Features 24 bit remastering and comes with a mini-description. This studio date came about as a result of Albert Mangelsdorff's appearance at the Third Yugoslavian Jazz Festival, where pianist John Lewis was impressed enough with his performance to set up a recording session a few days later. With bassist Karl Theodor Geier and drummer Silvije Glojnaric also on hand, none of the musicians had ever played together, though it made little difference as they quickly absorbed the originals of Lewis and Mangelsdorff, along with the familiar standard "Autumn Leaves" (a trio arrangement omitting Lewis) and Gary McFarland's "Why Are You Blue."
This album of duos stands out as one of a kind; recorded during a phase in which he began to consistently incorporate a freer musical language into his playing, and set within a constellation of diverse duo formations, there emerges an exciting portrait of the central figure in German jazz: Albert Mangelsdorff. With tongue in cheek – or better said – in mouthpiece, Mangelsdorff accompanies Don Cherry on a journey that culminates in a zany duel staged almost without instruments. With his close friend Elvin Jones, Mangelsdorff unfurls so many melodic and metric parameters that one could believe they are listening to a full combo that dissolves conventional time patterns into kaleidoscopic polyrhythms, whereas the colorful tonal confrontation between Karl Berger’s agile, inspired vibes and the questioning, challenging trombone stands out as a lesson in Avant-garde brainstorming.
Features 24 bit remastering and comes with a mini-description. Although John Lewis is listed as the leader (this album's alternate title is "John Lewis Presents Contemporary Music"), the pianist does not actually appear on this record and only contributed one piece ("Django"). On what is very much a Gunther Schuller project, Schuller composed "Abstraction" and was responsible for the adventurous three-part "Variants on a Theme of John Lewis (Django)" and the four-part "Variants on a Theme of Thelonious Monk (Criss-Cross)"; Jim Hall contributed "Piece for Guitar & Strings."
Features 24 bit remastering and comes with a mini-description. We would gladly trade every other John Lewis album for a copy of this album – because the album's a treasure all the way through – and a really unique set, with a really unique feel! The session features Lewis' piano in the company of a hip French group that includes Sasha Distel on guitar, Pierre Michelot on bass, and the great Barney Wilen on tenor – all great players who bring out a whole new side of Lewis' genius! Wilen's solos alone are worth the price of the album – deeply soulful, with a resonant tone that's some of his greatest on record – and an easy illustration of why he was one of the few European players of the postwar years to get big notice on this side of the Atlantic.
Features 24 bit remastering and comes with a mini-description. One of the strongest sessions recorded by pianist John Lewis in the 50s – a date that shows depths of his talents that run even greater than his work with the Modern Jazz Quartet, quite possibly because is work on piano is at the forefront of the record throughout! There's a sense of darkness here that really fits the image on the cover – a style that's stated clearly on piano lines that are often as spacious as they are gentle, but which also have a moodier undercurrent below, thanks to Lewis' careful choice of keys and notes.
Features 24 bit remastering and comes with a mini-description. Serious compositional material by John Lewis – a series of work based upon the Italian tradition of commedia dell'arte, written for a larger group of brass instruments – and given a real "classics meets jazz" sort of vibe – but also handled with a gentle swing, too! Although Gunther Schuller's on the album in the French Horn section, Lewis himself conducts the ensemble – leading the brass section through a range of very short "fanfares" and longer tunes that feature Lewis on piano, George Duvivier on bass, and Connie Kay on drums. Titles include "Fanfare 1", "Piazza Navona", "Odds Against Tomorrow", "Piazza Di Spagna", and "La Cantatrice".
Features 24 bit remastering and comes with a mini-description. On May 3, 2000, John Lewis turned 80 – and almost half a century after the formation of the Modern Jazz Quartet, he could still inspire a variety of reactions. Over the years, Lewis' detractors have insisted that his piano playing is too polite and overly mannered; his admirers, however, have exalted him as the epitome of class and sophistication. To be sure, Lewis' pianism is quite sophisticated, but that doesn't mean that he doesn't swing or that he isn't soulful. Recorded in 2000 and released in early 2001, Evolution II isn't going to convert anyone who isn't already an admirer of the pianist's cool jazz/third stream approach.
Features 24 bit digital remastering. Comes with a mini description and bonus track. John Lewis, a founding member of the Modern Jazz Quartet (and architect, with Gunther Schuller, of the "Third Stream" movement that attempted a fusion of classical music and jazz), has always been known for the delicacy and refinement of his playing and for the quality of his compositions. This solo album will only add to his reputation in both regards.