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Jazz Articles about Uri Caine

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Album Review

Benjamin Koppel: White Buses: Passage To Freedom

Read "White Buses: Passage To Freedom" reviewed by Doug Collette


If saxophonist/composer/bandleader Benjamin Koppel has proven anything over the last few years, it is that he has no trouble finding sources of inspiration for his work. Whether it is just for the sake of blowing with a redoubtable rhythm section in the form of bassist Scott Colley and drummer Brian Blade on Perspective (Cowbell Music, 2023) or illustrating his own range of style with The Ultimate Soul & Jazz Revue (Cowbell Music, 2020) and The Art of The ...

13
Album Review

Franco Ambrosetti: Nora

Read "Nora" reviewed by Dan McClenaghan


Franco Ambrosetti's album is called simply Nora. Short and sweet, four letters, two syllables. But it could easily have been called “Franco Ambrosetti with Strings," as the Swiss flugelhornist & trumpeter follows the orchestral path of alto saxophonist Charlie Parker and his groundbreaking Charlie Parker With Strings (Verve, 1950), trumpeter Chet Baker's Chet Baker with Strings (Columbia, 1953) or trumpeter Clifford Brown's Clifford Brown with String (Verve, 1955). Those early forays into orchestral jazz set the template of ...

Album Review

Erik Friedlander: A Queens' Firefly

Read "A Queens' Firefly" reviewed by Vincenzo Roggero


Il violoncello di Erik Friedlander, dolcissimo, introduce la melodia, poi gradualmente le altre voci si aggiungono con delicatezza, quasi con circospezione a dar forma a una ballad sognante. È la title track, il brano che apre il disco e sembrerebbe marcare in qualche modo il terreno, garantire coordinate di viaggio sicure. Succede invece che già la successiva «Match Strikes» sembra perdere il segnale e scombinare traiettorie, con il pizzicato e le svisate del violoncello, le leggere dissonanze ...

9
Album Review

Erik Friedlander: A Queens' Firefly

Read "A Queens' Firefly" reviewed by Troy Dostert


When a cello is your calling card, it is only to be expected that the “chamber jazz" label will tend to follow you around--and so it has for Erik Friedlander, although that term hardly does justice to the variegated possibilities he sets in motion through his assorted projects. Having worked with a “who's who" list of cutting-edge musicians including Myra Melford, Dave Douglas, Sylvie Courvoisier, John Zorn, and countless others including artists well outside the jazz world such as the ...

14
Album Review

Franco Ambrosetti: Lost Within You

Read "Lost Within You" reviewed by Chris M. Slawecki


Lost Within You is a masterpiece of smoldering passion and beauty ignited by the exquisite trumpet and flugelhorn melodies of Franco Ambrosetti. Ambrosetti assembled an enviable ensemble: bassist Scott Colley and drummer Jack DeJohnette in the rhythm section, plus guitarist John Scofield, and Renee Rosnes and Uri Caine switching turns as pianist. But the star of Lost Within You is Ambrosetti's haunting, delicate and graceful sound, revealed in one masterful ballad after another. “Miles Davis was ...

30
Album Review

Franco Ambrosetti: Lost Within You

Read "Lost Within You" reviewed by Doug Collette


The Franco Ambrosetti Band Band's Lost Within You is a supremely unassuming listening experience. An all-star band helps the trumpeter composer conjure a sensuous mood that only grows progressively engrossing over the course of the seventy-plus minutes playing time of the album. The seductive sensation is an inexorable process that commences with the very first cut. The second-longest track on the record next to “Body and Soul," Horace Silver's “Peace" features drummer Jack DeJohnette at the piano and ...

17
Album Review

Franco Ambrosetti Band: Lost Within You

Read "Lost Within You" reviewed by Dan McClenaghan


Swiss trumpeter / flugelhorninst Franco Ambrosetti opens his Lost Within You with “Peace," from the pen of pianist Horace Silver. The original rendition comes from Silver's Blowin' The Blues Away (Blue Note, 1959). It was a composition that Silver stumbled upon when he was “doodling around on the piano, and it just came to me." It featured Blue Mitchell's characteristically brassy trumpet tone. It was unusual in the Silver songbook—an introspective, patiently deployed ballad, instead of the normal hard-charging, romps ...


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