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81.Prezervation by: Stan Getz/Al Haig
November 15, 2006


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Music : Prezervation
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82.Out Of The Cool by: The Gil Evans Orchestra
March 20, 1999
Average Rating:  out of 5 stars

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Music : Out Of The Cool
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I've been buying jazz albums for nearly 40 years and can't believe I only found this recently, after catching the end of a documentary on the man.
The arranements, especially the use of the lower brass, are outstanding. Check out Sunken Treasure. Nearly 50 years ago some of the harmony must have seemed radical. The instrumental playing is also great with Ron Carter on bass thundering away. I've loved the music of Carla Bley for years - now I know where she got some of her inspiration.

83.The House That Trane Built: The Story Of Impulse Records by: Various Artists
July 31, 2006
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Music : The House That Trane Built: The Story Of Impulse Records
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I've been buying jazz albums for nearly 40 years and can't believe I only found this recently, after catching the end of a documentary on the man.
The arranements, especially the use of the lower brass, are outstanding. Check out Sunken Treasure. Nearly 50 years ago some of the harmony must have seemed radical. The instrumental playing is also great with Ron Carter on bass thundering away. I've loved the music of Carla Bley for years - now I know where she got some of her inspiration.

84.Where Would I Be by: Jim Hall
December 08, 1995
Average Rating:  out of 5 stars

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Music : Where Would I Be
I've been buying jazz albums for nearly 40 years and can't believe I only found this recently, after catching the end of a documentary on the man.
The arranements, especially the use of the lower brass, are outstanding. Check out Sunken Treasure. Nearly 50 years ago some of the harmony must have seemed radical. The instrumental playing is also great with Ron Carter on bass thundering away. I've loved the music of Carla Bley for years - now I know where she got some of her inspiration.

85.Embraceable You by: Chet Baker
July 03, 1995
Average Rating:  out of 5 stars

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Music : Embraceable You
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There is a purpose for space, it allows us to view what is not otherwise apparent and when the musical equivalent of reading between the lines is applyed to this recording one is offered a multitude of reflections. Chet Baker was well known for being sparing with muscal statements, but on this collection of recordings he goes one step further, almost implying more than what is actually said. Like a good book, it sets the scene perfectly but allows enough room for the listener (or reader) to enjoy a little creativity of their own. David Wheat builds hauntingly subtle chordal webs upon Ross Savakus' delicate bass framework, allowing Chet to take each tune breath takingly close to colapsing.

86.More Stan Getz For Lovers by: Stan Getz
January 30, 2006
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Music : More Stan Getz For Lovers
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There is a purpose for space, it allows us to view what is not otherwise apparent and when the musical equivalent of reading between the lines is applyed to this recording one is offered a multitude of reflections. Chet Baker was well known for being sparing with muscal statements, but on this collection of recordings he goes one step further, almost implying more than what is actually said. Like a good book, it sets the scene perfectly but allows enough room for the listener (or reader) to enjoy a little creativity of their own. David Wheat builds hauntingly subtle chordal webs upon Ross Savakus' delicate bass framework, allowing Chet to take each tune breath takingly close to colapsing.

87.Blue Movies: Scoring for the Studio by: Various Artists
September 01, 1997
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Music : Blue Movies: Scoring for the Studio
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There is a purpose for space, it allows us to view what is not otherwise apparent and when the musical equivalent of reading between the lines is applyed to this recording one is offered a multitude of reflections. Chet Baker was well known for being sparing with muscal statements, but on this collection of recordings he goes one step further, almost implying more than what is actually said. Like a good book, it sets the scene perfectly but allows enough room for the listener (or reader) to enjoy a little creativity of their own. David Wheat builds hauntingly subtle chordal webs upon Ross Savakus' delicate bass framework, allowing Chet to take each tune breath takingly close to colapsing.

88.The Original: Complete Recordings by: Chet Baker
June 05, 2000
Average Rating:  out of 5 stars

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Music : The Original: Complete Recordings
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There is a purpose for space, it allows us to view what is not otherwise apparent and when the musical equivalent of reading between the lines is applyed to this recording one is offered a multitude of reflections. Chet Baker was well known for being sparing with muscal statements, but on this collection of recordings he goes one step further, almost implying more than what is actually said. Like a good book, it sets the scene perfectly but allows enough room for the listener (or reader) to enjoy a little creativity of their own. David Wheat builds hauntingly subtle chordal webs upon Ross Savakus' delicate bass framework, allowing Chet to take each tune breath takingly close to colapsing.

89.Night Lights by: Gerry Mulligan
October 01, 1999
Average Rating:  out of 5 stars

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Music : Night Lights
There is a purpose for space, it allows us to view what is not otherwise apparent and when the musical equivalent of reading between the lines is applyed to this recording one is offered a multitude of reflections. Chet Baker was well known for being sparing with muscal statements, but on this collection of recordings he goes one step further, almost implying more than what is actually said. Like a good book, it sets the scene perfectly but allows enough room for the listener (or reader) to enjoy a little creativity of their own. David Wheat builds hauntingly subtle chordal webs upon Ross Savakus' delicate bass framework, allowing Chet to take each tune breath takingly close to colapsing.

90.Paraiso by: Gerry Mulligan, Jane Duboc
May 30, 2005
Average Rating:  out of 5 stars

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Music : Paraiso
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There is a purpose for space, it allows us to view what is not otherwise apparent and when the musical equivalent of reading between the lines is applyed to this recording one is offered a multitude of reflections. Chet Baker was well known for being sparing with muscal statements, but on this collection of recordings he goes one step further, almost implying more than what is actually said. Like a good book, it sets the scene perfectly but allows enough room for the listener (or reader) to enjoy a little creativity of their own. David Wheat builds hauntingly subtle chordal webs upon Ross Savakus' delicate bass framework, allowing Chet to take each tune breath takingly close to colapsing.

page 9 of  250
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