Pete & Will Anderson | Correspondence

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Jazz: Contemporary Jazz Jazz: Mainstream Jazz Moods: Mood: Upbeat
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by Pete & Will Anderson

Called "virtuosos on clarinet and saxophone, " (New York Times) Peter and Will Anderson's debut release for Smalls Records features their original compositions backed by Kenny Barron (piano), Kenny Washington (drums), and Ben Wolfe (bass).
Genre: Jazz: Contemporary Jazz
Release Date: 

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  song title
artist name
1. Correspondence Peter & Will Anderson
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6:41 $0.99
2. Bread and Butter Peter & Will Anderson
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5:35 $0.99
3. You Have to Try It Once Peter & Will Anderson
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6:38 $0.99
4. Go Ahead! Peter & Will Anderson
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6:00 $0.99
5. I'll Keep Loving You Peter & Will Anderson
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6:50 $0.99
6. Meat of the Matter Peter & Will Anderson
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6:33 $0.99
7. Get Out of Town Peter & Will Anderson
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9:24 $0.99
8. Contagious Curiosity Peter & Will Anderson
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6:23 $0.99
9. Shaw 'nuff Peter & Will Anderson
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5:25 $0.99
10. Slipped Again Peter & Will Anderson
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7:14 $0.99
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Album Notes
“I've been making all the gigs I can by two reed players, Peter and Will Anderson. Identical twins, they’re still in their early twenties and I can't say enough about them. They’re Julliard graduates, but there’s nothing studied about the way that, as instrumentalists, arrangers and composers, they make music. They’re naturals and while essentially into bebop—which they play with a passion, unpredictability and sense of discovery that can make you feel like you’re back at the beginning of it at Minton’s or Monroe’s Uptown House—they can claim an astonishing affinity for the full range of jazz forms and styles, at least up to the ‘new thing.’ I’ve listened to them play all kinds of jazz now and have yet to hear an inauthentic note. They easily hold their own with the best of the Dixieland players. They interpret Thelonious Monk compositions in a way that I’m sure Monk would have appreciated. They have a solid grip not only on what Miles Davis and Gil Evans were after in the ‘Birth of the Cool’ period but on the work of a John Kirby as well. Along with the depth of knowledge they demonstrate about saxophone players as diverse as Johnny Hodges, Stan Getz, Hank Mobley and Gigi Gryce, to name just a few, they understand Ellington and—they play ballads with an emotional sophistication that’s way beyond their years—they know what to do with a Billy Strayhorn song. Have I mentioned that they also command their principle instruments, the clarinet and alto and tenor saxophones, with a stunning authority? I could go on and on about the Andersons. Right now the distinctions between them as musicians are as subtle as the differences in their appearances. It will be fascinating to see how they progress, if and to what degree they diverge from one another and what they make of their prodigious talents once they’ve become fully centered in their individual identities. But what they’re presenting at this point in their development is already, I think, substantial and compelling enough to be worthy of preservation on a CD or two.”

—Robert Levin on All About Jazz


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