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Track Listings
| 1. Transmitting 9.49 |
| 2. Nina 6.40 |
| 3. Drivin Miss Daisy 4.32 |
| 4. Sketch 10.23 |
| 5. Harlem Nocturne 8.03 |
| 6. Lonely Woman 10.08 |
| 7. Segue 6.24 |
| 8. Sophisticated Lady 10.32 |
Product Description
Product Description
Review
The other common denominator is the prevalence of duets in each man’s discography. Kühn counts Ornette Coleman, Michel Portal and Heinz Sauer as previous partners; for Shepp, it’s Mal Waldron, Horace Parlan and Siegfried Kessler. So if this sax-piano session has a conspicuous sense of self-possession, the feeling that both men are at ease with the exposed and demanding setting, one where there is no drummer to cover a multitude of sins, then that is because they are well-schooled in the subject.
The measure, the proportion, the careful emphasis, is boldly announced in the opener Transmitting, a majestic Kühn original built on a sensually rippling minor theme played by both men with vigour but not excessive force, the final two notes of the statement delivered with a dry, discreet intonation. There’s no melodrama. However, Kühn’s left hand bassline, its pattern vaguely drone-like in character, creates a crystal clear momentum to ensure that the element of dance is undeniable.
As the set unfolds that becomes a more pronounced swing, which both players invest with absolute authority, particularly on the old-school rhythm & blues of Earle Hagen and Dick Rogers’ Harlem Nocturne where they pull the beat to a strolling rather than walking line. All this subtle but nonetheless sensual rhythmic activity underlines the romanticism of the performance, which is given a sun-lit and celebratory edge on pieces such as Nina, a skipping, joyful tribute to Ms Simone, and a darker hue on the more agitated flux of Sketch. Occasionally, Shepp’s notes liquefy a la Ben Webster and Kühn’s solidify into sterner classically-inflected cadenzas. Both are intensely moving. Both are relaxed, not lazy.
--Kevin Le Gendre
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Customer Reviews
'Wo!man', recorded in November, 2010 is a marvellous album that should appeal to anyone who loves lyrical and passionate jazz.
I will have bought it because [a] it was there and inexpensive and [b] featured a saxophonist, Coltrane's CBS 'On West 42nd Street' having planted the sax seed of interest, along with comtemporary bands like Colosseum, Soft Machine, East of Eden and so on. Shepp's playing was exciting to me: improvisational and dissonant and loud. I wasn't then and am still not today informed on jazz, but like what I like.
This new Shepp is wonderful. His playing is more melodic than on the '65 album [40+ years later!!], but the tenor is sharp and jagged at times. What complements this beautifully is German pianist Kühn's playing and the pair also make a full and fluent sound. Melodic lines are often played in tandem. When each solos the aural focus is immediately hooked, and when they merge again it is dynamic, as with Ornette Colman's 'Lonely Woman' which is a favourite on this album. The pace at times is breathtaking. I also particularly like Shepp/Kühn's 'Nina'.
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