Ken Peplowski - Easy to Remember (Extended)

Styles: Clarinet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 100:27
Size: 232,3 MB
Art: Front

(4:31) 1. It's Easy to Remember
(5:51) 2. Restless
(7:58) 3. Copi
(3:42) 4. With Every Breath I Take
(3:22) 5. Louisa
(8:02) 6. Everything I Love
(4:41) 7. I've Grown Accustomed to Her Face
(1:55) 8. Single Petal of a Rose
(3:52) 9. Love Came
(7:07) 10. Good Old Days
(2:36) 11. Junk
(5:37) 12. Smoke Rings
(7:16) 13. High on You
(3:51) 14. Love Came 1 - New York Mix
(3:50) 15. Love Came 2 - New York Mix
(4:30) 16. It's Easy to Remember 1 - New York Mix
(4:32) 17. It's Easy to Remember 2 - New York Mix
(4:42) 18. I've Grown Accustomed to Her Face - New York Mix
(5:51) 19. Restless - New York Mix
(6:31) 20. High on You - New York Mix

Clarinetist Ken Peplowski can be counted on for about one new record a year; it apparently takes him most of that year to decide on material to include on the next album. Peps has been a staple in the jazz world for quite some time, having debuted at age 10 in 1969 in his home town of Cleveland, OH, and toured with Tommy Dorsey's ghost band (led by Buddy Morrow) in the late '70s, before settling in New York. The rap on him is that he is the epitome of jazz traditionalism, but, as this CD demonstrates, that judgment fails adequately to recognize his adventurousness.

Here, supported by a superlative rhythm section, Peplowski has compiled a collection that ranges from Bobby Short's Caf' Carlyle rendition of the title tune to pianist Rosenthal's original "Good Old Days"; "Restless" (from Benny Goodman's book) on tenor sax to Paul McCartney's "Junk"; a revisitation of "Copi" and "Everything I Love" to Joe Cohn's father Al's "High on You"; and Cy Coleman's beautiful "With Every Breath I Take" to the serendipitous "Smoke Rings," with standards from Jobim, Lerner and Loewe, Strayhorn and Ellington to round out the program. Throughout its more than 66 minutes, the threads that hold it all together are Peplowski's innate musicality and impeccable good taste.

To my ear, the album's trajectory soars after Short's contribution; the old cabaret singer's spirit is willing, but his raspy voice is weak. Peps' tenor is breathy and Cohn's and Leonhart's solos, laid-back on a gently swinging "Restless." "Copi" is a lovely, slow jazz waltz for tenor, while Peps' introspective clarinet drips clover honey on "Every Breath." Jobim's "Louisa," suggested by Peps' frequent duo partner Howard Alden, is as delicate as a blossom, featuring delicious interplay between Peplowski's clarinet and Rosenthal's piano. A long, elegant, out-of-rhythm clarinet cadenza opens Cole Porter's "Everything I Love," clearly one of the high points of the album; the eventual addition of other instruments interrupts the reverie with almost abrupt suddenness, although the comfortable swing of the rendition, the beauty of the tune, and, in eight minutes, its thoroughness of exploration make the intrusion easy to forgive.

Peps' brief, unaccompanied solo on Ellington's "Single Petal of a Rose" seems to capture perfectly the Duke's intent; this to me is the album's emotional center. Nothing could follow it more appropriately than a Strayhorn ballad. Rosenthal's brisk original, remotely reminiscent of "Savoy," injects a nice change of pace, while Paul McCartney's pleasantly simple "Junk," wistfully sung by Kim Liggett, with Cohn's accompaniment and Peplowski's clarinet obbligato, provides some unexpected variety.

The album concludes with a solidly swinging "Smoke Rings" and an up-tempo "High on You," taken with a samba beat; Peps switches to tenor for both of these.~ J.Robert Bragonier https://www.allaboutjazz.com/easy-to-remember-ken-peplowski-nagel-heyer-records-review-by-j-robert-bragonier.php?width=1920

Personnel: Ken Peplowski - clarinet, tenor sax; Joe Cohn- guitar; Ted Rosenthal - pianist; Joe Fitzgerald - bassist; Jeff Brillinger - drummer; Bobby Short - vocals (track 1); Kim Liggett- vocals(track 11)

Easy to Remember (Extended)

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Joe Cohn - The Emeryville Sessions Vol 1: Marathon Man / The Emeryville Sessions Vol 2: S'posin

Album: The Emeryville Sesions Vol 1: Marathon Man
Bitrate: MP3@320K/s
Time: 75:02
Size: 171.8 MB
Styles: Bop
Year: 2014
Art: Front

[4:40] 1. Speedball (Feat. Dayna Stephens, Joe Bagg & Akira Tana)
[6:56] 2. Autumn Nocturne (Feat. Joe Bagg & Akira Tana)
[7:33] 3. I Concentrate On You (Feat. Akira Tana & Joe Bagg)
[5:48] 4. God Bless The Child (Feat. Joe Bagg & Akira Tana)
[5:32] 5. Cohn On The Cob (Feat. Joe Bagg, Akira Tana & Dayna Stephens)
[4:46] 6. Mama Flosie (Feat. Joe Bagg & Akira Tana)
[5:08] 7. Trick Bag (Feat. Joe Bagg & Akira Tana)
[5:07] 8. Bittersweet (Feat. Joe Bagg & Akira Tana)
[6:26] 9. The Very Thought Of You (Feat. Dayna Stephens, Joe Bagg & Akira Tana)
[6:18] 10. Estate (Feat. Akira Tana & Joe Bagg)
[4:07] 11. U.M.M.G. (Upper Manhattan Medical Group) [feat. Joe Bagg & Akira Tana]
[6:30] 12. If Ever I Would Leave You (Feat. Joe Bagg & Akira Tana)
[6:05] 13. Turn Around (Feat. Joe Bagg & Akira Tana)

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.

