{"id":2783,"date":"2011-07-11T00:01:12","date_gmt":"2011-07-11T07:01:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=2783"},"modified":"2011-07-12T20:19:44","modified_gmt":"2011-07-13T03:19:44","slug":"recent-listening-woods-and-mays","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2011\/07\/recent-listening-woods-and-mays\/","title":{"rendered":"Recent Listening: Woods And Mays"},"content":{"rendered":"<p><strong>Phil Woods, Bill Mays,<\/strong> <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FWoods-Mays-Phil-Bill%2Fdp%2FB0051OJI5S&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>Phil &#038; Bill<\/em><\/a> (Palmetto). <\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/07\/Phil-Bill.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/07\/Phil-Bill.jpg\" alt=\"\" title=\"Phil &amp; Bill\" width=\"150\" height=\"150\" class=\"alignleft size-full wp-image-2784\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/07\/Phil-Bill.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/07\/Phil-Bill-70x70.jpg 70w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/07\/Phil-Bill-110x110.jpg 110w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>A couple of years ago, Mays succeeded Bill Charlap as the pianist in Woods\u00e2\u20ac\u2122 quintet. He had melded nicely with the alto saxophonist in casual playing encounters over the years. Regular exposure to one another in the working band deepened their empathy, as this collection of nine duets shows. Their understanding goes beyond merely speaking the same musical language&#151;at their level of experience and knowledge, mastery of the idiom is a given. The Woods-Mays connection is wired with subtleties. These are a few of the manifestations:<\/p>\n<p>\u00e2\u2014\u008f Mutual recognition of the blues sensibility that Gershwin embedded in \u00e2\u20ac\u0153How Long Has This Been Going On?\u00e2\u20ac\u009d <\/p>\n<p>\u00e2\u2014\u008f Continuity of thought as they trade phrases in an actual blues, \u00e2\u20ac\u0153Blues for Lopes.\u00e2\u20ac\u009d <\/p>\n<p>\u00e2\u2014\u008f Anticipation of harmonic direction in the coda they create for a jaunty ending to \u00e2\u20ac\u0153The Best Thing For You.\u00e2\u20ac\u009d<\/p>\n<p>\u00e2\u2014\u008f The dynamics of their interaction in Woods\u00e2\u20ac\u2122 tribute ballad \u00e2\u20ac\u0153Hank Jones.\u00e2\u20ac\u009d <\/p>\n<p>Aside from Woods\u00e2\u20ac\u2122 and Mays\u00e2\u20ac\u2122 mutuality and superb playing throughout, the album has the virtue of containing songs too seldom heard in jazz, among them Al Cohn\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Danielle,\u00e2\u20ac\u009d David Rose\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Our Waltz\u00e2\u20ac\u009d and Jimmy Van Heusen\u00e2\u20ac\u2122s \u00e2\u20ac\u0153All This and Heaven Too,\u00e2\u20ac\u009d which is often quoted by soloists but curiously neglected in their repertoires. This CD achieves the neat trick of combining relaxation and stimulation. When it ends, a listener may wonder why it was so short. It is nearly an hour.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Phil Woods, Bill Mays, Phil &#038; Bill (Palmetto). A couple of years ago, Mays succeeded Bill Charlap as the pianist in Woods\u00e2\u20ac\u2122 quintet. He had melded nicely with the alto saxophonist in casual playing encounters over the years. Regular exposure to one another in the working band deepened their empathy, as this collection of nine [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-2783","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2783","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=2783"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2783\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2783"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2783"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}