One of jazz’s greatest storytellers, Shirley Horn created a masterpiece for the ages with her 1992 CD, Here’s To Life. The album was her first collaboration with Johnny Mandel, and it features three of Mandel’s best songs. However, as Thomas Cunniffe writes, it is the title song–written especially for Horn–that ties this album together..
Shirley Horn: “Here’s To Life” (Verve 314 511 879) Read More »
The New Yorker’s fake Sonny Rollins interview has probably gotten more attention than it ever deserved, but the suicide of Robin Williams has brought out a new and disturbing element about the Rollins article. In this special edition of Sidetracks, Thomas Cunniffe explores the darker side of the New Yorker’s satire.
A Sick Kind of Humor Read More »
Venezuelan pianist Silvano Monasterios first album for Savant features musical portraits of those most important to him, ranging from his father to his dog! Janine Santana offers her reactions to the disc.
Silvano Monasterios: “Unconditional” (Savant 2111) Read More »
The latest CDs by pianists Jeremy Siskind and Harold Mabern feature a plethora of guest vocalists. Such loaded rosters may cause some observers to claim that the artists and record companies are trying to boost the commercial appeal of the albums. However, our reviewer Thomas Cunniffe feels that the vocalists help fulfill the artistic goals of the leaders and that the casual nature of the albums belie any accusations of commercialism.
The Smithsonian Collection of Classic Jazz has undergone several transformations since its initial release in 1973. Thomas Cunniffe evaluates the various editions of the set as one of this month’s Retro Reviews.
The Smithsonian and “Classic Jazz” Read More »
Most jazz documentaries spend the majority of their time dwelling on the past. However, Robert Mugge’s 1986 film Saxophone Colossus caught Sonny Rollins in a particularly creative period. Mugge splits his film between an outdoor combo concert in upstate New York and the Tokyo premiere of Rollins’ original concerto for saxophone and orchestra. Through it all, the saxophonist captivates with his boundless energy and creativity, Thomas Cunniffe reviews this new home video edition of the film, which features 4K remastering and Dolby sound.
Sonny Rollins: “Saxophone Colossus” (MVD Video) Read More »
When Sonny Rollins signed with Impulse Records in 1965, his first recording project was a live outdoor concert at New York’s Museum of Modern Art. During the concert, Rollins wandered all around the performing space as he improvised, and the off-mike recording was shelved for 13 years, when it was issued as There Will Never Be Another You. While the album reflects an important milestone in Rollins’ live recordings, it is frequently misunderstood. Thomas Cunniffe examines the recording and the music in this Retro Review.
Sonny Rollins: “There Will Never Be Another You” (LP: Impulse 9349; CD: Impulse 5334723) Read More »
Sonny Rollins has released another spectacular collection of live performances, this time covering a month-long period in September and October of 2010. Thomas Cunniffe reviews the CD, noting that in the mere ordering of tracks, Rollins the producer has enhanced the performance of Rollins the saxophonist.
Sonny Rollins: “Road Shows” (Vol. 2) (Doxy/EmArcy 15949) Read More »
There are all-star sessions, and then there’s Dizzy Gillespie’s Sonny Side Up. This album, featuring the twin tenors of Sonny Rollins and Sonny Stitt, contains one of the greatest tenor sax battles ever recorded. In this Retro Review, Thomas Cunniffe explores both Sonny Side Up and its companion album Duets.
Dizzy Gillespie: “Sonny Side Up” (Verve 314 521 426)/”Duets” (Verve 835 253) Read More »
W.C. Handy’s St. Louis Blues was written nearly 100 years ago, and it has inspired thousands of recorded versions. Thomas Cunniffe examines four dozen jazz versions in this month’s Historical Essay. A playlist is available for readers who want to listen along.
48 versions of “St. Louis Blues” Read More »
One of Stan Getz’ last masterpieces was The Dolphin, a quartet recording made at San Francisco’s Keystone Korner. New JHO contributor Chris Coulter offers his thoughts on the album and its companion disc, Spring Is Here.
Stan Getz: “The Dolphin” (Concord Jazz 4158) Read More »
For some jazz singers, telling a story through a song’s lyrics is a primary goal. The three vocalists covered in this month’s vocal reviews, newcomer Cécile McLorin Salvant , and veterans Carline Ray and Marlene VerPlanck, all share this ideal. Their latest discs are evaluated by Thomas Cunniffe.
Swing is a less important factor in the jazz of today, but that doesn’t mean that swing is dead. In this month’s instrumental CD reviews, Thomas Cunniffe examines a quartet of new discs by musicians of several generations that shows the validity of straight-ahead jazz.
In recent years, many jazz venues have added live video streaming as a way to add to their revenue and recognition. Theoretically, a live feed should be the next best thing to being there, but in this month’s Sidetracks, Thomas Cunniffe discusses the highs and lows of video streaming, and spotlights a club that’s trying to set the bar higher.
A Midsummer Night’s Stream Read More »