The Emeryville Sessions Vol 1: Marathon Man

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Album: The Emeryville Sessions Vol 2: S'posin'
Bitrate: MP3@320K/s
Time: 59:08
Size: 135.4 MB
Styles: Bop
Year: 2015
Art: Front

[3:34] 1. S'posin' (Feat. Noel Jewkes & John Wiitala)
[5:24] 2. The Gentle Rain (Feat. Noel Jewkes & John Wiitala)
[7:11] 3. All Too Soon (Feat. Noel Jewkes & John Wiitala)
[4:39] 4. Autumn In New York (Feat. Noel Jewkes & John Wiitala)
[6:16] 5. Emily (Feat. Noel Jewkes & John Wiitala)
[5:58] 6. How Am I To Know (Feat. John Wiitala & Noel Jewkes)
[7:26] 7. I Hadn't Anyone 'til You (Feat. Noel Jewkes & John Wiitala)
[8:21] 8. People Will Say We're In Love (Feat. Noel Jewkes, & John Wiitala)
[4:29] 9. Skylark (Feat. Noel Jewkes & John Wiitala)
[5:45] 10. When Lights Are Low (Feat. Noel Jewkes & John Wiitala)

Joe Cohn- guitar, Noel Jewkes - saxophone, John Wiitala - bass.

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.

The Emeryville Sessions Vol 2: S'posin'

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Grant Stewart - + 4

Bitrate: MP3@320K/s
Time: 59:57
Size: 137.2 MB
Styles: Saxophone jazz
Year: 2005
Art: Front

[7:29] 1. You 'n' Me
[8:39] 2. Yesterdays
[6:42] 3. Cohn On The Cob
[5:57] 4. Limehouse Blues
[8:59] 5. The Folks Who Live On The Hill
[8:27] 6. Sabia
[7:22] 7. Lonely Town
[6:20] 8. You Leave Me Breathless

Grant Stewart: tenor saxophone; Joe Cohn: guitar; Bill Charlap: piano; Paul Gill: bass; Willie Jones III: drums.

Grant Stewart is a young Canadian tenor saxophonist with a big, burly sound and plenty of drive. On Grant Stewart + 4, he demonstrates his command of both his instrument and the hard bop idiom. He swings without pretense and his top-shelf sidemen move things along with considerable brio. Stewart's improvisations are marked by long, rolling lines and heated swing. He displays a cohesive sense of invention even at the fastest tempos, as on "Limehouse Blues," for example. And while Stewart is deeply indebted to Sonny Rollins, he's clearly looking for his own approach, making interesting and original note choices throughout. His flaring solo on "Lonely Town" is especially good.

Guitarist Joe Cohn is also a big part of the success of this album, through sleek, clean solos and clever arrangements, which serve to lift these proceedings well above the usual blowing date. Cohn is highlighted on "Yesterdays," on which he interacts sensitively with Stewart, and where his arrangement adds a fresh dimension to the oft-played chestnut. Pianist Bill Charlap nearly steals the album. His improvising is absolutely fresh and distinctive, using space to advantage, varying phrase lengths, and overall providing a classic reminder that jazz is, after all, supposed to be the sound of surprise.

In keeping with the sound of surprise, Grant Stewart + 4 successfully mines the tricky terrain of repertoire with rarely played songs, clever originals, and less conventional song treatments. "You Leave Me Breathless," for example, is played as an up-tempo romp, rather than a ballad. In fact, most of the program is played at fast and even faster tempos, and Stewart's cooking rhythm section nails it every time. Even at the fearsome speeds of "Limehouse Blues" and "You Leave Me Breathless," bassist Paul Gill and drummer Willie Jones III maintain solid, vibrant swing. Grant Stewart + 4 may not be innovative, but it is very, very good.

+ 4

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The Harry Allen And Joe Cohn Quartet - Hey, Look Me Over

Styles: Saxophone And Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 60:30
Size: 138,7 MB
Art: Front

(6:30)  1. With the Wind and the Rain in Your Hair
(6:07)  2. Take Four
(6:10)  3. It's Been a Long, Long Time
(6:19)  4. Hey, Look Me Over
(5:29)  5. Seven Come Eleven
(6:23)  6. I'll Only Miss Her When I Think of Her
(6:08)  7. Travisimo
(6:32)  8. Get Out
(3:18)  9. Pick Yourself Up
(7:30) 10. Danielle

The Harry Allen-Joe Cohn Quartet was recently nominated for the best small ensemble of the year by the Jazz Journalist Association for its 2006 Jazz Awards. Hey, Look Me Over offers several convincing reasons why. Playing a selection of jazz standards favoring the harmonious marriage of the tenor and guitar, Allen and Cohn fashion ten tracks of brisk and mellow music with a good dose of swing. Their quartet, featuring bassist Joel Forbes and drummer Chuck Riggs, performs regularly on the New York jazz scene. Influenced by legendary saxophonist Stan Getz, Allen chose a staple of Getz's repertoire for the opener in "With the Wind and the Rain in Your Hair" to demonstrate his talents on tenor. The band opens up in swinging style with the Sammy Cahn tune "It's Been A Long, Long Time," featuring respectable solos by the leaders. The title track, a showcase piece for the band, finds Cohn taking center stage with a romp on guitar, followed by Forbes on bass and finishing with a high-pitched tenor statement by Allen.


The group turns soft and mellow on the Cahn/Van Heusen ballad "I'll Only Miss Her When I Think Of Her," with a deliciously soft and sleepy melody. Allen and Cohn use the familiar "Pick Yourself Up" to play off each other, going back and forth on this short and fun track. One of three compositions by Al Cohn (Joe Cohn's dad), and perhaps the best on this album, is "Danielle," played like a soft samba. Riggs uses the brushes, Allen does his best Getz interpretation, and Cohn strums the guitar like Charlie Byrd on this beautiful and memorable closer. Hey, Look Me Over is a truly pleasant set of colorful and tasteful charts performed with grace and elegance. Allen and Cohn form the nucleus of a formidable, first-rate combo with a distinct style of its own. Take a hint from the title and look this one over... you may like what you hear. ~ Edward Blanco  http://www.allaboutjazz.com/hey-look-me-over-harry-allen-arbors-records-review-by-edward-blanco.php

Personnel: Harry Allen: tenor saxophone; Joe Cohn: guitar; Joel Forbes: bass; Chuck Riggs: drums.

