Reissue with the latest remastering. Comes with liner notes. Pianist Denny Zeitlin's third Columbia release is a live session recorded during a break from his internship as a psychiatrist. With bassist Charlie Haden and drummer Jerry Granelli, it's clear that Zeitlin didn't ignore his jazz chops in spite of the long hours required of him in medicine.
Remarkably, whether he's playing an impressionistic ballad, a hard bop classic or a free original, Denny Zeitlin sounds like no other. He has the technique and harmonic knowledge to execute anything his fertile imagination conjures up. His music resonates with joy and honesty. Denny Zeitlin's first album, Cathexis, recorded in 1964 with Cecil McBee and Freddie Waits was an instant critical and commercial success with Zeitlin hailed as a new and original voice of the piano. Later in 1964, Denny assembled another amazing trio with Charlie Haden and Jerry Granelli and released the album Carnival. Zeitgeist was recorded over 1966 and '67 and documented the end of the trio with Haden and Granelli and the beginning of one with Joe Halpin and Oliver Johnson, two brilliant musicians who died young.
Pianist Denny Zeitlin never fails to make us smile – and on an album like this, recorded many years after he first brought a new brightness to the world of jazz piano, we're still amazed at how he can unlock so many special moments with effortless ease! Zeitlin's always completely himself, but also never overstating his identity – just casually sliding into these note structures that are as appealing and optimistic as they are fresh – modernism, but from the brighter side of the sun – aided by the work of Buster Williams on bass and Matt Wilson on drums.
Pianist Denny Zeitlin has the distinction—among many others—of having written one of the loveliest of loves songs: "Love Theme From Invasion of the Bodysnatchers." The tune can be heard in its unadorned beauty on Zeitlin's Precipice (Sunnyside Records, 2010), the recording of an extraordinarily beautiful and adventurous solo concert. The original version of the tune, from the soundtrack of the 1978 movie, Invasion of the Bodysnatchers (1978)—a masterful remake of the classic 1954 science fiction film—was Zeitlin's lone effort at writing for film. Hired originally to do a "jazz" score, Zeitlin found it necessary—when plans changed—to convince the powers-that-be that he was indeed capable of writing music for symphony orchestra and electronics—the then-new-on-the scene synthesizers.
Reissue with the latest 2015 DSD remastering. Comes with liner notes. Pianist Denny Zeitlin is sporting a beard on the cover of this fourth album for Columbia Records – and his music here definitely reflects a bit of a change from his earlier cleaner-cut image! Denny steps a bit outside at times – never to much so to make the album a session of avant jazz, but definitely showing the listener at the start that he's able to stretch out in the same way as some of the more adventurous pianists of his generation – yet really sound best as a master of lyrical understatement, as on his previous few records! Zeitlin's command of chords is wonderful – these blocks of color and subtle sound in his hands – inspired by Bill Evans, but taken in a whole new direction – and set up here in two different trios, with either Charlie Haden or Joe Halpin on bass, and Oliver Johnson or Jerry Granelli on drums. The real star of the show is always Denny.
Just three months before his death, pianist BIll Evans was extensively recorded at the Village Vanguard. Originally, one or two LPs were to be released featuring his brilliant new trio (with bassist Marc Johnson and drummer Joe LaBarbera), but after the innovative pianist's death, the project was stalled for over 15 years. Finally, when Warner Bros. got around to it, a definitive six-CD box set was released (although unfortunately in limited-edition form). Evans sounded quite energized during his last year, Johnson was developing quickly as both an accompanist and a soloist, and the interplay by the trio members (with subtle support from LaBarbera) sometimes bordered on the telepathic. The playing throughout these consistently inventive performances ranks up there with the Evans-Scott LaFaro-Paul Motian trio of 20 years earlier.