Streaming ilimitado
Escute agora este álbum em alta qualidade nos nossos aplicativos
Iniciar meu período de teste e começar a escutar este álbumCurta este álbum nos aplicativos Qobuz com a sua assinatura
AssinarCurta este álbum nos aplicativos Qobuz com a sua assinatura
Idioma disponível: inglês
Jazz interpretations of popular songs have long been an important part of the jazz experience, but regrettably, that tradition has been plagued by two unfortunate trends in the '90s and the 21st century. At one extreme are the ideologues who believe that worthwhile popular music ended with the George Gershwin/Irving Berlin/Cole Porter era and insist on playing the same old warhorses over and over -- and at the other extreme are the smooth jazz players who think that performing note-for-note Muzak covers of Top 40 tunes is creative. But there are some imaginative improvisers who are using rock and R&B songs as vehicles for real, honest to God jazz expression -- people like the Bad Plus, England's Claire Martin, and Philadelphia singer Lou Lanza (who paid tribute to the Doors on his excellent Opening Doors album). And on The Rolling Stones Project, tenor/soprano saxman Tim Ries reminds listeners how nicely the Stones' songbook can work in a jazz-oriented environment. This post-bop/soul-jazz effort isn't without its flaws; the opener, "(I Can't Get No) Satisfaction," is ruined by the pointless background vocals of Bernard Fowler, who repeats the song's chorus over and over (without singing the verses) and merely gets in the way of Ries' expressive tenor. But when Ries' largely instrumental Stones tribute is great, it's really great. The saxman soars on an organ combo version of "Honky Tonk Women" (with organist Larry Goldings and Stones drummer Charlie Watts), and Ries is equally imaginative on a Brazilian-influenced arrangement of "Street Fighting Man" and a probing, somewhat Michael Brecker-ish take on "Paint It Black." Singer Norah Jones has a memorable spot on "Wild Horses"; her performance is jazzy pop/rock rather than actual vocal jazz, but she's enjoyably good at what she does. Despite some occasional missteps, The Rolling Stones Project has more ups than downs and is well worth the price of admission.
© Alex Henderson /TiVo
Você está escutando amostras.
Escute mais de 100 milhões de músicas com um plano de streaming ilimitado.
Escute esta playlist e mais de 100 milhões de músicas com os nossos planos de streaming ilimitado.
A partir de R$ 21,60/mês
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
DISCO 2
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Tim Ries, MainArtist
2008 Sunnyside Communications 2008 Sunnyside Communications
Resenha do Álbum
Jazz interpretations of popular songs have long been an important part of the jazz experience, but regrettably, that tradition has been plagued by two unfortunate trends in the '90s and the 21st century. At one extreme are the ideologues who believe that worthwhile popular music ended with the George Gershwin/Irving Berlin/Cole Porter era and insist on playing the same old warhorses over and over -- and at the other extreme are the smooth jazz players who think that performing note-for-note Muzak covers of Top 40 tunes is creative. But there are some imaginative improvisers who are using rock and R&B songs as vehicles for real, honest to God jazz expression -- people like the Bad Plus, England's Claire Martin, and Philadelphia singer Lou Lanza (who paid tribute to the Doors on his excellent Opening Doors album). And on The Rolling Stones Project, tenor/soprano saxman Tim Ries reminds listeners how nicely the Stones' songbook can work in a jazz-oriented environment. This post-bop/soul-jazz effort isn't without its flaws; the opener, "(I Can't Get No) Satisfaction," is ruined by the pointless background vocals of Bernard Fowler, who repeats the song's chorus over and over (without singing the verses) and merely gets in the way of Ries' expressive tenor. But when Ries' largely instrumental Stones tribute is great, it's really great. The saxman soars on an organ combo version of "Honky Tonk Women" (with organist Larry Goldings and Stones drummer Charlie Watts), and Ries is equally imaginative on a Brazilian-influenced arrangement of "Street Fighting Man" and a probing, somewhat Michael Brecker-ish take on "Paint It Black." Singer Norah Jones has a memorable spot on "Wild Horses"; her performance is jazzy pop/rock rather than actual vocal jazz, but she's enjoyably good at what she does. Despite some occasional missteps, The Rolling Stones Project has more ups than downs and is well worth the price of admission.
© Alex Henderson /TiVo
Sobre o álbum
- 2 disco(s) - 13 faixa(s)
- Duração total: 01:38:06
- Artistas principais: Tim Ries
- Gravadora: Sunnyside
- Género: World music
2008 Sunnyside Communications 2008 Sunnyside Communications
Melhorar as informações do álbum