Hey, Look Me Over

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Joe Cohn - Restless

Bitrate: MP3@320K/s

Time: 63:01

Size: 144.3 MB

Styles: Guitar jazz

Year: 2007

Art: Front

[5:48] 1. Never Look Back

[5:58] 2. Too Marvelous For Words

[4:57] 3. Little Juicy

[6:41] 4. Restless

[4:10] 5. Fast

[6:06] 6. Woody's Lament

[5:53] 7. Diffusion Of Beauty

[6:28] 8. I Wonder Where Our Love Has Gone

[5:45] 9. Shadow Waltz

[6:31] 10. Comes Love

[4:39] 11. I Hadn't Anyone Till You

There are jazz musicians who haplessly attempt to reinvent themselves with every passing fad and then there are those, like guitarist Joe Cohn, who diligently progress their art with integrity and conviction. A mainstay on the New York scene, Cohn consistently delivers with a nod to the past and an intensity full of forward motion. Restless is no exception. The guitarist is at the top of his game and the disc has the feel of a late-night jam session where everyone involved gets ample opportunity to stretch out.

Cohn dispenses every phrase of every solo with vibrancy and mastery of conception. His style is rooted in the classic sounds of Barney Kessel, Tal Farlow and Kenny Burrell, however his approach is void of imitation and maintained with warmth and personality. The guitarist's seemingly effortless, horn-like weaving of ideas on "Too Marvelous for Words and "Comes Love stands out as exceptional. Saxophonist's Dmitry Baevsky and Harry Allen share the solo spotlight equally with Cohn. Like Cohn, both horn men are adept in the language of swing and bebop. Baevsky's alto tears through Thad Jones' "Little Juicy and Allen dominates with his brawny tenor tone on the title track. The inclusion of two tunes from the pen of Cohn's father, the late Al Cohn, pays tribute to the legacy of the oft-forgotten tenor saxophone giant. The up tempo burner, simply titled "Fast, is contrasted nicely with the minor-key stroll of "Woody's Lament.

Pianist Hod O'Brien comps and solos with flawless execution, swinging along tirelessly. The veteran pianist contributes as composer with "Diffusion of Beauty, a spirited hard-bop romp. Bassist Dennis Irwin and drummer Chuck Riggs keep time with clock-like precision and elevate each groove with fervent buoyancy. With well-chosen repertoire and on-the-money performances, Cohn and company deliver a robust, high-spirited session. Restless stands out as a first-rate effort from one of jazz's most underrated guitarists. ~John Barron

Joe Cohn: guitar; Hod O'Brien: piano; Dmitry Baevsky: alto saxophone; Harry Allen: tenor saxophone (1, 4, 6, 7, 10); Dennis Irwin: bass; Chuck Riggs: drums.

Restless

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Joe Cohn - Two Funky People

Bitrate: MP3@320K/s

Time: 59:00

Size: 135.1 MB

Styles: Guitar jazz

Year: 1997

Art: Front

[4:51] 1. Solar

[7:07] 2. But Not For Me

[4:23] 3. Quite Sip

[4:23] 4. Two Funky People

[5:19] 5. Mr. George

[4:51] 6. Serenata

[6:55] 7. Ask Me Now

[4:48] 8. High On You

[6:09] 9. Days Of Wine And Roses

[4:18] 10. Motion

[5:51] 11. You And Me

Guitarist Joe Cohn is the prodigiously talented son of famed tenor saxophonist Al Cohn. Some may find it odd that on his debut recording fellow guitarist Doug Raney appears alongside him on many of the tracks. The two-guitar format is somewhat reminiscent of Joe Pass's recordings with rhythm guitarist John Pisano, although here Raney is quite prominent throughout as a solo voice. Telling the two guitarists apart will in fact require a good deal of concentration on the part of most listeners. In general, Cohn is the faster and more rhythmically adventurous of the two; his tone is brighter and more dry than Raney's. One would have hoped for more of a Joe Cohn showcase rather than a date on which another guitarist, a second "funky person," practically shares top billing. That said, both Cohn and Raney are fantastic straight-ahead players and they make beautiful music together, aided by Dennis Irwin on bass and Barry Ries on drums. Four of the tracks are seldom-played gems by Al Cohn, including the title track. Another, "Motion," is by Doug Raney's famous father, Jimmy Raney. (Perhaps it is the famous dads connection that brought these two together.) Other tracks include the classics "But Not for Me," "Solar," "Days of Wine and Roses," "Ask Me Now," and "Serenata." Thad Jones's mid-tempo burner "Quite Sip" is Cohn's one trio feature, and a great one. ~David R. Adler

Two Funky People

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Joe Cohn - Fuego

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 67:34
Size: 155,2 MB
Art: Front

(7:32)  1. Little Melonae
(6:04)  2. She
(6:13)  3. Bluish Grey
(5:56)  4. DeWey Square
(6:37)  5. The Underdog
(5:14)  6. Fuego De Roberto
(6:58)  7. Love For Sale
(6:23)  8. Call It Wachawana
(8:41)  9. Clockwise
(7:53) 10. Lady Luck

Joe Cohn's second Criss Cross outing is a swinging affair. Joined by Dutch master pianist Peter Beets, and New York A-Listers, bassist John Webber and drummer Kenny Washington, the young guitar veteran (who is the son of the iconic tenor saxophonist-composer Al Cohn) addresses a strong program of first-rate, less traveled jazz and songbook standards, uncorking a string of inspired solos that blend polish and vigor with a style that traverses a broad timeline of vocabulary on his instrument - he reaffirms his position as a major voice on today's playing field. ~ Editorial Reviews  http://www.amazon.com/Fuego-Joe-Cohn-Quartet/dp/B0059889VK

Personnel: Joe Cohn (guitar); Peter Beets (piano); Kenny Washington (drums).

