Jazz Articles

like 290

Robby Ameen: Days in the Life

by Raul d'Gama Rose
November 24, 2009

Robby Ameen is one of those first call percussionists who has been chafing at the bit to produce something all his own. Now he has his chance, with Days in the Life and he acquits himself with excellence. Things might have very well gone awry, as so often happens when self producing a first record. This, however, does not happen with Ameen, as he is careful to avoid the obvious at all costs. The percussionist is well known for his ...

like 128

Ned Otter: Powder Keg

by John Kelman
February 11, 2004

Tenor saxophonist Ned Otter may not be a well-known name, but any recording which enlists the talents of pianist Harold Mabern and drummer Billy Higgins, plus the impeccable ears and engineering skills of Rudy van Gelder is—at least—worth investigating. With a session that could have been simply another competent post bop recording of a couple of chestnuts, two originals and a some lesser-known surprises, Otter’s combination of technical prowess, playful invention and melodic sense elevates things beyond the merely expected ...

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Ned Otter: Powder Keg

by Dan McClenaghan
January 17, 2004

For years tenor saxophonist Ned Otter polished his jazz craft as a protege of sax man George Coleman. Indeed, the first CD issued on Otter's Two and Four Recordings was Coleman's Danger High Voltage. Otter played alongside his mentor on that disc, and Coleman joined him on the younger player's debut, So Little Time (Two and Four, 2002). So well had Otter learned his lesson from the master that it was often hard to tell who was playing—teacher or pupil—as ...

like 120

Ned Otter: So Little Time

by C. Michael Bailey
May 1, 2002

A Brilliant Throwback...

One of the big differences between Be Bop and Hard Bop is the tempo. Sure there are many Hard Bop anthems that are plenty fast. But most of them make me think of Bobby Timmon's “Moanin'." Another difference is the band lineup. Trumpet, tenor, and trombone generally fronted the great Jazz Messengers. This gave the Hard Bop bands like the Messengers a small-big band feel. Ned Otter has approximated this front with the addition of a ...

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Ned Otter: So Little Time

by Mark Corroto
April 12, 2002

The possibilities of making jazz music these days are unlimited. Consider the Herbie Nichols Project, Mingus Big Band, or recent revival in jazz-fusion (cleverly disguised as the new “jamband” phenomena). Musicians have the ability to simultaneously advance their art and celebrate the successes of the past. Saxophonist Ned Otter takes you to New Jersey circa 1960, as this one-hour of music captures the popular music known as the Blue Note sound.

This debut by Otter follows the ...

like 82

Ned Otter: So Little Time

by Mark Corroto
April 12, 2002

The possibilities of making jazz music these days are unlimited. Consider the Herbie Nichols Project, Mingus Big Band, or recent revival in jazz-fusion (cleverly disguised as the new “jamband" phenomena). Musicians have the ability to simultaneously advance their art and celebrate the successes of the past. Saxophonist Ned Otter takes you to New Jersey circa 1960, as this one-hour of music captures the popular music known as the Blue Note sound.

This debut by Otter follows the premier last year ...

like 232

George Coleman: Danger High Voltage

by Mark Corroto
September 1, 2000

George Coleman isn’t just the answer to the trivial pursuit question “Who were the tenor saxophonists in Miles Davis’ Band after John Coltrane and but before Wayne Shorter.” The correct answers; Hank Mobley, Sam Rivers, and George Coleman, if not achieving Miles Davis super-stardom all went on to significant careers. Miles suggested that Coleman left his sixties group because of tension. Davis said he played too perfect and that his bandmates were looking for more freedom and, one can suspect, ...