Tag: Bill Evans

Throwback: RIP Jimmy Cobb

Growing up, jazz was a formative part of my childhood. John Coltrane was God and Miles Davis was Jesus. Hallowed be thy names! Hallelujah and amen, forever and ever!  

Copious amounts of ink — both real and virtual — have been spilled writing about Miles Davis’ Kind of Blue, the recording sessions that birthed it and the musicians, who recorded it, which included John Coltrane (tenor sax), Julian “Cannonball” Adderley, Bill Evans (piano), Wynton Kelly(piano), Paul Chambers (bass), Jimmy Cobb (drums) and of course, Miles Davis (trumpet). Personally, Kind of Blue is a quintessential New York album: if you ever get a chance, play the album while walking down a lengthy stretch of Fifth Avenue on a drizzly Spring afternoon. Trust me, it works. 

I was heartbroken to hear that Jimmy Cobb, the last living link to Kind of Blue died yesterday and I wanted to pay a tribute to Cobb and the rest of the legendary musicians, who recorded such a gorgeous and meaningful album. I stumbled across this rare bit of live footage of Miles and the crew performing Kind of Blue album track “So What?” live. Check it out.  And if you’re somehow unfamiliar with the album, go to Spotify and spend an afternoon with it. 

Brooklyn-based multi-instrumentalist, composer and producer Will Lowery grew up in a deeply musical home, one in which both of his parents were classically trained musicians — and as a result, Lowery learned to play piano at a young age. As Lowery got a bit older, he became infatuated with jazz, soul and funk. Lowery’s love of jazz, soul and funk has deeply influenced his latest musical project pantology.

Lowery’s panotolgy debut, ““Never Enough” revealed an emerging artist and producer, whose sound and approach owed a debt to Flying Lotus, Bill Evans and J. Dilla: instrumental beatmaking, centered around completely original compositions. Now, as you may recall, the Brooklyn-based multi-instrumentalist, composer and producer’s pantology debut EP 2Q19 is slated for release this month, and the effort reportedly showcases an artist, who’s further honing his sound while delving into darker conceptual territory.

Last month, I wrote about the atmospheric EP single “Descent,” a track that reminded me a bit of Miles Davis‘ electronic era, Robert Glasper, Terence Blanchard and others but paired with tweeter and woofer rocking beats, wobbling low end and Sergej Avanesov‘s expressive Kamasi Washington-like saxophone playing. “False Step (AWOL),” 2Q19‘s latest single manages to clock in a relatively brief 2 minutes plus — but it manages to be an expansive track that begins with a fuzzy, lo-fi introduction complete with altered vocals before rapidly shifting to a shimmering and twinkling bit of neo-soul, centered by a sinuous bass line and head bopping groove and stuttering beats. The track evokes an escape into a shimmering and altered world — before a sudden crash into reality. Ultimately the track suggests that escapism is at best temporary and rarely sustainable.

 

 

 

 

 

 

Growing up in a musical home, in which both of his parents were classical musicians, a young Will Lowery wound up learning to play piano as a young boy. As Lowery got older, he became named with jazz, soul and funk. Unsurprisingly, his musical project pantology that draws from his early love of jazz, soul, funk and hip hop.

Lowry’s debut single as pantology “Never Enough” revealed an emerging artist and producer, who’s sound and approach owed a debt to Flying Lotus, Bill Evans and J. Dilla with his own unique touch. In other words, we’re talking about instrumental beatmaking that’s centered around completely original compositions. His pantology debut EP 2Q19 is slated for release next month, and the effort reportedly showcases an artist further honing his sound while delving into darker conceptual territory.

The EP’s second and latest single, the atmospheric “Descent” is centered around gently twinkling keys, tweeter and woofer rocking beats, wobbling low end paired with Sergej Avanesov‘s expressive Kamasi Washington-like saxophone playing. And while being sleek and  decidedly modern, the track manages a soulfulness and self-assuredness that belies the project’s relative newness while nodding at a nubmer of different periods in jazz history — in particular, Miles Davis‘ electronic era, Robert Glasper, Terence Blanchard and others.