin on bass, and Oliver Johnson or Jerry Granelli on drums. The real star of the show is always Denny.
Reissue with the latest remastering. Comes with liner notes. While the phenomenal success of George Benson’s Breezin’ (1976) album may have fattened his wallet; it led the guitarist down a path that dismayed jazz critics worldwide. Indeed, the bulk of Benson’s albums over the past 20 years have featured considerably less jazz and, unfortunately, more pop. Not so with The George Benson Cookbook (1966). This sizzling CD features the then young, hotshot string-picker on 14 swingin’ bebop/soul-jazz tracks. Benson kicks things off in rapid fashion with the aptly titled, "The Cooker." Not only does this track feature blazing licks from Benson, but baritone saxophonist Ronnie Cuber and organist Lonnie Smith also weigh in with tasty solos.