Montgomery's solo is chalked full of superior melodic expression. This was the first song I ever heard from him back in the late 1990s and upon listening again I know why I fell in love with his playing. He epitomizes power and assurance with his note selections. On the other hand, Kelly is no slouch either. He's kind of like the Vice President, you know he's there waiting and when it's his turn to take the drivers seat, he'll get the job done. His interaction with Montgomery during his solo shows just how close these two musical minds were. During several moments of Montgomery's solo, he and Kelly accent right on time with each other. This was by far one of Montgomery's tour de force songs.
This song is the very definition of what we know as swing. My advice to you? Pay the $0.99 for this download if you don't already have it in your collection or better yet, go buy the entire album. You can find this version of "Impressions" on most Verve compilation Montgomery discs.
September 16, 2009 · 0 commentsTags: impressions
Uri Caine's sprightly piano intro sets the stage for Coltrane's playing of Gibbs' totally reworked--both harmonically and rhythmically--version of the "Impressions" theme, with violinist Mark Feldman joining the saxophonist on the replay. This is followed by a swaying montuno from Caine and vibist Joe Locke and a prickly vamp by Feldman (pizzicato) and Locke, just prior to Coltrane's tenor solo. Suspended time sections serve as launching pads for Ravi's convoluted, logically conceived, and unyieldingly inventive phrasings and runs. Caine's improv is buoyantly zestful and rhythmically diverse. Gibbs' well-executed, aggressively delivered drum solo is bolstered by the same vamp and montuno heard previously. The concluding well-written parts for the sextet as a whole seal the deal on one the most provocative and unique treatments of "Impressions" ever recorded.
September 15, 2009 · 0 commentsTags: impressions
Coltrane came up in an era where you played in bands with other saxophone players a lot, and he recorded with a lot of different saxophone players. Some of it was documented—there was a great record with Johnny Griffin and Hank Mobley; he recorded with Al Cohn and Zoot Sims and Hank Mobley as a quartet; did a record on alto with Paul Quinichette, Pepper Adams, and Gene Ammons; and of course the sextet with Miles and Cannonball and the quintet with Cannonball—but I’m sure through the years he was in tons of bands, and many jam sessions and situations where you shape the music together spontaneously right at the moment with other saxophone players. Later, his collaborations with Pharaoh Sanders, Archie Shepp, and others really stand out as some really beautiful collaborative group explorations. Throughout his career, I think he enjoyed, as I do, feeding off other people, especially if they have a strong personality and ideas and have their own statement. So it was great to hear him with Dolphy and have Eric’s voice, not only on alto, but bass clarinet and flute.
June 25, 2008 · 0 commentsTags: impressions
Five of the genre's top guitarists were chosen to record three tunes apiece on a 1946 Selmer petite bouche acoustic, model #607 (of the same linage as Selmer #503, Django's favorite guitar). Backed by the standard la pompe rhythm section of bass and two guitars, the five soloists ply their muscular chops over a range of material from traditional Django tunes to more contemporary modal jazz. Reactions to these sessions have run the gamut from whoops of astonishment to the deafening silence of amazement.
Adrien Moignard, a relatively unknown young French guitarist, clearly demonstrates what the powerful Gypsy technique can bring to a contemporary jazz jam staple, Coltrane's "Impressions." After a 4-bar rhythm intro, Adrien lays down the familiar head over the rhythm section's solid pompe before launching into a take-no-prisoners solo educing the fabled instrument's characteristic crunch and bark. With tantalizing sweeps, blistering chromatic runs and signature Gypsy enclosures, his ideas sound fresh, substantive and inspired. This kid ain't phoning it in.
May 11, 2008 · 4 commentsTags: impressions
DeFrancesco, playing basslines, and drummer Landham make a fantastic rhythm section. Guitarist Bollenback handles the speedy changes with style and aplomb. And of course DeFrancesco, the most renowned B-3 organ master of the day, does his thing. The band cleverly avoids clichés and plays the familiar melody only at the very last minute. These are pros at work. Their version of "Impressions" leaves a good one.
April 17, 2008 · 0 commentsTags: impressions
November 21, 2007 · 0 commentsTags: impressions
November 03, 2007 · 0 commentsTags: impressions
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