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  <title>All About Jazz Feature Articles</title>
  <link>http://www.allaboutjazz.com</link>
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  <dc:date>2009-11-07T00:05:52-07:00</dc:date>

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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34587">
<title>Live From New York: Murcof, Hamiet Bluiett, Broadcast and Joshua Redman</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34587</link>
<description><![CDATA[Murcof (le) Poisson Rouge October 14, 2009 

 Murcof, whose real name is Fernando Corona, hails from Tijuana. His distinctive form of minimalist electronica lately seems to be moving closer towards classical music, and simultaneously becoming even more skeletal in nature. He's been active for nearly a decade, and has evolved from a minimal house pulsation towards collaborative works with massed strings and operatically-trained voices, inhabiting spaces where (sometimes) nothing much happens. It seems like the word hasn't yet spread to a New York audience, although the (l)PR's attentive gathering deserved congratulations for its zero tolerance to extraneous noise or gratuitous fidgeting. This was to be among the most hushed performances in the entire history of humankind...]]></description>
<dc:subject></dc:subject>
<dc:creator>Martin Longley</dc:creator>
<dc:date>2009-11-07T00:05:50-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34449">
<title>Live Guitars From New York: Chris Brokaw, Alan Licht, Elliott Sharp, Sonny Landreth and Daniel Johnston</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34449</link>
<description><![CDATA[The Chris Brokaw Guitar Trio with Alan Licht/Greg Kelley/Sean Meehan The Knitting Factory October 8, 2009

The new Knitting Factory is a transplant from the old downtown Tribeca location to this new space in Brooklyn's Williamsburg district. It might seem superficially out-of-the-way, but it's only two stops on the subway out of Manhattan, followed by a five-minute stroll...]]></description>
<dc:subject></dc:subject>
<dc:creator>Martin Longley</dc:creator>
<dc:date>2009-11-07T00:05:46-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34411">
<title>Revolutionary Ensemble: Vietnam and Beyond the Boundary of Time</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34411</link>
<description><![CDATA[It could easily be argued that the "loft jazz" era of the '70s was a direct product of Chicago's Association for the Advancement of Creative Musicians (AACM), both in its moral structure and its eventual fragmentation. Loft spaces, artist-produced concerts and artist-owned labels were self-reliance projects, a cornerstone of the AACM. Furthermore, the relocation of many AACM musicians to New York necessarily changed the sonic waters, toward spaciousness and somewhat chamber music-like aesthetics in the bustling free music of lower Manhattan and Brooklyn...]]></description>
<dc:subject></dc:subject>
<dc:creator>Clifford Allen</dc:creator>
<dc:date>2009-11-07T00:05:42-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34592">
<title>Take Five With The New Five</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34592</link>
<description><![CDATA[Meet The New 5: The New 5 is a cohesive group based in Austin, TX whose sound is rooted in the post-bop tradition but with a forward-leaning edge. Four of the five members of the group have or are working on their doctorates in music from the University of Texas. Thomas Heflin and Chris Budhan have their doctorates in Performance. Michael Arthurs is finishing his doctorate in Jazz Composition. Peter Stoltzman is completing his doctorate in Music and Human Learning. David Colvin has completed his masters in music from UT as well. While the group shares an interest in education, they also have shared the time with some of the jazz world's greatest. Thomas recorded his first album with {{James Williams = 11390}} and has another one one the way with trombonist Ron Westray. Michael has studied with {{Dave Liebman = 8748}}, {{Joe Lovano = 1783}} and {{George Coleman = 5814}}. Chris Budhan, as a festival producer in Eastern Canada, presents more than 1,000 performances each summer as part of the City Stages and Always On Stage festivals. Peter Stoltzman has performed with Eddie Gomez and Steve Gass and is an instructor at the Stanford Jazz Workshop. David Colvin has performed on the David Letterman Show and Austin City Limits as a member of the rock outfit Heartless Bastards...]]></description>
<dc:subject></dc:subject>
<dc:creator>AAJ Staff</dc:creator>
<dc:date>2009-11-07T00:05:40-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34311">
<title>Leo Records 30th Anniversary</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34311</link>
<description><![CDATA[Vaycheslav Guyvoronsky / Andrey Kondakov / Vladimir Volkov Christmas Concert Leo Records 2008 Carl Ludwig Hubsch's Longrun Development Of The Universe The Universe is a Disk Leo Records 2009 Various Artists Collaborations: 2004 and 2007 Leo Records 2009 Jan Klare / Wilbert de Joode / Michal Vatcher / Bart Maris Played 1000 Leo Records 2009 Gratkowski / Lapin / Gramss / Bledsoe Unplugged Mind Leo Records 2009...]]></description>
<dc:subject></dc:subject>
<dc:creator>Martin Longley</dc:creator>
<dc:date>2009-11-07T00:05:34-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34341">
<title>ECM at 40: Remembering Weather Report/Lost on the Way/The Moment's Energy/Dresden</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34341</link>
<description><![CDATA[Miroslav Vitous Group w/ Michel Portal Remembering Weather Report ECM 2009 Louis Sclavis Lost on the Way ECM 2009 Evan Parker Electro-Acoustic Ensemble The Moment's Energy ECM 2009 Jan Garbarek Group Dresden ECM 2009 

