Jazz Articles

Daily articles including interviews, profiles, live reviews, film reviews and more... all carefully curated by the All About Jazz staff. You can find more articles by searching our website, see what's trending on our popular articles page or read articles ahead of their published dates on our future articles page.

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Interview

Adam Kahan: Capturing the Essence of Jazz in a Film

Read "Adam Kahan: Capturing the Essence of Jazz in a Film" reviewed by Victor L. Schermer


Too many are the documentaries produced and directed in a formulaic way using archival clips, photos, and hastily staged interviews that are intended to make a series of facts evident and bring out a few key points. At their best, they give a reasonably realistic illustrated depiction of people, places, and things. That is why a screening of the film Buster Williams: From Bass to Infinity proved to be jaw-dropping in the way it revealed the music and musicians without ...

9

Film Review

Buster Williams: Bass to Infinity

Read "Buster Williams: Bass to Infinity" reviewed by Victor L. Schermer


Buster Williams: Bass to Infinity Director: Adam Kahan Distributor or Film Company USA: 90 minutes Premier Date: Nov. 12, 2019 This is an exceptional jazz film that most likely would have made its way into art theaters around the world were it not that four months after its premier in jny: New York City, the pandemic struck, and most theaters closed down. However, it is readily available on the web, for example at Amazon ...

3

Album Review

Buster Williams: Audacity

Read "Audacity" reviewed by Mike Jurkovic


On Audacity, his first disc as the man-in-charge since 2004's restorative Griot Liberte, venerable bassist and jazz gentlemen Buster Williams delivers a stellar set of six potent, highly charged originals mixed generously with originals from long-time band members saxophonist Steve Wilson, drummer Lenny White and pianist George Colligan. Generous is the key word here. Humble yet eminently assured of his ability, agility and legacy, Williams spans the decades from '69 with Herbie Hancock's jazz/rock Mwandishi sextet through contemporary ...

8

Interview

Buster Williams: Take No Prisoners

Read "Buster Williams: Take No Prisoners" reviewed by George Colligan


[ Editor's Note: The following interview is reprinted from George Colligan's blog, Jazztruth]I first heard bassist Buster Williams on a Herbie Hancock recording called VSOP Live (Columbia, 1976). I remember thinking that their version of Hancock's “Toys" was pretty wild stuff. In addition to hearing him on some other recordings like Hancock's Sextant (Columbia, 1973)," the group Sphere's Four in One(Elektra/Musician, 1982), or Sarah Vaughan's Sassy Swings The Tivoli (Mercury, 1963), my friend David Ephross and I used ...

252

Album Review

Buster Williams: Griot Libert

Read "Griot Libert" reviewed by Brandt Reiter


All great jazz essentially tells the same story: “This is what it's like to be alive, right here, right now. First-call bass vet Buster Williams' latest disc, Griot Libertè, while no exception, tells an additional one: he loves his wife. Using her recovery from a serious illness as a jumping off point, Williams leads a crack quartet with vibraphonist Stefon Harris, pianist George Colligan, and drummer Lenny White through a post bop program of six excellent self-penned originals and two ...

144

Album Review

Buster Williams: Griot Libert

Read "Griot Libert" reviewed by John Kelman


The instrumental lineup may mimic the Modern Jazz Quartet and, to be sure, Buster Williams' choice of vibes as the other front-line instrument was so that he could similarly “express a certain softness in [the] music." But that's where the comparison ends. Griot Libertè may also swing on the light side like MJQ, but the musical choices are far more weighty.

Opening with the modal workout “Nomads," Williams is quick to establish his dark and meaty tone, placed high in ...

232

Album Review

Buster Williams: Pinnacle

Read "Pinnacle" reviewed by Douglas Payne


One of the great losses to jazz is that Herbie Hancock's 1970-73 Mwandishi band could not have been as profitable as it was protean, progressive and ever too-briefly productive. Launched from the spaces that fostered Bitches Brew, Hancock introduced elements of both the avant-garde and soul jazz to create a groove that was as unusual and provocative in sound as it was striking in its musical excellence.Hancock's young sextet was utterly prepared to traverse and unite such opposing ...


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