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CD/LP/TRACK REVIEW

Roswell Rudd: The Incredible Honk

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There is a distinct sense of the celebration of his 75th year on this good earth as trombonist Roswell Rudd continues the journey through his singular musical universe on his superb The Incredible Honk. Criss-crossing the paths he took when he first reconnected with ethnomusicologist producer and soul mate Verna Gillis, Rudd undertakes a sonic sojourn from the heartland of America, through Cuba, Scotland, continental Europe, the Far East and West Africa, returning to his beloved Kerhonkson. His musical cohorts include: celebrated Cuban tres player David Oquendo, heard here on guitar and vocals; bluesy pianist Lafayette Harris; celestial vocalist Sunny ...

HIGHLY OPINIONATED

Roswell Rudd: The Musical Magus Turns 75

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"Years ago it would have seemed an impossible dream to get to record with this musical magus, but here we are... and what a thrill!" class="f-right s-img">--Charlie Kohlhase, From liner notes to Eventuality: The Charlie Kohlhase Quintet Plays the Music of Roswell Rudd (Nada, 2001)

I see him suddenly as if in a dream. His eyes are somewhat cynical, questioning and beautiful. Wrinkles of laughter pucker up at the edges, and he reminds me of my father. His smile disappears as the mouthpiece of his gleaming trombone meets his lips. Then, all I can see is ...

MULTIPLE REVIEWS

Roswell Rudd: Trombone Tribe & The Light

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Roswell RuddTrombone TribeSunnyside2009 The Second ApproachThe LightSoLyd2009 The peripatetic, both geographically and musically, trombonist Roswell Rudd ranges far and wide on these two albums: a trombone-dominated romp involving five bands from two continents and a collaboration with a Russian improvising trio at a Moscow club. Trombone Tribe could well be called “The Joy of Trombone." Five tracks feature a sextet with Rudd, Steve Swell and Deborah Weisz (trombones), Bob Stewart (tuba), ...

CD/LP/TRACK REVIEW

Roswell Rudd: Trombone Tribe

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The trombone is perhaps the only brass instrument that can--if well played--capture a devastating array of human emotions. It can be made to wail plaintively and growl menacingly. It can be played to sing and make extraordinary leaps of joy, even evoke hallelujahs and other spiritual epiphanies with breathtaking abandon. But it must be played with mastery and few do so better than Roswell Rudd, a musician and instrumentalist who consistently describes the sorrows and joys of human existence every time he picks up his trombone and plays. Moreover, every time Rudd plays he appears to connect the metaphorical dots ...

CD/LP/TRACK REVIEW

Roswell Rudd: Keep Your Heart Right

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Ruby Braff once described a jazz combo as “conversation among friends." Venerated veteran trombonist Roswell Rudd rates prime candidacy for Mister Congeniality as he relaxes in witty repartee and pleasant banter with like-thinking colleagues: stalwart-yet-light-fingered pianist Lafayette Harris Jr., orotund bassist Brad Jones and singer Sunny Kim, a dew-dappled voice of reason and cheer. Rudd, self-styled curmudgeon of Kerhonkson (onomatopoeically Hudson Valley hamlet), grouses about being a frustrated singer, but in truth he's a one-man chorus on this set of his vigorous songs from a deep 40-year songbook, a few with lyrics by partner Verna Gillis. Rudd ...

MULTIPLE REVIEWS

Roswell Rudd: New York Art Quartet & New York Eye and Ear Control

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New York Art Quartet New York Art Quartet ESP Disk 2008 Artist #2 Album Title #2 ESP Disk 2008

Trombonist Roswell Rudd seemed to enter jazz from the past and the future. Rudd worked in Greenwich Village Dixieland bands in the late '50s and it was there that he first became associated with Steve Lacy and Herbie Nichols, rapidly moving to the burgeoning avant-garde of the early '60s. He quickly emerged ...

CD/LP/TRACK REVIEW

Steve Lacy / Roswell Rudd Quartet: Early And Late

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Steve Lacy (soprano saxophone) and Roswell Rudd (trombone) had a long and illustrious musical history together dating back to the 1950s playing in Dixieland ensembles. By the early 1960s, they were committed modernists and formed a quartet devoted (mostly) to the music of Monk; School Days, a 1963 live date released twelve years later on hatOLOGY was the only recorded evidence of this band. In the mid 1970s, they reunited for a set of Lacy originals on Trickles (Black Saint, 1976) and in the late 1990s recorded Monk's Dream (Verve, 2000). While they didn't record together that frequently, they always ...



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