http://www.allaboutjazz.com en-us 2012-02-03T00:05:14-07:00 http://www.allaboutjazz.com/php/article.php?id=41303 Chris May 2012-02-03T00:05:12-07:00 http://www.allaboutjazz.com/php/article.php?id=41319 Mike Lorenz 2012-02-03T00:05:08-07:00 http://www.allaboutjazz.com/php/article.php?id=41326 m: Manfred Eicher's unmistakable imprint, there's an unsupportable myth that the label forces its own aesthetic onto the artists with whom the label head/primary producer chooses to work. With Snakeoil, his first ECM recording as a leader, alto saxophonist Tim Berne does, indeed, go places his nearly forty previous recordings don't, but there are more than enough of his longstanding markers to support what is closer to the real truth about working with ECM. Eicher is, indeed, an active producer--a de facto added member to any group he produces--but it's still all about collaboration, about finding that nexus where he and his artists can meet...]]> John Kelman 2012-02-02T00:05:12-07:00 http://www.allaboutjazz.com/php/article.php?id=41318 m: Jon Faddis, world-renowned trumpeter/educator...]]> John Raymond 2012-02-02T00:05:08-07:00 http://www.allaboutjazz.com/php/article.php?id=41296 m: Peter Kowald was one of the authors of European free improvisation. Though initially in the shadows of his more assertive compatriots, saxophonist m: Peter Brotzmann and pianist m: Alexander von Schlippenbach, he came into his own through giving full rein to his open spirit and almost obsessive desire to communicate, culminating in his Global Village concept and appearances with virtually every free jazz luminary...]]> John Sharpe 2012-02-01T00:05:15-07:00 http://www.allaboutjazz.com/php/article.php?id=41329 m: D.D. Jackson, and his current role as an educator at Suny Potsdam in upstate New York--not to mention possessing the networking skills to take advantage of every opportunity that comes his way--have helped the bassist put the city on the jazz map through his world-class collaborations. Past work with pianists m: Marilyn Crispell, m: Frank Kimbrough and m: Edward Simon, trumpeter m: Cuong Vu and guitarists m: Vic Juris and m: Ben Monder have all been successful examples of how music without a safety net most certainly works better on some occasions than it does on others, but that the journey is often as good (or better) than the destination...]]> John Kelman 2012-02-01T00:05:11-07:00 http://www.allaboutjazz.com/php/article.php?id=41337 m: Ahmad Jamal released A Quiet Time on Dreyfus Records. It is an album many observers regard as up there in the stratosphere along with such landmark Jamal discs as Chicago Revisited (Telarc, 1992) or A L'Olympia (Dreyfus, 1996), to name just two of many--or even Jamal's breakthrough LP, But Not For Me: At The Pershing (Chess, 1958)...]]> Chris May 2012-01-31T00:05:16-07:00 http://www.allaboutjazz.com/php/article.php?id=41219 Chris May 2012-01-31T00:05:09-07:00 http://www.allaboutjazz.com/php/article.php?id=41280 Andrew J. Sammut 2012-01-30T00:05:14-07:00 http://www.allaboutjazz.com/php/article.php?id=41241 m: Coleman Hawkins and m: Lester Young were making their reputations, forging in their wake two very different paradigms for the tenor saxophone, the instrument's players have acquired something of the aura of the gunslingers of the American Frontier. Other instruments lend themselves to compare-and-contrast, too, but there is something uniquely high noon about the tenor and its place in jazz legend...]]> Chris May 2012-01-30T00:05:09-07:00 http://www.allaboutjazz.com/php/article.php?id=41307 m: Lonnie Johnson has been chronicled well enough for a blues performer. But leave it to Mark Miller to find an adjunct that adds a whole new dimension to Johnson's biography--the last five years of his life, which he lived in Toronto...]]> Jerry D'Souza 2012-01-29T00:05:14-07:00 http://www.allaboutjazz.com/php/article.php?id=41314 m: Ornette Coleman's Prime Time group. Bryant's addition to the group marked Coleman's first extended work with a keyboard instrument in decades. Instrument(s): Keyboards. Teachers and/or influences? I went through a lot of teachers, but my favorites were Fred and Shirley Clements when I was growing up in my home town, and Bruce Thomas and John Arcaro at Berklee. I also have fond memories of Berklee classes with m: George Garzone, Ed Tomassi, Herman Johnson, and Paul Schmelling. Best jazz pedagogy I ever witnessed? An afternoon spent (as a guest) in the studio of drummer Lenny Nelson}, an inspiration that's lasted a lifetime...]]> Dave Bryant 2012-01-29T00:05:09-07:00 http://www.allaboutjazz.com/php/article.php?id=41267 Anthony Shaw 2012-01-28T00:05:13-07:00 http://www.allaboutjazz.com/php/article.php?id=41316 Al Scott 2012-01-28T00:05:11-07:00 http://www.allaboutjazz.com/php/article.php?id=41282 Chris May 2012-01-27T00:05:14-07:00 http://www.allaboutjazz.com/php/article.php?id=41301 David A. Orthmann 2012-01-27T00:05:10-07:00 http://www.allaboutjazz.com/php/article.php?id=41182 Chris May 2012-01-26T00:05:12-07:00 http://www.allaboutjazz.com/php/article.php?id=41309 Jeff Dayton-Johnson 2012-01-26T00:05:10-07:00 http://www.allaboutjazz.com/php/article.php?id=41269 m: Miles Davis is reputed to have told his pianist m: Red Garland in the mid 1950s. We can but speculate how Garland reacted to this request, assuming the story is true. It has the ring of truth: Davis was not best known for mincing his words, and he championed Ahmad Jamal at a time when many jazz critics were dismissing him as a lightweight cocktail bar pianist. "All my inspiration today comes from Ahmad Jamal," Davis is reliably recorded as saying...]]> Chris May 2012-01-25T00:05:19-07:00 http://www.allaboutjazz.com/php/article.php?id=41277 m: Dave Kane and drummer Steve Davis...]]> John Sharpe 2012-01-25T00:05:10-07:00