Fuego

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Harry Allen - Hits By Brits

Bitrate: MP3@320K/s

Time: 58:17

Size: 133.4 MB

Styles: Saxophone jazz

Year: 2007

Art: Front

[7:04] 1. Cherokee

[7:16] 2. Roses Of Picardy

[6:56] 3. Just In Time

[4:18] 4. These Foolish Things

[6:33] 5. I Hadn't Anyone Till You

[4:31] 6. You're Blasé

[7:05] 7. Limehouse Blues

[3:34] 8. A Nightingale Sang In Berkely Square

[5:48] 9. Got A Date With An Angel

[5:08] 10. The Very Thought Of You

Recording Date: November, 2006. Drums - Chuck Riggs: Guitar – Joe Cohn; Saxophone – Harry Allen; Trombone – John Allred; Bass - Joel Forbes.

Tenor saxophonist Harry Allen can evoke Lester Young disciples like Stan Getz or Zoot Sims one minute and the heavier swing-era tenorists the next. On his latest release, Allen’s sound and articulation lean toward the aggressive end of the scale, although on ballads like “You’re Blasé” and “A Nightingale Sang in Berkeley Square,” he often brings to mind a reflective Sims or Ben Webster.

All the tunes are by Englishmen, except “Just in Time,” whose composer, the American Jule Styne, was born in London. Well-known bandleader Ray Noble wrote “The Very Thought of You,” “I Hadn’t Anyone Till You” and the classic jazz vehicle “Cherokee.” Also included are “Roses of Picardy,” “These Foolish Things,” “Limehouse Blues” and “Got a Date with an Angel.” The informal arrangements consist largely of Allen, guitarist Joe Cohn and trombonist John Allred (on four tracks) stating the melody, taking choruses, trading phrases and taking the chart out.

Allen is in great form, whether swinging ebulliently or caressing a melody, and the virtuosic Allred is consistently impressive. Cohn seemingly inherited dad Al’s melodic sense, as he spins nimble, tuneful lines at any tempo. The fine rhythm section also includes bassist Joel Forbes and drummer Chuck Riggs.~David Franklin

Hits By Brits

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Joe Cohn - Emeryville Sessions Vols 1 & 2

Album: Emeryville Sessions Vol 1: Marathon Man
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

Emeryville Sessions Vol 1: Marathon Man

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Album: Emeryville Sessions Vol 2: S'posin'
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

Emeryvillesessions Vol 2: S'posin'

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Carmen Leggio Quartet - Carmen Leggio Quartet Featuring Joe Cohn

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 53:10
Size: 122,4 MB
Art: Front

(4:53)  1. Softly, As In A Morning Sunrise
(3:04)  2. Lose One-Gain One
(7:32)  3. It Had To Be You
(5:26)  4. Black Orpheus (A Day In The Life Of A Fool)
(4:23)  5. Emily
(5:22)  6. Gone With The Wind
(3:36)  7. You Go To My Head
(6:00)  8. Embraceable You
(5:25)  9. Polka Dots And Moonbeams
(3:01) 10. Sing, Sing, Sing
(4:23) 11. Undecided

New York tenor saxophonist Carmen Leggio has performed with the likes of Gene Krupa, Woody Herman, Benny Goodman and Maynard Ferguson. This self-titled quartet recording finds the veteran reedman swinging hard on eleven standards done in a no-nonsense, straight-ahead manner. Leggio is joined by guitar great Joe Cohn, bassist Rick Petrone and drummer Joe Corsello. Leggio rips through familiar themes like "Softly, as in a Morning Sunrise," "It Had to Be You" and "Emily" with assuredness, speaking through his horn with a lyrical ease reserved for the most seasoned of players. The saxophonists pronounced, in-the-pocket phrasing on "Gone With The Wind" is reminiscent of Stan Getz. Cohn plays the dual role of sensitive accompanist and inventive soloist. His piano-style comping behind Leggio on "You Go to My Head" expands one's expectations of the guitar's capabilities. Cohn's brilliant single-line soloing on the Leggio burner "Lose One-Gain One" and the classic ballad "Embraceable You" is evidence of bop mastery. Petrone and Corsello keep things moving along with impeccable time and soulful grooves. Petrone's warm tone and lively lines sparkle on "Black Orpheus" and "Polka Dots and Moonbeams." The session closer, "Undecided" is an energetic romp with inspired trading between Leggio and Cohn. An all around wonderful recording, the disc beckons for repeated listening. ~ John Barron  

http://www.allaboutjazz.com/carmen-leggio-quartet-carmen-leggio-mighty-quinn-productions-review-by-john-barron.php

Personnel: Carmen Leggio: tenor saxophone; Joe Cohn: guitar; Rick Petrone: bass; Joe Corsello: drums.

Carmen Leggio Quartet Featuring Joe Cohn

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Peter Beets - New Groove

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 62:40
Size: 143,8 MB
Art: Front

(4:17)  1. You're My Everything
(7:34)  2. But Beautiful
(5:13)  3. Tricotism
(5:16)  4. I'm Old Fashioned
(5:43)  5. Blues For Giltay
(7:15)  6. In Your Own Sweet Way
(4:20)  7. They Say It's Wonderful
(6:13)  8. Nuages
(4:41)  9. Three Little Words
(6:30) 10. Easy Listening Blues
(5:32) 11. Parker 51

What zesty, light-stepping, buoyant sounds these are. There's some serious swinging happening on Dutch pianist Peter Beets' New Groove. Beets employs two different trios, one from New York, the other from his native Netherlands. Both trios utilize piano, guitar and bass, reminiscent of Ahmad Jamal's 1955 recordings with guitarist Ray Crawford and bassist Israel Crosby, available on Ahmad Jamal Trio (Definitive Records, 2006), or more swingingly on the work of Oscar Peterson, bassist Ray Brown and guitarists Barney Kessel and Herb Ellis. New Groove is Beets' fourth Criss Cross Records release, following New York Trio (2001), New York Trio Page 2 (2003) and New York Trio Page 3 (2005), all employing the standard piano, bass and drums format. 