1969 was a major milestone in our cultural history. But that momentous year also marks the debut release from ECM Records, a label that arguably defined the jazz category in the '70s, forging an identity built on artistic purposefulness, impeccable musicianship, distinctive graphics and crisp and cleanly recorded sound. The ECM aesthetic may be as influential and pervasive as Blue Note's and their exploration of world music, jazz outside the US and the blending of jazz and classical music carries on. {{Miroslav Vitous = 11088}}' Remembering Weather Report is no mere exercise in nostalgia. The Czech bass player makes his intentions very clear in the CD's liner notes: he's seeking "progress towards musical freedom and a universal concept of equal sharing." The Weather Report most remembered calls up the time when Vitous, Joe Zawinul and Wayne Shorter espoused an "everyone solos/nobody solos" ethic. Curiously, "Variations on Lonely Woman" and "Variations on W. Shorter" are both built on compositions that predate Weather Report (Shorter's "Nefertiti" in the latter), but Vitous' group is able to create a fresh acoustic lyricism from the barest sketch. Elsewhere, AntonA-n DvorA k and Miles Davis intersect and each track features consummate improvisational work from the musicians involved. Vitous' arco playing in particular stands alongside anyone else's on the scene. Frenchman {{Louis Sclavis = 4149}} holds a unique position in jazz. He's recorded some of the finest, most original small-group music of the last decade, but as a clarinetist, his music seems to fall just beyond easy categorization. Lost on the Way is a collection of relatively short, tightly composed, sinuous pieces with a pervasive gypsy/Balkan/Klezmer strain running throughout. Sclavis and alto/soprano saxist Matthieu Metzger double up the ethnic influences while guitarist Maxime Delpierre interjects bits of electronica over the electric bass-driven rhythm section. The song titles derive from Homer's Odyssey and the range of style and emotion from track to track suggests a journey of discovery, filled with adventure and informed by mystery, loneliness, hope and loss. The Moment's Energy, an extended work in seven sections, is {{Evan Parker = 10117}}'s Electro-Acoustic Ensemble's fifth recording. Commissioned by the Huddersfield Contemporary Music Festival, the work includes jazz-like improvisation within the framework of its formal construction, but this music isn't easily classifiable as jazz, free jazz or even contemporary classical music. The sonic landscape runs up and down the scales and back and forth across a vibrational horizon where electronica textures and colors combine to keep the dramatic elements in motion. Parker's large group composing may epitomize the ECM approach: exploring how geography, nationalism, cultural history and musical training come together to create something unique that crosses perceived boundaries and erases preconceived notions. Somehow {{Jan Garbarek = 6937}} went 40 years into his career without recording a live album, so it's fitting that his first live recording would come in ECM's 40th year. The good news is that Dresden is a double disc tour de force closer to the sort of jazz Garbarek pioneered with his work on the label in the '70s and appeared to have abandoned. In addition to the leader's tenor, soprano and flute, the band is rounded out by drummer {{Manu Katche = 15538}}, pianist/keyboardist {{Rainer BrA1/4ninghaus = 5401}} and electric bassist {{Yuri Daniel}}. The bulk of the material is drawn from Garbarek's songbook, some drastically transformed by this band, as well as a few covers and contributions from his sidemen. The band's telepathy and risk-taking betrays the years of touring they have logged, with Garbarek and Katche's simpatico exchanges deserving special attention. The high-level of musical creativity on display here makes this recording a milestone in the linked histories of artist and label...]]></description>
<dc:subject></dc:subject>
<dc:creator>Jeff Stockton</dc:creator>
<dc:date>2009-11-07T00:05:32-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34343">
<title>Ron Carter: Super Sideman</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34343</link>
<description><![CDATA[Attila Zoller/Ron Carter/Joe Chambers Common Cause Enja 2009 Sadao Watanabe with the Great Jazz Trio I'm Old Fashioned Test of Time 2009 

