|
|
The Bellingham Sessions (Vols 1&2)
"Be prepared for some of the most delightful 'small group' jazz you've ever heard."
(Richard Bourcier - Jazzreview.com)
"This great bassist and teacher's name will be familiar to most jazz fans from his membership in the Bill Evans Trio of the l960's. He's now a music professor at Western Washington University and in the sessions preserved skillfully on these two CDs he played with three musician friends with whom he has had much experience playing in the past. The relaxed situation, the natural venue of a rehearsal hall at the university rather than a sterile studio with isolation panels and other artificial gimmicks, made for a great rapport and delightful music-making on the nine tunes heard on each of the volumes.
(John Henry - Audiophile Audition)
"Chuck Israels is still best-known for his work with the Bill Evans Trio (1961-66) but he has been an important educator since the 1970s. A tasteful and supportive bassist, Israels's first recording was the 1958 meeting between John Coltrane and Cecil Taylor. He played with George Russell's sextet (1959-61), was briefly with Eric Dolphy's band and then joined Bill Evans. During the Evans years, Israels also appeared on records led by J.J. Johnson, Herbie Hancock, Gary Burton and Stan Getz. He founded and headed the National Jazz Ensemble (1973-78), a top repertory band that recorded two albums for Chiaroscuro". (All Music Guide)
PURCHASE THE BELLINGHAM SESSIONS CDs (VOL. 1 and 2)
|
|
|
|
|
|
CD: The Bellingham Sessions Vol. 2
Label: Audio Ideas Recordings
Credits: Chuck Israels |
|
|
|
|
|
|
|
|
CD: The Bellingham Sessions Vol. 2
Label: Audio Ideas Recordings
|
|
|
|
|
|
|
|
A Gorgeous Ballad |
CD: The Bellingham Sessions Vol. 2
Label: Audio Ideas Recordings
Credits: Chuck Israels |
|
Copyright notice. All material on MP3.com is protected by copyright law and by international treaties. You may download this material and make reasonable number of copies of this material only for your own personal use. You may not otherwise reproduce, distribute, publicly perform, publicly display, or create derivative works of this material, unless authorized by the appropriate copyright owner(s).
|
|