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Beyond the Bluebird

by

The Tommy Flanagan Trio

 
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Beyond the Bluebird
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Avg: 5.0 (4 ratings)

This is jazz for adults

  • We Say...

    The difference between Tommy Flanagan and other urbane bop pianists is miniscule but crucial. The efficiency and economy of his ivory constructions are immaculate. Maybe Hank Jones and precious few others can sound so simultaneously relaxed and propulsive, so seemingly casual in their command of tempo.

    Beyond The Bluebird captures Flanagan at his late-80s, early-90s creative peak. He knows just how much pathos to milk from Jerome Kern's "Yesterdays" before the sentiment will curdle. His glorious joie de vivre on Barry Harris's "Nascimento" is a marvel of sophisticated technique conveying a carefree ambiance. Abetting him is a stellar quartet of like-minded pros, comfortable not pushing the river yet exploiting every ripple in the current; and capable of calibrating when to bear down and ease off with the utmost sensitivity. Bassist George Mraz is particularly adept: His exchanges with the leader are the highlight of Charlie Parker's fleet "Barbados," and the way his bass line intertwines with Flanagan's left hand on Thad Jones's "50-21" (the address of the old Bluebird club in Detroit, referred to in the album title) by itself justifies repeated listening. Guitarist Kenny Burrell and drummer Lewis Nash likewise seize and share the spotlight with aplomb — listen to the quartet passing the baton on Dizzy Reece's obscure bop chestnut, "The Con Man." This is jazz for adults.

  • They Say...

    Veteran pianist Tommy Flanagan, in a quartet with guitarist Kenny Burrell, bassist George Mraz and drummer Lewis Nash, performs blues, ballads and some obscurities during one of his most rewarding recordings. Flanagan has never recorded an indifferent album, but this set seems more inspired than most, making it a perfect introduction to this tasteful, swinging and creative (within the bop mainstream) pianist.

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