{{Ron Carter = 5580}} has long been one of the most in-demand bassists, a talented player in both jazz and classical music. He has appeared on hundreds of recording sessions during the last five decades, in addition to his extensive discography as a leader. Among recent reissues are two sideman dates that were recorded during the '70s for overseas labels...]]></description>
<dc:subject></dc:subject>
<dc:creator>Ken Dryden</dc:creator>
<dc:date>2009-11-07T00:05:30-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34373">
<title>Tyshawn Sorey: Koan, The Winding Shell and Labyrinth</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34373</link>
<description><![CDATA[Tyshawn Sorey Koan 482 Music 2009 Jesse Elder The Winding Shell Off 2009 Jacam Manricks Labyrinth Manricks Music 2009 

For decades, the trend has been for drummers in jazz to move away from timekeeping and towards a multi-faceted element of the ensemble's texture. This trend is particularly present on {{Tyshawn Sorey = 15346}}'s new record Koan. The record is both a departure from the complex through-composed structures of his previous release That/Not and a continuation of the inquiry into the minimalist aesthetic that could be heard in Sorey's solo piano music. With the focus on creative interaction, the composer entered the studio with bassist {{Thomas Morgan}} and guitarist {{Todd Neufeld}}. The resulting textures evolve almost out of consensus rather than egoism, with Sorey's compositions functioning primarily as an environment in which the improvisers co-create. "Awakening" and "Only One Sky" float past the listener's consciousness with an air of introspection, setting the stage for the more eruptive arrival of "Correct Truth." The drums are notably absent in many places, such as the aptly named "Two Guitars." With austerity and restraint both as a composer and as a drummer, Sorey has created a contemplative riddle that effectively conjures both in the performers and the listener the purposeful purposelessness implied by the title...]]></description>
<dc:subject></dc:subject>
<dc:creator>Wilbur MacKenzie</dc:creator>
<dc:date>2009-11-07T00:05:28-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34387">
<title>Chet Baker's Quiet Sound Endures</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34387</link>
<description><![CDATA[Chet Baker Strollin' Enja 2008 Chet Baker Broken Wing Inner City 2009 John Proulx Baker's Dozen MAXJAZZ 2009 

As iconic as any jazz musician, {{Chet Baker = 3578}}'s gentle, understated playing and crooning ran counterpoint to his tumultuous life. Two late life recordings capture an introspective legend, voice ravaged by time, playing thoughtful and resonant solos. The third disc is a loving tribute showcasing the melancholic joie de vivre that launched his career in the '50s...]]></description>
<dc:subject></dc:subject>
<dc:creator>Chris Kompanek</dc:creator>
<dc:date>2009-11-07T00:05:26-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34301">
<title>Miles Davis: Miles and Kind of Blue</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34301</link>
<description><![CDATA[Miles Davis Miles: The New Miles Davis Quintet Prestige Year Miles Davis Kind of Blue:Legacy Edition Columbia/Legacy Year 

In 1955, after a few years working with pick-up bands and fuelled by a legendary comeback appearance at the Newport Jazz Festival, {{Miles Davis = 6144}} assembled the band that's since become known as the First Great Quintet. Miles, sub-titled The New Miles Davis Quintet, represents the first complete LP recorded by the band with {{John Coltrane = 5851}} (tenor), {{Red Garland = 6951}} (piano), {{Paul Chambers = 12455}} (bass) and {{Philly Joe Jones = 8188}} (drums), though by the time it was recorded in November 1955, the group had already done its first session for Columbia--the LP that would appear as Round About Midnight, named for the Monk tune that caught listeners' attention at Newport. The band on Miles may be still finding itself, but it already possesses a remarkable composite identity. Ellington's "Just Squeeze Me," the slow-tempo opener, builds from the bell-like sweetness of Garland's piano, the rich padded sound of Chambers' bass and the snap of Jones' drums: they all buoy the tart, bittersweet sound of Harmon-muted trumpet, in place on the first four of the CD's six tracks. "There Is No Greater Love" continues the suggestion that it's a band designed to frame Davis' minimalist lyricism, but a sudden tempo shift with "How Am I to Know?" demonstrates the other side of the band, the blend of lilting swing and ferocious drive, the complexity and clarity that that rhythm section seems to generate so readily, fuelled by Jones' polyrhythms. There's already a raw energy in Coltrane's playing, a rough-hewn force that virtuosity and vision would soon channel...]]></description>
<dc:subject></dc:subject>
<dc:creator>Stuart Broomer</dc:creator>
<dc:date>2009-11-07T00:05:24-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34448">
<title>Solo Saxophones: Roscoe Mitchell, Paul Flaherty and John Butcher</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34448</link>
<description><![CDATA[Roscoe Mitchell Nonaah Nessa 2008 Paul Flaherty Aria Nativa Family Vineyard 2009 John Butcher Resonant Spaces Confront 2008 

