Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. Sell on Amazon Start a Selling Account. AmazonGlobal Ship Orders Internationally. Amazon Rapids Fun stories for kids on the go. Music has been one of the harder releases to find, recorded over several days in late , it features many of the top cool and swing stylists, including trumpeter Joe Newman, trombonist Billy Byers, alto saxophonists Gene Quill, Hal McKusick, guitarists Billy Bauer or Jimmy Raney, and two of the most in-demand rhythm section players, bassist Milt Hinton and drummer Osie Johnson.
Only "Move" first recorded by Miles Davis in his Birth of the Cool sessions a few years earlier was widely recorded; here Cohn takes an extended solo followed by Newman's conversational, swinging trumpet, McKusick's expressive alto, and Frank Rehak's boppish trombone. But several of the songs, like Cohn's "Something for Lisa," focus more on ensembles and brief solos. The Al Cohn Quintet featuring Bob Brookmeyer finds the tenor man paired with the fellow giant of arranging, though Brookmeyer lived long enough to be widely recognized and honored as an NEA Jazz Master before his death in Both men appeared on numerous record dates together, and this once-rare album represents some of their best small group work.
With a rhythm section consisting of pianist Mose Allison, bassist Teddy Kotick, and drummer Nick Stabulas, Cohn and Brookmeyer share the arranging duties and inspire one another throughout the date. Among the highlights are Brookmeyer's upbeat "Good Spirits," Cohn's loping" Back to Back" highlighted by its rhythmic contrasts , the trombonist's scoring of the standard "Ill Wind" as a feature for the saxophonist, and Cohn's playful, loose setting of "The Lady Is a Tramp.
Cohn made so many recordings with fellow tenorman Zoot Sims that it is hard to go wrong with any of them. Cohn wrote the charts for their initial small group date and their close working relationship comes across in their superb ensembles and complementary solos. Both men switch to clarinet for Cohn's "Two Funky People," a song that would be covered by a number of other artists in the decades after his death. The brisk setting of "Just You, Just Me" proves to be a stimulating chart, with the two tenors interweaving their lines in the ensembles.
Backed by pianist John Williams, bassist Bill Anthony, and drummer Frank Isola, the obvious highlight is the valve trombonist's cool, infectious "Open Country," a piece he would reprise with Gerry Mulligan and later in his career, as well.
Cohn's hip "In the Mode" has intricate counterpoint and terrific soloing. Two bonus tracks are included from the all-star date Winner's Circle, featuring John Coltrane, Donald Byrd, and others.
Since most of the albums that make up this compilation are difficult to acquire, this comprehensive, reasonably priced alternative is a sound investment. Genres: Jazz. Music Categories: Jazz General.
Don Grusin. Yusef Lateef. COM Ref No. Barcode :. Related Artists:. Al Porcino , Prestige All Stars. Alternative Names:. To order by phone:. Yet again, 21 st century hindsight has both a positive and negative effect on how to view this unlikely alliance. The former features its composer as the first soloist, offering that curiously effective blend of a soft, yielding tone and assertive bop-derived phrasing which was to make him the role model for a generation of Hard Bop tenorists. Followed by Sims one is instantly struck by how similar their tones are when juxtaposed.
Almost inevitably, both were admirers of Lester Young and although the same could also be said equally of Coltrane and Cohn, the latters tag-team efforts have a less apparent connective thread.
Unsurprisingly, it is the fifteen minute exploration of the ballad How Deep Is The Ocean that gives each tenorist the best forum for his individual wares. During , Cohn and Sims finally decided the time was right to brave taking their own quintet out on the road. Released under the title of Al and Zoot: The Al Cohn Quintet featuring Zoot Sims, the record contained the repertoire the band had been playing on its in-person appearances, thus making it their most accurately representative document so far.
In general, the solos were much more memorable and I think that is a necessary mark of great jazz. Amazingly, Coral also sat on the tapes of the entire quintet album for close to two years, only releasing it in However, what otherwise would have been a typical example of record label tardiness had for once actually helped the artists concerned.
Intimate and informal, the Half Note had quickly become popular with both paying customers and featured artists, boasting a near familial atmosphere. Auditioning two nights worth of tapes from February 6 th and 7 th Lewis compiled the album Jazz Alive!
The opening roar through Lover Come Back To Me is all this and more, with Cohn launching the solo order with one of his best improvisations to date. By , he was now able to back-peddle a little on his commercial arranging obligations, thus concentrating more upon performing and the effect is instantly obvious: the tone is firmer, the technical grasp likewise.
Then we go right back in and I just take it out of the case, find a reed and blow it for a couple of weeks. For what comprised the second side of the original LP, Cohn and Sims were joined by altoist Phil Woods, one of the busiest and hardest swinging of all New York reedmen.
Like the two tenorists, Woods was then spending a great deal of his time working in recording studios, appearing on all manner of albums, and was keen to blow unexpurgated jazz whenever and wherever he could. Sims's name is rarely mentioned when jazz critics discuss the great athletes of the tenor saxophone, principally because his primary concern was in playing melodic, swinging music and not in any sort of musical muscle flexing. However, his solo here provides an especially searing example of his ability to tear it up where necessary.
Alvin Gilbert Cohn! I used to watch other musicians listen to them and I remember how their faces would light up and how they would burst into spontaneous cheering and howling.
This was jazz playing of the highest order and purity, the most serious and sublime joy. This is why you came to New York. Though to the casual listener the Young influence seems strong in both, protracted hearings make it evident that Al and Zoot have spread out in slightly different directions, despite their common inspiration.
With regular work at the Half Note and elsewhere during the early s, recording the band now meant simply taking its working repertoire into a studio, and catching the action club-style. However, alongside such Al and Zoot specialities as The Note dedicated to their regular gig , On The Alamo and the storming Love For Sale, Cohn had penned the ingenious title track, a mini masterpiece of two horn scoring with an unusual but logical harmonic sequence that perfectly illustrates his genius for small band writing.
Yet again, Cohn and Sims had enlisted the services of their on-off sideman Mose Allison for the recording, whose pithy soloing try Love For Sale and oddly effective, clunky comping continued to fit the context like the proverbial glove. The undisputed highlight of the Mercury session was Improvisation for Unaccompanied Saxophones, a performance that is exactly what its title describes. The premise is simple: a three note phrase played in unison which is handed back and forth between the two tenors, over which one of them then improvises.
On paper, it all sounds rather contrived. In performance, the effect is nothing less than magical, with both hornmen conjuring a wealth of melodic ideas in bite-sized bursts. Although both saxophonists make it clear that rhythm is their business, there is also plenty of harmonic ingenuity on display. Sims then responds with an even more energised example of his swinging creativity before the two tenors wind down to a subtle ending.
Back home, he and Cohn continued to be fixtures at the Half Note and other clubs, recording their next album, financed by the mysterious and philanthropic Fred Miles, in early In fact, the LP was to remain something of a rarity, and not until its reissue on another label in the s did it finally reach a wider audience.
Please contact us directly for assistance. If there is a problem with an item you have purchased, please let us know in person so we can work together to resolve any issues quickly and satisfactorily. We want you to be very happy with your purchase.
Erfahren Sie mehr über Veröffentlichungen, Rezensionen, Mitwirkenden und Lieder von Al Cohn Quintet Featuring Zoot Sims - Al And Zoot auf Discogs. Lesen Sie Rezensionen und informieren Sie sich über beteiligte Personen. Vervollständigen Sie Ihre Al Cohn Quintet Featuring Zoot Sims-Sammlung.