Jazz Articles about Adam Rogers

Adam Rogers: Time and the Infinite

by John Kelman
May 1, 2007

While Adam Rogers is no stranger to the standards songbook, the guitarist's three releases as a leader have focused almost entirely on his challenging yet accessible compositions. They've also utilized the same personnel. Art of the Invisible (Criss Cross, 2001) introduced a guitar/piano/bass/drums quartet that would, with the addition of saxophone, flesh out to a consistent quintet for Allegory (Criss Cross, 2002) and Apparitions (Criss Cross, 2005).

Time and the Infinite pares things back to a trio, and while there ...

Adam Rogers: Apparitions

by AAJ Italy Staff
January 30, 2006

L'eccellente chitarrista americano Adam Rogers continua la sua corsa felpata con l'olandese Criss Cross ed arriva al terzo album (dopo Art of the Invisible del 2002 e Allegory del 2003) con questo Apparitions che, oltre alla lettera 'A' come iniziale del titolo, mantiene parecchi punti in comune coi due ottimi album precedenti. A cominciare dalla formazione che rimane immutata (anche se nel primo album non compariva il saxofonista Chris Potter) per finire con la scelta del repertorio che e' immancabilmente ...

Adam Rogers: Apparitions

by Francis Lo Kee
October 6, 2005

Though the liner notes, which contain plenty of quotes by Rogers, try to explain in a technical way what's going on in the music, Apparitions is music you can feel. “The Tyranny of Fixed Numbers, the second track, is indeed a very original composition, though you're hit in the gut with guitar and tenor saxophone (Chris Potter) solos. Perhaps it's the melodic tension against the drone effect, or the drums driving the ensemble and urging the soloists on, but this ...

Adam Rogers: Tonal Beauty

by David Miller
September 12, 2005

Don't be surprised if Adam Rogers becomes a household name in the near future. His two latest records, Allegory (Criss Cross, 2003) and Apparitions (Criss Cross, 2005) are must-haves. His working band (Scott Colley, Clarence Penn, Ed Simon, Chris Potter) is made of superb musicians, and it shows on wax. His compositions are oftentimes complex, but never fail to be extremely listenable. The Frisell influence can be heard alongside the classical background.His resume reads like a veritable pot ...

Adam Rogers: Apparitions

by Mark F. Turner
July 26, 2005

Kurt Rosenwinkel, Ben Monder, and Liberty Ellman are just a few of the notable modern day guitarists who are making own their marks in technique and ability. Adam Rogers also falls into this category, but the question remains for any artist: how does one distinguish his own identity? Rogers' new release may not sound altogether different from some of the postmodern bop variations, but it is distinct in its balance of both the art of high composition and performance.

With ...

Adam Rogers: Apparitions

by Dan McClenaghan
July 23, 2005

Adam Rogers, an accomplished classical guitarist, brings depth and versatility to his jazz sound. He also brings a fluid improvisational touch, full of forward momentum, on his latest Criss Cross release, Apparitions. Group cohesion is a big factor. The guitarist has recorded with the same lineup on his past three discs for the label, and the sound churns back and forth between tight grooves and loose, abstract feeling--mostly in the guitarist's solos--with a practiced ease.The set opens with ...

Adam Rogers: Apparitions

by John Kelman
May 10, 2005

It's rare to find artists returning with the same personnel time after time. For reasons sometimes artistic--a diversity of stylistic concerns, the desire to work with a variety of players--and sometimes business-driven--concern that using the same people, album after album, will engender complacency, the challenge of retaining a consistent lineup--many artists' body of work is characterized by a constant flux in direction and personnel. While such variation may over time ultimately reveal a deeper musical philosophy in the hands of ...