The solo horn concert was one of the landmarks of the early days of the Association for the Advancement of Creative Musicians. It wasn't without precedent (see Sonny Rollins on the Manhattan Bridge), but the Chicago collective of eclectic virtuosity made it repertory. AACM member Anthony Braxton was the first to release a solo saxophone record (For Alto, Delmark, 1968), but Roscoe Mitchell (who was the first person out of the AACM to release a record, with Sound, issued by Delmark two years earlier) has been no stranger to the call of the horn. He released Solo Saxophone Concerts on Sackville in 1974 and an expansive three-CD set, Solo [3], on Mutable in 2004. And in 1977, Mitchell put out Nonaah, a double album on Nessa and one of the most fascinating records in his long discography...]]></description>
<dc:subject></dc:subject>
<dc:creator>Kurt Gottschalk</dc:creator>
<dc:date>2009-11-07T00:05:22-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34465">
<title>Large Ensembles: John Hollenbeck and Nicholas Urie</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34465</link>
<description><![CDATA[John Hollenbeck Large Ensemble Eternal Interlude Sunnyside Records 2009 Nicholas Urie Large Ensemble Excerpts From an Online Dating Service Red Piano 2009 

 In 1965, Duke Ellington asked the question (by way of album title) "Will the big bands ever come back?" As the New Thing was beginning to take hold, it may have seemed a bit of bemoaning from a man whose time (it might again have seemed) had passed. As Ellington himself had proven already in his own career, however, (he could have asked the same question a decade earlier, before his watershed Newport appearance) big bands don't go away, no matter how hard of times they suffer. They might not be financially viable very often, but they persevere, if only because writing charts for a stage full of players is how a composer with an ear for jazz can show chops...]]></description>
<dc:subject></dc:subject>
<dc:creator>Kurt Gottschalk</dc:creator>
<dc:date>2009-11-07T00:05:20-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34526">
<title>Azar Lawrence: Prayer for My Ancestors and Speak The Word</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34526</link>
<description><![CDATA[Azar Lawrence Prayer for My Ancestors Furthermore 2009 Azar Lawrence Speak the Word Zarman Productions 2009 

The tenor and soprano saxophonist {{Azar Lawrence = 8616}} should be known to all by his seminal work with pianist McCoy Tyner, especially on the double LP set Enlightenment, which is one of the most powerful recordings of the '70s. The two modern CDs reviewed here display a saxophonist with no less power and skill but perhaps an organically broader pallet of expression. Between Prayer for My Ancestors and Speak the Word there are beautiful ballads, lyrical bossa novas, songs sung in Spanish, songs from Africa featuring gorgeous kora (African lute) playing and of course, blazing modal jazz. Every track on both of these CDs features a master saxophonist, blowing expressively clear and strong solos throughout...]]></description>
<dc:subject></dc:subject>
<dc:creator>Francis Lo Kee</dc:creator>
<dc:date>2009-11-07T00:05:18-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34627">
<title>Joey Baron: Heaven on Earth, Stolas and Dream Dance</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34627</link>
<description><![CDATA[James Carter/John Medeski/Christian McBride/Adam Rogers/Joey Baron Heaven on Earth Half Note 2009 Masada Quintet Featuring Joe Lovano Stolas Tzadik 2009 Enrico Pieranunzi / Marc Johnson / Joey Baron Dream Dance CAMJazz 2009 

Some drummers bring a unique personal sound and approach to everything they do, so that they are instantly recognizable, regardless of the context. Not so {{Joey Baron = 3649}}, who is the common link on these CDs. As a drummer and bandmate, Baron is more of a chameleon, adapting his approach and technique to the concept at hand. So you'd be hard-pressed to identify Baron on these three outings by any personal sounds or quirks, as the drumming on all three albums is both firmly idiomatic and technically accomplished. That's quite a feat, for the albums represent three very dissimilar, strong jazz styles and traditions, each reimagined in a contemporary or even postmodern way...]]></description>
<dc:subject></dc:subject>
<dc:creator>George Kanzler</dc:creator>
<dc:date>2009-11-07T00:05:16-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34629">
<title>Globe Unity: Japan</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34629</link>
<description><![CDATA[Akira Sakata Friendly Pants Columbia-Family Vineyard 2009 Itaru Oki Phantom Note Record Label #2 Year The Miyumi Project Live in Poland Southport 2009 

