Sep 20, 2010
Sep 13, 2010
barabara sounds sez:
As far as most of mainstream America was concerned, Kenny Drew ceased to exist the moment he left the country in 1961. Having played with Trane (Blue Train) and all the young lions of Bluenote (check out the fine fine Undercurrent, his first album as leader), it was as if he'd fallen off the map. That was America's loss — and Denmark's gain. He became one of the pillars of the Copenhagen jazz scene, and a mainstay of the SteepleChase label.
As a trio with Niels-Henning Ørsted Pedersen and Albert Heath, Drew made these two 1974 albums which were issued separately but taken from the same two-day session. These limited edition JP remasters include extra outtakes, bringing together all the material from those sessions. Which is better? There's very little between them, but I do tend to listen to If You Could See Me Now, mainly for the first two cuts, the title track and the excellent In Your Own Sweet Way.
nothing (the only mention is the above mentioned Undercurrent)
amazon (just one reviewer) sez:
This trio was the "house band" for the Montmartre Jazzhus in Copenhagen during the late 60's and early 70's. In that setting they accompanied and recorded with touring American expatriates like Dexter Gordon and Johnny Griffin. Here, the three of them get to stretch out in the studio, playing in a very melodic, flowing style. Drew has a light touch on piano, and Pedersen shines as both soloist and accompanist. A little like the Bill Evans trio with Scott LaFaro.
check out Undercurrent here at Sic Vos Non Vobis
Sep 5, 2010
from the liner notes:
'The first take,
as I recall, was "The Summer Knows". Sarah sang her heart out and I got swept up in the music too. We finished the song and I glanced around the studio and nearly all of the musicians had tears streaming down their faces, they were so moved. (Michel Legrand)
barabara sounds sez:
It sounds pretty damn fine now, too. On Vaughan's second album for Mainstream, Legrand's soaring
orchestrations elevate this set of ballads
by the Divine One to the stratosphere. A heavenly session indeed!
I know it's already out there in the blogosphere, but this is the JP CD reissue and includes a couple of fabulous bonus tracks — Jobim's Wave (which appeared on Vaughan's Send in the Clowns album); and Deep in the Night (originally on Feelin Good, her 3rd album for Mainstream) — thereby collecting everything the two did together.
A beautiful collaboration between Sarah Vaughan and Michel Legrand -- and easily one of Sarah's greatest albums of the 70s! As he was doing with other singers at the time, Legrand helps Vaughan hit a new level of sophistication here — bringing in tunes that really get past simple pop and older standards, with adult themes supported by equally mature backings — filled with rich colors and complicated tones developed over Legrand's great work on film scores. Almost all tunes are originals by Michel — many pulled from his film work — and he also scored the arrangements here, working with the orchestra in a swirling blend of strings and jazz.