Bitrate: MP3@320K/s
Time: 74:36
Size: 170.8 MB
Styles: Hard bop, Guitar jazz
Year: 2014
Art: Front
[4:38] 1. Speedball
[6:54] 2. Autumn Nocturne
[7:30] 3. I Concentrate On You
[5:46] 4. God Bless The Child
[5:30] 5. Cohn On The Cob
[4:44] 6. Mama Flosie
[5:06] 7. Trick Bag
[5:05] 8. Bittersweet
[6:24] 9. The Very Thought Of You
[6:17] 10. Estate
[4:04] 11. U.M.M.G.
[6:29] 12. If Ever I Would Leave You
[6:03] 13. Turn Around
Drums – Akira Tana; Guitar – Joe Cohn; Organ [Hammond B-3] – Joe Bagg; Tenor Saxophone – Dayna Stephens.
Guitarist Joe Cohn, son of the late great, Al Cohn in trio and quartet setting playing standards. Joe Bagg on Hammond B3, Akira Tana on drums and Dayna Stephens on tenor on a few tracks. A blowing session displaying Joe's incredible improvisatory skill
Guitarist Joe Cohn, son of the late great, Al Cohn in trio and quartet setting playing standards. Joe Bagg on Hammond B3, Akira Tana on drums and Dayna Stephens on tenor on a few tracks. A blowing session displaying Joe's incredible improvisatory skill
Emeryville Sessions Vol 1: Marathon Man
Bitrate: MP3@320K/s
Time: 58:52
Size: 134.8 MB
Styles: Hard bop, Guitar jazz
Year: 2015
Art: Front
[3:34] 1. S'posin'
[5:23] 2. The Gentle Rain
[7:09] 3. All Too Soon
[4:37] 4. Autumn In New York
[6:15] 5. Emily
[5:56] 6. How Am I To Know
[7:24] 7. I Hadn't Anyone Til You
[8:20] 8. People Will Say We're In Love
[4:27] 9. Skylark
[5:42] 10. When Lights Are Low
Drumless Trio music of classic standards featuring the great sax sounds of Noel Jewkes, the inventive guitarist, Joe Cohn and the very supportive bassist, John Wiitala.
I don’t know if you’ve noticed it but in the last five years there has been an increase in the number of trios in jazz. Of course the piano-bass-drum configuration has been with us for a long while and new ones are continually cropping up, but I’m talking about the trios that leave out piano, or bass or drums. That is the make up of the Emeryville three: Joe Cohn, guitar; Noel Jewkes, tenor sax; and John Wiitala, bass. All that matters is, “Does it work?”
With everyone taking serious care of their solo roles and ensembles, creating moving backgrounds for one another, trading “fours”, etc. and in general on the same page with passion and poise, these attributes are more than adequately provided in these offerings. A key factor in their inspiration is the roster of composers and the list of songs chosen to play. Producer Akira Tana, a noted, longtime professional drummer, explained that the sessions were free-wheeling and the choices for the material were made on the spot. Joe, Noel and John called the tunes, roughly made a sketch of a format, and played. “I liken these sessions to a marathon because so much was recorded,” said Akira. “ There were no rehearsals and the sessions were really in the tradition of recordings from another era. No overdubs or fixes—all live performances captured here.”
Joe Cohn employs many creative techniques to express his style. Notice his articulation on “All Too Soon”; the counterpoint that he and Noel bring to a section of “How Am I to Know,” a hauntingly beautiful song from way back, written by one Jack King with words (unheard) by Dorothy Parker. the rapier wit of the storied Algonquin Round Table. “People Will Say We’re In Love” contains Joe’s long, connective lines. It is no longer necessary to refer that Joe is the son of the great saxophonist Al Cohn but the apple falls close to the tree. ~Ira Gitler
I don’t know if you’ve noticed it but in the last five years there has been an increase in the number of trios in jazz. Of course the piano-bass-drum configuration has been with us for a long while and new ones are continually cropping up, but I’m talking about the trios that leave out piano, or bass or drums. That is the make up of the Emeryville three: Joe Cohn, guitar; Noel Jewkes, tenor sax; and John Wiitala, bass. All that matters is, “Does it work?”
With everyone taking serious care of their solo roles and ensembles, creating moving backgrounds for one another, trading “fours”, etc. and in general on the same page with passion and poise, these attributes are more than adequately provided in these offerings. A key factor in their inspiration is the roster of composers and the list of songs chosen to play. Producer Akira Tana, a noted, longtime professional drummer, explained that the sessions were free-wheeling and the choices for the material were made on the spot. Joe, Noel and John called the tunes, roughly made a sketch of a format, and played. “I liken these sessions to a marathon because so much was recorded,” said Akira. “ There were no rehearsals and the sessions were really in the tradition of recordings from another era. No overdubs or fixes—all live performances captured here.”
Joe Cohn employs many creative techniques to express his style. Notice his articulation on “All Too Soon”; the counterpoint that he and Noel bring to a section of “How Am I to Know,” a hauntingly beautiful song from way back, written by one Jack King with words (unheard) by Dorothy Parker. the rapier wit of the storied Algonquin Round Table. “People Will Say We’re In Love” contains Joe’s long, connective lines. It is no longer necessary to refer that Joe is the son of the great saxophonist Al Cohn but the apple falls close to the tree. ~Ira Gitler
Emeryvillesessions Vol 2: S'posin'
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