Jazz Articles

Our daily articles are 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 Coming Soon page. Read our daily album reviews.

299

Album Review

Roxy Coss: Roxy Coss

Read "Roxy Coss" reviewed by Raul d'Gama Rose

by Raul d'Gama Rose
April 25, 2011

Nothing can prepare the ear and the heart for the voice of Roxy Coss, if heard for the first time. The raw beauty of her principal instrument, the tenor saxophone, is expressed in moist, hot gushes of breath. The cascades of notes that dapple her soli weave in and out of her exuberant melodies. She has a darting intellect that arms her playing to the teeth. As a result, she is able to find the right notes, then, as if ...

529

Interview

Bill Frisell: Ramping It Up

by John Kelman
April 25, 2011

It's always been a not-so-hidden truth, especially in the jazz world, that fans only get a small window into what their favorite artists are about. Artists' commercial releases--usually no more than one per year--rarely document the entirety of the various projects with which they're involved in the course of those 12 months. And when you're someone like guitarist Bill Frisell, who seems to be almost endlessly on the road with various permutations and combinations of the expanding cadre of musicians ...

241

Album Review

Thelonious Monk: Monk's Music

Read "Monk's Music" reviewed by Chris May

by Chris May
April 24, 2011

Many albums in the Original Jazz Classics reissue series include alternate takes or tracks recorded for, but ultimately not included on, the original vinyl LP. The label's 2011 Remasters edition of pianist Thelonious Monk's Monk's Music (Riverside, 1957) is no exception--but is something of a first, in that “Blues For Tomorrow," the 13:33 minute bonus track, does not include a single note from the leader. The track was recorded on June 25, 1957, in the closing minutes of ...

239

Live Review

Peter Murphy Live at The Highline Ballroom, New York City; April 2, 2011

by Mike Perciaccante
April 24, 2011

Peter MurphyThe Highline BallroomNew York, New YorkApril 2, 2011 Over the past three decades, Peter Murphy has gained a loyal fan through both his solo work and as the former front man for Bauhaus. His recorded output as well has his live performances have garnered him the oh-so-dark moniker, “Godfather of Goth." Prior to his April 2, 2011 Highline Ballroom performance, All About Jazz was able to sit down with Murphy to discuss ...

272

Album Review

Steve Khan: Parting Shot

Read "Parting Shot" reviewed by John Kelman

by John Kelman
April 24, 2011

Evolution is one of those things where an artist either gradually shifts direction, or makes sudden quantum leaps. Guitarist Steve Khan has done both in a career dating back four decades, and the first of three hot fusion records for Columbia as a leader, Tightrope (1977), that fit firmly in The Brecker Brothers camp, but, with an in-your-face guitar presence that ran the occasional risk of over-dominance. Khan had a clear epiphany with Evidence (Arista, 1980), an overlooked gem interpreting ...

202

Take Five With...

Take Five With Martin Vejarano - Chia's Dance Party

by AAJ Staff
April 24, 2011

Meet Martin Vejarano--Chia's Dance Party: CHIA's Dance Party is a New York City-based quartet/quintet. The band delivers a unique musical experience, where infectious, danceable grooves mix harmoniously with extensive compositional and improvisational work. The band performs original material inspired by the Colombian rhythmic and melodic traditions, yet explores different genres and compositional approaches. CHIA's Dance Party has a distinct sound, as a result of the diverse background of its musicians: Ben Stapp, an exceptional tuba player, brings his vast experience ...

345

Album Review

Bill Anschell: Figments

Read "Figments" reviewed by Dan McClenaghan

by Dan McClenaghan
April 24, 2011

Pianist Bill Anschell normally involves himself in projects that shine with a high polish, recordings like the Wellstone Conspiracy's collaborative Motives (Origin, 2010) and his own More to the Ear than Meets the Eye (Origin, 2006), or in the sideman slot on the marvelous Reunion, led by saxophonists Pete Christlieb and Hadley Caliman. In addition, Anschell served as Nnenna Freelon's pianist/arranger/musical director for a number of years, where a sheen on the vocalist's backdrop was the name of the game. ...

268

Album Review

Scott Burns: Passages

Read "Passages" reviewed by Alex Marianyi

by Alex Marianyi
April 24, 2011

Chicago-based tenor saxophonist Scott Burns has said that he practices each exercise, pattern, or whatever else he may be working on until he gets it perfect. Five times in a row. The results of this type of practicing couldn't be any more obvious than on Passages, release by Origin in 2006. Through this rigorous study, Burns has sufficiently assimilated the sounds of the great tenor players that have come before him in order to produce his own powerful yet unique ...

155

Album Review

The Brian Landrus Quartet: Traverse

Read "Traverse" reviewed by Wilbert Sostre

by Wilbert Sostre
April 24, 2011

Jazz fans often cite Gerry Mulligan as the most recognized baritone saxophonist in jazz, but for most, the list stops there. Why the baritone saxophone is not a more popular instrument in jazz is uncertain; in the right hands, the instrument has a warmth and tonal beauty unlike any other. Baritone saxophonist Brian Landrus is a rising star, with two Masters degrees in jazz composition and performance at the New England Conservatory in Boston, He is also ...

582

In the Artist's Own Words

Steve Khan: The Making of "Parting Shot"

by Steve Khan
April 24, 2011

The term, “parting shot" can certainly be interpreted in any number of ways. Perhaps for most of us, it would be best defined like this: “a threat, insult, condemnation, sarcastic retort, or, gesture delivered while departing." I choose to view it as the latter, thinking of a light punch to the shoulder as the final gesture! This interpretation led me to invent my own Spanish title: “Golpe de partida." I think that someone else would have chosen, “La última palabra"--the ...