The guitar/piano teaming enriches the harmonic element, and Beets and guitarists Joe Cohn and Martijn Van Iterson switch back and forth with Beets on soloing and comping, giving the music an organically vibrant feel. The set has an especially relaxed, off-the-cuff vibe, sounding loose and spontaneous within the mainstream framework. The set opens with Harry Warren's familiar gem, "You're My Everything," sounding especially crisp and lively, then slips into a gorgeous take on Kern and Mercer's "I'm Old Fashioned" before moving into a zingy Beets original, "Blues for Giltay."

Irving Berlin's "They Say It's Wonderful," has Beets sounding particularly like Oscar Peterson. And speaking of Peterson, the master gets another nod with Beets' take on Nat King Cole's "Easy Listening Blues," which Peterson recorded on his tribute album With Respect to Nat (Polygram Records, 1965). There's no new ground broken on New Groove, but Beets and his trios swing over the old ground with an engaging panache on an especially fine trio outing. ~ Dan McClenaghan  http://www.allaboutjazz.com/new-groove-peter-beets-criss-cross-review-by-dan-mcclenaghan.php#.VGuKzcmHmtg
 

Personnel: Peter Beets: piano; Joe Cohn: guitar (2, 3, 4, 7, 8, 10, 11); Reuben Rogers: bass (2, 3, 4, 7, 8, 10, 11); Martijn Van Iterson: guitar (1, 5, 6, 9); Rudd Jacobs: bass (1,5,6,9).

New Groove

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Joe Cohn Feat. Peter Beets - Shared Contemplations

Styles: Guitar And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 58:26
Size: 134,1 MB
Art: Front

(6:26)  1. Just One of Those Things
(6:04)  2. Danielle
(5:27)  3. You Turned the Tables on Me
(7:10)  4. I Gotta Right to Sing the Blues
(5:25)  5. I Love You, Samantha
(6:52)  6. Blue Serge
(4:27)  7. Something for Lisa
(5:36)  8. Man With a Horn
(6:08)  9. 49th Street
(4:47) 10. Barbados

In his own sure and steady manner, Joe Cohn has developed into one of the more reliable and consistent modern mainstream jazz guitarists. His clean, single-line melodic approach is pleasing to the ear without being flashy or pyrotechnical. The key to Cohn, like his formidable father the late great saxophonist Al Cohn, is his innate sense of musicality bonded to solid technique and good, swinging common sense. For this effort, Cohn is heard in various small ensemble settings primarily featuring Dutchmen the excellent pianist Peter Beets, drummer Joost Van Schaik, and expatriate bassist J.J. Wiggins aka Hassan Shakur in a program of concisely rendered standards and two of his dad's originals. Cohn's allegiance to the concept of counterpoint, as implied in the title, is a strong suit towards interacting with his bandmates, made readily available to listeners who are paying close attention to this music. This set starts with two standards  "Just One of Those Things" and "You Turned The Tables on Me" with a different grouping featuring bassist Peter Washington and drummer Willie Jones III. 

They are responsible for urging Cohn into the typical, single-line swing and no-frills jazz that signify his style. This ensemble also shows up for the ballad "Man with a Horn" with a soft, slightly tart cameo by young tenor saxophonist Dmitry Baevsky, and the soft bossa "Danielle" penned by papa Cohn. The rest of the material is played by the band with Beets, whose remarkable melodic sense grows with every passing year. His block chords during a samba version of Cole Porter's "I Love You Samantha" display the pure symmetry between him and the guitarist, and how well they play in unison for Bill Mobley's bright bopper "49th Street." The classic, long enduring Charlie Parker favorite "Barbados" is played quite well in its Latin frame, and the band cranks it up a notch for Al Cohn's original "Something for Lisa," as the guitarist plays more chords. "I Got a Right to Sing the Blues" also has Joe Cohn strumming more but still plucking, and shows his patient virtue during the beautiful Gary McFarland evergreen "Blue Serge," an oft neglected but heart warming, well-chosen selection. Where there's a certain variety in song selections, you hear much depth, thoughtfulness, and real purpose in the playing of this music. Where there's no groundbreaking or innovation, Joe Cohn has produced yet another solid, straight-ahead jazz album that should easily satisfy his fans and those who enjoy the contemplative, at ease side of life. ~ Michael G. Nastos  http://www.allmusic.com/album/shared-contemplations-mw0000808575

Personnel: Joe Cohn (guitar); Peter Beets (piano); J.J. Wiggins, Peter Washington (bass guitar); Joost van Schaik, Willie Jones III (drums).

Shared Contemplations

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Grant Stewart - Grant Stewart + 4

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 59:57
Size: 137,5 MB
Art: Front

(7:29)  1. You 'N' Me
(8:39)  2. Yesterdays
(6:42)  3. Cohn On The Cob
(5:57)  4. Limehouse Blues
(8:59)  5. The Folks Who Live On The Hill
(8:27)  6. Sabia
(7:22)  7. Lonely Town
(6:20)  8. You Leave Me Breathless

Grant Stewart is a young Canadian tenor saxophonist with a big, burly sound and plenty of drive. On Grant Stewart + 4, he demonstrates his command of both his instrument and the hard bop idiom. He swings without pretense and his top-shelf sidemen move things along with considerable brio. Stewart's improvisations are marked by long, rolling lines and heated swing. He displays a cohesive sense of invention even at the fastest tempos, as on "Limehouse Blues," for example. And while Stewart is deeply indebted to Sonny Rollins, he's clearly looking for his own approach, making interesting and original note choices throughout. His flaring solo on "Lonely Town" is especially good. Guitarist Joe Cohn is also a big part of the success of this album, through sleek, clean solos and clever arrangements, which serve to lift these proceedings well above the usual blowing date. Cohn is highlighted on "Yesterdays," on which he interacts sensitively with Stewart, and where his arrangement adds a fresh dimension to the oft-played chestnut. 