Japanese culture has historically championed jazz and, not surprisingly, produced some champions of its own. Recent releases by {{Akira Sakata = 13255}}, {{Itaru Oki}} and {{Tatsu Aoki = 3456}} (a 30-year Chicago resident) document the work of three youthful veterans...]]></description>
<dc:subject></dc:subject>
<dc:creator>Tom Greenland</dc:creator>
<dc:date>2009-11-07T00:05:14-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34630">
<title>Flutes: Jeremy Steig, Krzysztof Popek and Anne Drummond</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34630</link>
<description><![CDATA[Jeremy Steig Howlin' for Judy Solid State-Blue Note 2009 Krzysztof Popek Estate Power Brothers 2009 Anne Drummond Like Water Obliqsound 2009 

Full-time flutists don't get much respect in the male-dominated, hard-driving jazz culture (certain Latin leaders like Dave Valentin and Maraca Valle excepted). Truth to tell, two of the three flute specialists here don't exert enough pizzazz or subtlety to thwart those numbers...]]></description>
<dc:subject></dc:subject>
<dc:creator>Fred Bouchard</dc:creator>
<dc:date>2009-11-07T00:05:12-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34631">
<title>Brooklyn Jazz Underground: Randy Ingram and Rob Garcia</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34631</link>
<description><![CDATA[Randy Ingram The Road Ahead Brooklyn Jazz Underground Records 2009 Ron Garcia Perennial Brooklyn Jazz Underground Records 2009 

Pianist {{Randy Ingram = 15457}}'s fine new recording, The Road Ahead, exemplifies smooth jazz, though thankfully not in the sense of the FM radio genre. Ingram, bassist {{Matt Clohesy = 15883}} and drummer {{Jochen Rueckert = 15767}} play with such skill that they almost make it sound effortless...]]></description>
<dc:subject></dc:subject>
<dc:creator>Terrell Kent Holmes</dc:creator>
<dc:date>2009-11-07T00:05:10-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34632">
<title>Miles Revisited: Sketches of Spain (50th Anniversary Edition) and Miles Ahead Live</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34632</link>
<description><![CDATA[Miles Davis Sketches of Spain (50th Anniversary Edition) Columbia-Legacy 2009 MSM Jazz Orchestra Miles Ahead Live Jazzheads 2009 

Third Stream, an attempt to meld aspects of jazz and European classical and world musics, as a term may have gone away, but that can't be said for the musical movement of that name that flourished at the mid-point of the 20th Century. Although not often acknowledged, it has had a lasting influence on the way jazz is viewed today: as classical music; concert jazz; expanded ensembles and works; the repertoire movement: Gunther Schuller's essay in the booklet to this new edition of Sketches of Spain is very informative on the whole Third Stream phenomenon of the era...]]></description>
<dc:subject></dc:subject>
<dc:creator>George Kanzler</dc:creator>
<dc:date>2009-11-07T00:05:08-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=34408">
<title>Transit: Quadrologues and Nate Wooley: The Seven Storey Mountain</title>
<link>http://www.allaboutjazz.com/php/article.php?id=34408</link>
<description><![CDATA[Transit Quadrologues Clean Feed 2009 Nate Wooley The Seven Storey Mountain Important Records 2009 

The work of trumpeter {{Nate Wooley = 15371}} falls into a number of camps: free improvisation, experimental noise or restructuralist postbop. It would be easy to lump him in with a young trumpeters/ extended techniques setting but Wooley is decidedly an individual. And while brass players tend to elicit an expected bravura, Wooley is very much at home in collective exploratory endeavors as one color in a very broad palette...]]></description>
<dc:subject></dc:subject>
<dc:creator>Clifford Allen</dc:creator>
<dc:date>2009-11-07T00:05:06-07:00</dc:date>
</item>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=33888">
<title>Three with Chris Speed/Skirl Records: Big Choantza; Smell The Difference; Esopus Opus</title>
<link>http://www.allaboutjazz.com/php/article.php?id=33888</link>
<description><![CDATA[The New Mellow Edwards Big Choantza Skirl Records 2009 Tyft Smell The Difference Skirl Records 2009 Ben Perowsky Quartet Esopus Opus Skirl Records 2009 

 Since founding Skirl Records in 2006, saxophonist {{Chris Speed = 4540}} still hasn't led a project for the label. But that hasn't diminished his instrumental contributions to it. His distinct tenor and clarinet are integral to the latest Skirl crop, illuminating his range as a player and the broad eclecticism of the label...]]></description>
<dc:subject></dc:subject>
<dc:creator>Sean Patrick Fitzell</dc:creator>
<dc:date>2009-11-07T00:05:04-07:00</dc:date>
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