|  | NOT AS GREAT AS LP...BUT, STILL GREAT!!! |  |
Loved this LP . Got the cd right away, and am somewhat befuddled. If they would have only presented the LP AS IS instead of mindlessly repeating tracks (takes) over & over & over &..well, you get the idea..,it gets repetitious & distracts from the impact of the original. A classic case of where MORE is not BETTER! 5 takes of DOWNSTAIRS, 5 of BREADWINNER, 4 of TERRACE THEME... Is this really neccessary?... TOO MUCH OF A GOOD THING!!!
January 15, 2005 |  | Good But Not for Gil Evans Completists |  |
This is good guitar jazz. Not as soulful as Grant Green but still well done. This is probably Kenny Burrell's best album. However, there is one big if. If you are a Gil Evan's completist as I am, then realize he only accompanies a few of the tracks as is more in the background than the foreground. Therefore, though Gil Evans accompianiment is effective it is foreshadowed by the playing of Kenny Burrell.
January 7, 2003"Moon and Sand" by Kenny Burrell and the Gil Evans Orchestra is one of the most interesting guitar performances with a Latin combo that I have ever heard. The congas are dramatically panned to the left and the small drum kit at the right, giving the sensation of being stuck into the speakers.
The orchestra is in the back, and Kenny's acoustic guitar (recorded unamplified and without any compression devices) is closer to the listener. Rudy Van Gelder's engineering skills give the listener the sensation of being in a nightclub. Reverberation is one of the "key signatures" of the analog Verve Jazz sound in the sixties, in this recorded by Van Gelder at his personal studio. April 12, 2002
I like virtuoso guitar play and I heard much prominent guitar players, playing in different styles. But Kenny Burrell not only virtuoso - I think it plays by the soul. The impression from his play much increases due to accompaniment of Gil Evance orchestra. It became for me so strong that I change my bias against the big orchestras on love.
November 8, 2000For a showcase of technical skills, these is without doubt the most flexible Kenny available.
Gil Evans' arrangements are a happy reminder of his genius for color, mood, and subtle shadings.
I believe that this music has a place in every Jazz library, if only for the fact that, it exhibits the two of them at the top-of-their-game. September 18, 1999
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