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CD/LP/TRACK REVIEW

Connie Crothers: Concert In Paris

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Connie Crothers' piano sounds like nothing you've heard before. Sure, it's acoustic, she plays melodies, she can be inside or outside the music. One thing she isn't, though, is wishy-washy. One of her latest, Concert In Paris, is a solo effort. And for anyone who loves the intimacy of a solo-piano recital, this one more jazz than classical in nature; for anyone who digs the feeling of being played to and for in a cozy setting; for anyone who likes to step back and let the beautiful sounds of an acoustic piano mesmerize you with extended personal musical statements; then ...

LIVE FROM NEW YORK

Spiritualized, Connie Crothers, Allen Lowe & Vinny Golia

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Spiritualized Secret Project Robot April 2, 2013 The English cosmo-psychedelic drugsludge-rock combo Spiritualized would usually be expected to play at one of NYC's larger venues, such as Terminal 5 or Webster Hall. Just prior to their U.S. West Coast dates, Spiritualized suddenly announced a micro-gig, leaking the news on the morning of the show after rehearsing locally in preparation for the tour. Secret Project Robot is a small d.i.y. joint in the heart of the industrial wasteland of Bushwick, in Brooklyn (only a few weeks ago, its original Williamsburg building was ...

LIVE REVIEWS

Vision Festival: Day 7 Finale, New York, NY, June 11, 2011

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Day 1 | Days 2-3 | Day 4 | Days 5-6 | Day 7 Vision FestivalAbrons Arts CenterNew York CityJune 11, 2011 Reut Regev R*Time Special Edition Trombonist Reut Regev's R*Time began the final night of the Vision Festival in exuberant style. Since relocating to New York from her native Israel in 1998, Regev has kept an inclusively wide contacts book, encompassing Latin, klezmer and rock, as well as the contemporary avant-garde. She notably holds down the trombone chair in esteemed composer/saxophonist Anthony Braxton's renowned Twelvetet +1, ...

CD/LP/TRACK REVIEW

Connie Crothers / Bill Payne: Conversations

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Connie Crothers is one of the most versatile pianists on a scene that is so often mislabeled free jazz. Her pianism has been cultivated through long years of study and deep listening, evident in each tone, chord and gesture. Overwhelming intensity, at whatever volume, is juxtaposed with transparent beauty in a style that is as unique as it is unpredictable. Crothers has the perfect partner in clarinetist Bill Payne, with this disc of dialogues belying a long musical relationship, as evidenced by the moment in “Conversation no. 3" when Payne plays a two-note figure, immediately following which ...

LIVE REVIEWS

Vision Festival 2008: Day 4

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Day 1 | Day 2 | Day 3 | Day 4 | Day 5 | Day 6

Steve Swell-Gebhard Ullmann Quartet; Bobby Few and Sonny Simmons; Henry Grimes with Sabir Mateen Quartet; Connie Crother; Wadada Leo Smith's Golden Quintet

13th Annual Vision Festival Clemente Soto Velez Cultural Center New York City Friday, June 13, 2008

For the second of the week's panel discussions on Friday afternoon at the Vision Festival, the topic was “Jazz Factions," with representation drawn from across the creative music spectrum, including several musicians in the audience. ...

CD/LP/TRACK REVIEW

Connie Crothers Quartet: Music Is A Place

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With Music Is A Place pianist Connie Crothers has created an enduring work, a crystallization and clarification of her musical aesthetic. Featuring longtime colleagues Richard Tabnik (alto) and Roger Mancuso (drums) along with veteran bassist Ratzo Harris, the disc contains a set of originals that explore the interzone between pre- and free composition, a mix of straight-up swing rhythms, blues inflections, cool-school instrumental timbres and emotional reserve, along with a predilection for controlled chaos.

The accent here is on compatibility and democratic interplay. Crothers and Mancuso, in particular, are highly simpatico; their dialogues sound like the culmination of many previous ...

MEGAPHONE

Connie Crothers: Ideas for a Jazz Renaissance

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By Connie CrothersThere is a strong potential right now for a jazz renaissance. There are many signs of it. When there is no commercial pressure on the outcome of a performance or recording, there is evidence among musicians of greater looseness, openness and willingness to take chances. Although some small venues don't pay (and this is a problem!), there are so many more of them; younger musicians can evolve through frequent performances. (One caveat--where are the pianos?) There are more jam sessions. There is a greater availability of recorded music than ever before, thanks mostly to the independent ...



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