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Top Customer Reviews
Every track on this album is worth your time. If you are looking for very cool, melodic jazz then look no further.
This exceptionnal album was recorded in New York City,March 11 and 12,1996,with two outstanding musicians: bassist Peter Washington and drummer Lewis Nash.Both used to play with Tommy for many years.This CD includes many compositions by Tommy:"Sea changes",the very boppish "Verdandi"(it surely could have been written by Bud Powell),"Darlana","Eclypso","Beat's up";some great standards,Irving Berlin's "How deep is the ocean",Harold Arlen's "Between the devil and the deep blue sea",and Johnny Green's "I cover the waterfront";a Bird's song,"Relaxin' at Camarillo";an old blues,and a magnificent one,by Ma Rainey,"See see rider",and a traditionnal,the haunting "Dear old Stockholm".And I think that this sublime version of "Dear old Stockholm",a magnificent tune so rarely played by jazz musicians (Miles Davis,John Coltrane and a few others) is the absolute masterpiece of this album.Tommy's interpretation of this tune makes me think of Tadd Dameron's writing;this is a compliment,as I consider Tadd Dameron (1917-1965) as one of the most important writers and arrangers in jazz,with Duke,Monk and Benny Carter.Read more ›
Tommy's lines are contained, eloquent, resourceful--never more than what's needed, and never short on the thought that belongs to the moment, and only that moment. When it comes to single note lines, no pianist has a more distinctive touch (including Oscar, Bill, Wynton), and that's the key not only to hearing and understanding what Tommy's doing but the litmus test that any bassist or drummer must be able to meet in order to get a second night with the Flanagan trio.
His is an art of "scale." On the few occasions that he doesn't satisfy, the reason can be traced to the musician--rhythm player or horn soloist--who is incapable of "playing down" to Flanagan's exquisitely and finely tuned dynamic scale. He's not going to "play up" to you--no bombast, no formulaic licks, no ultra-modern chord voicings, no special "arrangements." He simply plays the tune and improvises on the changes--an art that's as natural as flowers blooming, fruit ripening, Billie Holiday's singing in the 1930s. And the players who "catch on" become "extensions" of the leader's own voice, discovering through Tommy a voice they never knew they had.Read more ›
Most Recent Customer Reviews
My turn to me glad to own this gem. A Tommy Flanagan at the Summit of his art. He réexplore some standards and some of his compositions already present in one of these early... Read morePublished on July 15, 2014 by Philiplo
Wonderful CD for old timers. The music is soothing and very easy to listen. Piano bar style.Published on August 29, 2006 by Antonio Pp Almeida