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CD/LP/TRACK REVIEW

Larry Corban & The Aperturistic Trio: The Corbanator

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New York-based guitarist Larry Corban took his time creating a follow-up to his debut-- Moving 4-Ward (Self Produced, 2002); it would be more than a decade before album number two--The Circle Starts Here (Nabroc Records, 2013)--would appear, but that one got the ball rolling again. Corban formed a strong connection with his trio mates on that project--bassist Harvie S and drummer Steve Williams--so he wisely brought them back for this album, adding pianist James Weidman--their band mate in The Aperturistic Trio--to make it a foursome. The Corbanator is a thrilling date with strong soloing and engaging interplay, ...

MULTIPLE REVIEWS

Dave's Picks Volume 11: 11/17/72 and Wake Up to Find Out: 3/29/90

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The story of the Grateful Dead may be the most fascinating in the history of rock and roll, the chapter dealing with the archiving of their live recordings perhaps the most absorbing of all, if only because it continues to be written with the ongoing release of various projects from various stages of the iconic band's career. Under the tutelage of current archive chief David Lemieux, his quarterly series of concert pieces unearths stellar performances that illustrate the changes the Dead underwent in their three decades of existence. Lemieux and his team of researchers also devote themselves to the focused ...

LIVE REVIEWS

Lila Downs at Jazz at Lincoln Center

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Lila Downs Jazz At Lincoln Center New York, NY October 11, 2014 On her two-day residence at Jazz At Lincoln Center, Lila Downs showcased a solid set of old favorites alongside new material from Raiz (Sony Latin, 2014), a collaboration with singers Soledad and Niña Pastori. Backed by an eight-piece band rounded out by Paul Cohen (Musical Director/tenor saxophone), Jugo Moreno (trumpet), George Saenz (trombone & accordion), Leo Soqui (accordion/keys/jarana and shoe percussion), Rafael Gomez (acoustic and electric guitars), Luis Guzman (electric and ukulele bass), Samuel Torres (percussion) and Luis Huerta (drums), ...

CD/LP/TRACK REVIEW

Tommy Igoe: The Tommy Igoe Groove Conspiracy

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Known as one of the best drummers in the jazz world today, Tommy Igoe is also one of the most in-demand musicians around and since 2006, Igoe and the Birdland Big band have been holding residency at New York's Birdland Jazz Club which apparently, is not enough to keep the drummer grounded. Igoe now lives in San Francisco where--simultaneously with the Birdland Club gig--he is also holding weekly residency at the Bay Area's most famous jazz club, Yoshi's and now debuts his new 15-piece big band and self-titled album The Tommy Igoe Groove Conspiracy. The conspiracy begins to ...

BAILEY'S BUNDLES

Classical Gas – Anne Akiko Meyers & Orion Weiss

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Anne Akiko Meyers American Masters: Barber, Corigliano, Bates Entertainment One 2013 Violinist Anne Akiko Meyers follows up her superb Vivaldi, The Four Seasons (eOne, 2014) and provides a partner to her The American Album (RCA Victor, 1996) that featured the music of Copland, Ives, Baker and Piston. On the present recording, Meyers opts for a more contemporary fare composed by Barber, Corigliano and Bates, three composers whose careers overlap mightily. After the primly cool Vivaldi of her last recording, Meyers infuses an organic warmth into the American Romance of ...

CD/LP/TRACK REVIEW

Kaye Bohler: Handle the Curves

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"The White Tina Turner." Them is fightin' words. West coast vocalist and composer Kaye Bohler might be better described as Tina Turner covering Etta James at Muscle Shoals. Handle the Curves is a decade of original compositions that span from the Aretha Franklin-inflected “Diggin' on My Man" to the Van Morrison-ish title tune. “Backbone" is all Memphis: Hi Records and Stax. Bohler's horn section could have had their tutelage under the Memphis Horns. Bohler stays close to the friendly confines of southern soul (read that: Memphis) soul. “Party Time" is jam rave-up featuring guitarist Pete Anderson in ...

CD/LP/TRACK REVIEW

Frank Lowe: Out Loud

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Musical archeology has become somewhat of a trend these days. It might be explained, in part by the rebirth of vinyl and the excavation of long out-of-print titles, but also there are scores of devoted collectors who've discovered unpublished recordings of significant artists. For the serially neglected avant-garde of jazz, some of these finds have been significant. Albert Ayler's Holy Ghost: Rare And Unissued Recordings (1962-70) (Revenant, 2004) box set and the more recent Centering: Unreleased Early Recordings 1976-1987 (No Business, 2012) that documents the early work of bassist William Parker, come to mind. Out Loud a well ...



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