Pianist Bill Charlap nearly steals the album. His improvising is absolutely fresh and distinctive, using space to advantage, varying phrase lengths, and overall providing a classic reminder that jazz is, after all, supposed to be the sound of surprise. In keeping with the sound of surprise, Grant Stewart + 4 successfully mines the tricky terrain of repertoire with rarely played songs, clever originals, and less conventional song treatments. "You Leave Me Breathless," for example, is played as an up-tempo romp, rather than a ballad. In fact, most of the program is played at fast and even faster tempos, and Stewart's cooking rhythm section nails it every time. Even at the fearsome speeds of "Limehouse Blues" and "You Leave Me Breathless," bassist Paul Gill and drummer Willie Jones III maintain solid, vibrant swing. Grant Stewart + 4 may not be innovative, but it is very, very good. ~ AAJ Staff  http://www.allaboutjazz.com/grant-stewart--4-grant-stewart-criss-cross-review-by-aaj-staff.php#.VGgmxcmHmtg

Personnel: Grant Stewart: tenor saxophone; Joe Cohn: guitar; Bill Charlap: piano; Paul Gill: bass; Willie Jones III: drums.

Grant Stewart + 4

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The Harry Allen-Joe Cohn Quartet - Stompin' The Blues

Size: 152,3 MB
Time: 65:21
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Mainstream Jazz
Art: Front

01. You're Driving Me Crazy (7:33)
02. I'll Get By (7:17)
03. Stompin' The Blues (5:10)
04. My Old Flame (5:00)
05. Don't Want To Have To (4:52)
06. But I Will (5:21)
07. I Only Have Eyes For Youn (9:19)
08. (I Would Do) Anything For You (8:18)
09. Medley It Might As Well Be Spring/Spring Is Here (6:27)
10. So There (5:59)

Despite his still young age, tenor saxophonist Harry Allen has released nearly 40 CDs. Even more impressive is that he plays mostly standards, and while that well is deep, there's no easy chore in making American popular songs fresh and vibrant within the mainstream. Allen accomplishes this by changing up his bands, working hard on his personalized post-Stan Getz voicings, and occasionally inviting veteran hero/musicians to his recording sessions. In this case, fellow tenor man Scott Hamilton joins the band Allen co-leads with the excellent primarily rhythm guitarist Joe Cohn, and there's a story behind the recording date. Hamilton, living in London, England, flew to the U.S. shortly after the terrorist threat there in February of 2007 and was forced to check his saxophone instead of carrying it with him on the flight, and it was badly damaged in transit. But somehow Hamilton was able to piece the hurt horn together, and he sounds as good on it as he ever has. Trombonist John Allred is another modern miracle on this effort, as his playing in accord with, opposite to, and in conversational mode with Allen is sheer genius. Why is Allred not hailed as one of the top five jazz trombonists going today? Some good swingin' music is created as Allen and Allred trade alternating choruses for the obscure "I'll Get By" and go back and forth in chat-chat mode during "I Only Have Eyes for You," while each adopts solo lines on the medley melodies of "It Might as Well Be Spring" (Allred) and "Spring Is Here" (Allen). Of the three selections with the twin tenors plus 'bone, "You're Driving Me Crazy" is as interactive as any Dixieland tune, the deep saxes take eight-bar turns for "My Old Flame," and all three horns hit a singsong groove as the cool bass of Joel Forbes and Cohn's guitar prep "(I Would Do) Anything for You." Of the originals penned by Allen, "Don't Want to Have To" evokes a Gerry Mulligan or Dave Brubeck/Paul Desmond classical jazz stance moving forward, wryly followed by the just fine swing of "But I Will." The title track is a basic romping, bopping 12-bar blues, while the end game piece, "So There," has Allen and his band syncopatin' as hard as he ever has. This is yet another complete, effervescent, solid session for Allen. It's also a treat to read the liner notes by Herb Wong. Any jazz fan can receive special insight reading what Dr. Wong has to say. ~Review by Michael G. Nastos

Stompin' The Blues

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The Harry Allen-Joe Cohn Quartet - Music From Guys & Dolls

Bitrate: 320K/s

Time: 70:32

Size: 161.5 MB

Styles: Saxophone jazz, Guitar jazz, Vocal jazz

Year: 2007

Art: Front

[6:14] 1. Guys And Dolls

[4:13] 2. If I Were A Bell

[3:00] 3. A Woman In Love

[5:03] 4. Luck Be A Lady

[7:52] 5. Pet Me, Poppa

[4:20] 6. Sue Me

[5:08] 7. Marry The Man Today

[5:09] 8. Take Back Your Mink

[3:49] 9. Adelaide

[4:06] 10. I've Never Been In Love Before

[3:25] 11. Fugue For Tinhorns

[4:44] 12. Adelaide's Lament

[3:41] 13. Sit Down You're Rockin' The Boat

[5:44] 14. I'll Know

[3:58] 15. Guys And Dolls

In spite of a long successful jazz career, many of tenor saxophonist Harry Allen's recordings have been for European and Japanese labels. So it is good to see him on a mainstream American label like Arbors, where he'll get greater exposure in his homeland. Joining him for this Frank Loesser songbook consisting of 14 songs from the Broadway musical and movie Guys and Dolls are guitarist Joe Cohn, bassist Joel Forbes, and drummer Chuck Riggs, with vocalists Rebecca Kilgore and Eddie Erickson added on most tracks. Allen is a consistent swinger with a pleasing tone that sometimes makes it sound like an alto, while Cohn is a guitarist of the Jim Hall school; he can play with the best of them but he knows how to leave plenty of space and not overplay his hand. Instead of using three vocalists singing rounds in "Fugue for Tinhorns," Allen, Cohn, and Forbes take their place in an intricate arrangement. While "If I Were a Bell," "'Luck Be a Lady," and "I've Never Been in Love Before" have long been standards for jazz musicians, it is the less frequently performed numbers that merit special attention. Kilgore's subtle interpretation of "Marry the Man Today" is complemented by Allen's robust tenor. Erickson's warm take of "Adelaide" shows what an underrated vocalist he is. Kilgore and Erickson, whether singing duets or individual features, are engaging singers who can't help but warm the listener's heart, but their mastery of comic songs like "Sue Me" is also a treat. Because the vocalists have worked together frequently over the years, both at jazz parties and on a number of CDs (including their group BED, which also features Forbes and trombonist Dan Barrett), they have a built-in rapport with each other. Warmly recommended! ~Ken Dryden

