*Tenor Transcendence* 🎷🌃🔥🎷 0:00 Hey, Lock! (Johnny Griffin, Eddie “Lockjaw” Davis) 15:10 Introduction of the Band 17:12 Old Devil Moon (Burton Lane; lyr. E.Y. Harburg) 32:52 Along Came Betty (Benny Golson) - ft. Seamus Blake, tenor sax 47:16 Skylark (Hoagy Carmichael) - ft. Seamus Blake, tenor sax 1:00:10 King of Hearts (Troy Roberts) (contrafact, My Heart Belongs to Daddy) - ft. Troy Roberts, tenor sax 1:13:41 I’ll Remember April (Gene dePaul; lyr. Patricia Johnston, Don Raye) - ft. Troy Roberts, tenor sax 1:27:10 Moment’s Notice (John Coltrane) 1:43:40 Blues send-off / Tenor Madness (Sonny Rollins) *Seamus Blake and Troy Roberts* play with a magnetic *urgency & finesse* that’s just so damn pretty…. *These cats are a catalyst for combustion -* *& last night their sound & synchrony were just scorching.* 🔥 There’s something powerful in hearing two tenors play - & they absolutely had something to say. *Emmet Cohen & Russell Hall answered back on piano and bass with brutal solos & mind-rushing creativity.* -meanwhile, *Jonathan Barber* joined the trio on drums, *playing lights-out* like a champion. The entire night was transcendently good. *Jazz family: we are witnessing our own history-making madness - on tenor & beyond.* Gratitude to our fearless musicians - we love you cats….thank you. ❤
All of the Emment's Place preformances that I have heard have been inspired and are themselves inspiring. Thank you for your upliftng contributions to the art of jazz.
These guys really "get" Jaws. I had the pleasure of recording Griff and Jaws in the 70s in Chicago, and they blew me away. And I came of age as a jazz listener when Moment's Notice was the anthem -- it was everywhere! 60 years later, the joyousness and energy of it has made it still my favorite of his compositions. I know Russell from his many appearances from Emmet's apartment, but Seamus, Troy, and Jonathan are new to me, and they are kicking! Thanks to Emett and sponsors for making it all happen, and at such a high level. Tenor Madness, which closes the set, comes from a classic late '50s LP/CD by Trane and Rollins!
The common denominator among all these performances from Emmet's Place is just the joy that the music gives! Bravo, guys! This is the stuff that inspires young generations.
Wow! 😲 Absolutely spectacular! Bringing jazz alive!! BRAVO! 🎷🎹🥁🎷🏆😉👍🎉🥇🍾🍹🥂 I seriously couldn't find a single mis-timed or mis-toned note. "Sambafied" Yeah! Super freaking cool, man. 😎 *Disclaimer: DO try at home, however, do NOT try dancing the SAMBA on your longboard skateboard after chilled bong-hits of SUPER BOMB PURPLE KUSH. Your CRACKED PELVIS will never forgive you. 🥺
Absolutely gorgeous saxophone playing by these two young masters of the tenor saxophone. Emmett and the cats also sound beautiful. And, also what I so love to see with this "Emmet's Place" series, is the happy faces on these musicians......making music and feeling the loving connection they share! Bravissimo Emmet!
Holy moly, what emmet does on hey lock is mind blowing! No disregard to the other masters showcasing their incredible talent and ability here. What a pleasure to watch and listen to
Ok, really great sax players, indeed, everybody agree , so I will notice this opened beautifully ears drummer, Jonathan barber,so inspired and swingingfull, thank you for the discovering(sorry I’m living far), really good time listennig
The spirit of junior is coming out of Emmet wow. Such a great performance, I have been listening to the Griff and Lock sessions and came here to look for some more tenors and am greeted with this masterful version of Hey Lock! All I can say is thank you as always! Cheers to Seamus and all, from Vancouver!!
Beuatiful playing everybody! Emmet's comping, man so so good; soothing. Play it Troy and Seamus! Hall, great as usual. Barber, so intuitive (spelling?), great drummer.
Seamus was playing on a Selmer SBA for quite a while, but now I think he is using a Remy tenor saxophone with a Boston Sax Shop neck. He seems to switch between Otto Link and Ted Klum mouthpieces, and he uses BSS reeds and the BSS superlative ligature.
the drummer needs to get swinging better on the ride cymbal. the bass player has to go it alone too much in that department. the first tenor solo is all cliches. not interesting enough to stay with it.
