Jazz Articles about Adam Rogers

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 ...

Adam Rogers: Allegory

by Phil DiPietro
January 5, 2004

While it's not unusual for aficionados to be sleeping on a “new" player on the world's most popular instrument, it's perplexing that this outstanding sophomore release has caused only a relative blip on the jazz radar screen. See, when it comes to guitar in post-bop, modern, contemporary small-group jazz, Adam Rogers represents the state of the art.

You read that right - he's precisely at the pinnacle of currently active jazz guitar players-a spot he swaps out on occasion to ...

Adam Rogers: Allegory

by Sean Patrick Fitzell
December 19, 2003

After establishing a solid reputation as part of the fusion collective Lost Tribe and as a sideman with the likes of Michael and Randy Brecker, Ravi Coltrane, and others, guitarist Adam Rogers is flexing his considerable chops as a leader. Allegory , his sophomore effort, adds tenor saxophonist Chris Potter to Rogers' quartet with pianist Edward Simon, bassist Scott Colley, and drummer Clarence Penn. It features ten original compositions that display his quirky, syncopated melodies and clean, fluid guitar style ...

Adam Rogers: Allegory

by AAJ Staff
November 25, 2003

Jazz used to be a form of popular music, and indeed a folk music in its own right, before bebop intellectualized it and hard bop institutionalized it. That was a sad development in a way because the music drifted away from the public and ended up holed up in a tiny “art music" niche. When free jazz hit in the '60s, there was no mistaking that jazz would never really go back.

Guitarist Adam Rogers is committed to ...

Adam Rogers: Art of the Invisible

by C. Andrew Hovan
June 25, 2003

Hard to say whether or not producer Gerry Teekens has a special affinity for guitarists, but over the years his catalog has swelled with such skilled plectrists as Jimmy Raney, Peter Bernstein, Bobby Broom, Kurt Rosenwinkle, and Jesse Van Ruller. Now add to that list the name of Adam Rogers, a versatile and valuable sideman who has graced the recordings or live gigs of a number of heavies over the past few years including Michael Brecker and Norah Jones. He ...

Norah Jones: Come Away With Me

by C. Michael Bailey
January 7, 2003

Few artists have generated as much press in recent memory as Ms. Norah Jones. No fewer than five thoughtful reviews have been published in this magazine alone . A unifying theme found in all criticism is the question of whether the music Jones plays is jazz. This might be similar to the question of whether the music Josh Groban or Andrea Bocchelli is classical.

In keeping with the ecumenical spirit of this magazine, I submit that it makes little, or ...