Music From Guys & Dolls

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Joe Cohn - Emeryville Sessions Vol. 1: Marathon Man

Size: 174,6 MB
Time: 74:35
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond Organ, Guitar
Art: Front

01. Speedball (Feat. Dayna Stephens, Joe Bagg & Akira Tana) (4:38)
02. Autumn Nocturne (Feat. Joe Bagg & Akira Tana) (6:54)
03. I Concentrate On You (Feat. Akira Tana & Joe Bagg) (7:30)
04. God Bless The Child (Feat. Joe Bagg & Akira Tana) (5:45)
05. Cohn On The Cob (Feat. Joe Bagg, Akira Tana & Dayna Stephens) (5:30)
06. Mama Flosie (Feat. Joe Bagg & Akira Tana) (4:44)
07. Trick Bag (Feat. Joe Bagg & Akira Tana) (5:06)
08. Bittersweet (Feat. Joe Bagg & Akira Tana) (5:05)
09. The Very Thought Of You (Feat. Dayna Stephens, Joe Bagg & Akira Tana) (6:24)
10. Estate (Feat. Akira Tana & Joe Bagg) (6:17)
11. U.M.M.G. (Upper Manhattan Medical Group) (Feat. Joe Bagg & Akira Tana) (4:04)
12. If Ever I Would Leave You (Feat. Joe Bagg & Akira Tana) (6:29)
13. Turn Around (Feat. Joe Bagg & Akira Tana) (6:03)

Joe Cohn was fated to a life in music by his antecedents and early exposure to the greatest musicians and composers, Joe, son of legendary saxophonist Al Cohn and vocalist Marylin Moore, has steadily risen to the fore and made his mark as one of the most inventive and catalytic guitarists in jazz. Joe emerged from his years at the Berklee School of Music in the late 70s as a multi-instrumentalist, and is no less impressive on trumpet. His work on guitar is consistently applauded and favorably reviewed. His professional experience as a guitarist is of the first order. He has toured and played with groups led by his father, Al Cohn (1979-87, including Europe), Freddy Cole (touring Brazil), Bob Mover, Nick Brignola, Artie Shaw, Zoot Sims, Buddy DeFranco (ongoing), Al Grey (ongoing), Warren Chiasson (ongoing), Carmine Leggio (ongoing), Claude “Fiddler” Williams (ongoing) and, of course, Harry Allen. On the New York City jazz club and concert scene, he has played the famous Blue Note with Al Cohn, Artie Shaw and Al Grey, Fat Tuesday’s and Sweet Basil with Al Grey, the Dorothy Chandler Pavilion with Artie Shaw and Lincoln Center with Hank Jones and Wynton Marsalis. On the international scene, he has played the Oslo Jazz Festival with Frank Wess, has played the annual jazz cruise on board the SS Norway with Al Grey, and wowed them at the Lionel Hampton Club in Paris with Duffy Jackson...

Emeryville Sessions Vol. 1

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The Harry Allen & Joe Cohn Quartet - Stompin' The Blues

Styles: Guitar And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 65:17
Size: 150,0 MB
Art: Front

(7:33)  1. You're Driving Me Crazy
(7:17)  2. I'll Get By
(5:10)  3. Stompin' the Blues
(5:01)  4. My Old Flame
(4:52)  5. Don't Want to Have To
(5:21)  6. But I Will
(9:20)  7. I Only Have Eyes for You
(8:18)  8. (I Would Do) Anything for You
(6:28)  9. Medley It Might As Well Be Spring, Spring Is Here
(5:54) 10. So There

Despite his still young age, tenor saxophonist Harry Allen has released nearly 40 CDs. Even more impressive is that he plays mostly standards, and while that well is deep, there's no easy chore in making American popular songs fresh and vibrant within the mainstream. Allen accomplishes this by changing up his bands, working hard on his personalized post-Stan Getz voicings, and occasionally inviting veteran hero/musicians to his recording sessions. In this case, fellow tenor man Scott Hamilton joins the band Allen co-leads with the excellent primarily rhythm guitarist Joe Cohn, and there's a story behind the recording date. Hamilton, living in London, England, flew to the U.S. shortly after the terrorist threat there in February of 2007 and was forced to check his saxophone instead of carrying it with him on the flight, and it was badly damaged in transit. But somehow Hamilton was able to piece the hurt horn together, and he sounds as good on it as he ever has. Trombonist John Allred is another modern miracle on this effort, as his playing in accord with, opposite to, and in conversational mode with Allen is sheer genius. 

Why is Allred not hailed as one of the top five jazz trombonists going today? Some good swingin' music is created as Allen and Allred trade alternating choruses for the obscure "I'll Get By" and go back and forth in chat-chat mode during "I Only Have Eyes for You," while each adopts solo lines on the medley melodies of "It Might as Well Be Spring" (Allred) and "Spring Is Here" (Allen). Of the three selections with the twin tenors plus 'bone, "You're Driving Me Crazy" is as interactive as any Dixieland tune, the deep saxes take eight-bar turns for "My Old Flame," and all three horns hit a singsong groove as the cool bass of Joel Forbes and Cohn's guitar prep "(I Would Do) Anything for You." Of the originals penned by Allen, "Don't Want to Have To" evokes a Gerry Mulligan or Dave Brubeck/Paul Desmond classical jazz stance moving forward, wryly followed by the just fine swing of "But I Will." The title track is a basic romping, bopping 12-bar blues, while the end game piece, "So There," has Allen and his band syncopatin' as hard as he ever has. This is yet another complete, effervescent, solid session for Allen. It's also a treat to read the liner notes by Herb Wong. Any jazz fan can receive special insight reading what Dr. Wong has to say. ~ Michael G.Nastos  http://www.allmusic.com/album/stompin-the-blues-mw0000786043

Personnel : Joe Cohn (guitar); Harry Allen, Scott Hamilton (tenor saxophone); John Allred (trombone); Joel Forbes (bass instrument); Chuck Riggs (drums).

Stompin' The Blues

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Joe Cohn - Two Funky People

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 59:02
Size: 135,6 MB
Art: Front

(4:51)  1. Solar
(7:12)  2. But Not for Me
(4:24)  3. Quite Sip
(4:23)  4. Two Funky People
(5:19)  5. Mr. George
(4:51)  6. Serenata
(6:55)  7. Ask Me Now
(4:52)  8. High on You
(6:09)  9. Days of Wine and Roses
(4:18) 10. Motion
(5:43) 11. You and Me

Guitarist Joe Cohn is the prodigiously talented son of famed tenor saxophonist Al Cohn. Some may find it odd that on his debut recording fellow guitarist Doug Raney appears alongside him on many of the tracks. The two-guitar format is somewhat reminiscent of Joe Pass's recordings with rhythm guitarist John Pisano, although here Raney is quite prominent throughout as a solo voice. Telling the two guitarists apart will in fact require a good deal of concentration on the part of most listeners. In general, Cohn is the faster and more rhythmically adventurous of the two; his tone is brighter and more dry than Raney's. One would have hoped for more of a Joe Cohn showcase rather than a date on which another guitarist, a second "funky person," practically shares top billing. That said, both Cohn and Raney are fantastic straight-ahead players and they make beautiful music together, aided by Dennis Irwin on bass and Barry Ries on drums. 

Four of the tracks are seldom-played gems by Al Cohn, including the title track. Another, "Motion," is by Doug Raney's famous father, Jimmy Raney. (Perhaps it is the famous dads connection that brought these two together.) Other tracks include the classics "But Not for Me," "Solar," "Days of Wine and Roses," "Ask Me Now," and "Serenata." Thad Jones's mid-tempo burner "Quite Sip" is Cohn's one trio feature, and a great one. ~ David R.Adler   

http://www.allmusic.com/album/two-funky-people-mw0000252103

Two Funky People

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The Harry Allen-Joe Cohn Quartet - Plays Music From South Pacific

Bitrate: 320K/s
Time: 63:03
Size: 144.3 MB
Styles: Showtunes, Jazz vocals
Year: 2009
Art: Front

[3:52] 1. A Cock-Eyed Optimist
[3:02] 2. Younger Than Springtime
[4:26] 3. Bloody Mary
[4:18] 4. Twin Solilioquies
[5:42] 5. I'm Gonna Wash That Man Outa My Hair
[3:33] 6. There Is Nothin' Like A Dame
[2:37] 7. Dities Moi
[5:27] 8. A Wonderful Guy
[1:46] 9. Happy Talk
[1:40] 10. Honeybun
[6:22] 11. Some Enchanted Evening
[5:44] 12. You've Got To Be Carefully Taught
[3:42] 13. My Girl Back Home
[5:24] 14. This Nearly Was Mine
[5:22] 15. Bali Ha'i

The multi-award-winning Rodgers & Hammerstein musical South Pacific had been languishing in obscurity until its Lincoln Center revival in 2009. Harry Allen and Joe Cohn decided to give these tunes their own jazz take, something that had been done before, but not to this extent of swinging and bopping them. With vocalists Rebecca Kilgore and Eddie Erickson, this island setting of a postcard love affair gone wrong via bigotry is rendered in heartfelt tones by the singers, and jammed on by the instrumentalists in a carefree manner that easily reflects the idea of a getaway-from-reality holiday. Though not done with Latin trim, the story lines expressed by Kilgore and Erickson do take the tropical setting into account, contrasting the ins and outs of love versus lust far from home. Kilgore is particularly miffed at her man during the more commercially known "I'm Gonna Wash That Man Right Outa My Hair," but easily turns around with cute praise for "A Wonderful Guy." Erickson is much more under a swoon on several tracks like the corny, fluffy "Honeybun," sounding very much like

Jack Sheldon, but has to concede he has everything but the girl for "There Is Nothin' Like a Dame" and readily admits to cheating on "My Girl Back Home." Most of the songs are in easy swing mode, but "Twin Soliloquies" is a Brazilian lover's paradise song, "Some Enchanted Evening" is an eight-plus-minute discourse on the blues as they question the pairing, and "You've Got to Be Taught" represents a preachy cautionary tale on hormonal overflow. There are three strictly instrumental numbers: the good bopper for Allen "Bloody Mary," the ballad for the cool tenor man "Dite-Moi," and the exceptional feature for Cohn "Happy Talk" (where his co-leader follows along). John McDonough includes some detailed liner notes about the three-pronged history of South Pacific, including the Broadway stage show in the late '20s to early '30s, the film version in 1958, and current activities in reviving it. A credible effort by these reliable musicians gives the tunes further cachet, not updated by any means but given new life and accented with a skeptical, doubtful, and timeless warning about life and instant love affairs. ~Michael G. Nastos

Harry Allen - Sax (Tenor); Joe Cohn - Guitar; Eddie Erickson - Vocals; Joel Forbes - Bass, Bass Instrument; Rebecca Kilgore - Vocals; Chuck Riggs - Drums.

Plays Music From South Pacific

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