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Jazz Articles about Collin Sherman

22
Catching Up With

Collin Sherman: A Solitary Visionary in Jazz

Read "Collin Sherman: A Solitary Visionary in Jazz" reviewed by Robert Middleton


Collin Sherman is an outlier in the jazz world. He creates all his own music, plays every instrument, records everything himself, and rarely performs live. His approach is unconventional but deeply compelling, allowing him to produce music that defies easy categorization. In a conversation via Zoom, Sherman opened up about his journey, his creative process and the unique challenges of being a one-man jazz ensemble. I began by asking Sherman how he got started in music. “I started playing jazz ...

18
Album Review

Collin Sherman: Noir

Read "Noir" reviewed by Dan McClenaghan


Making music is most often a collaborative affair. Big bands, duos, trios, quartets and quintets--take your pick. Miles Davis (or any other of your favorites) calls his guys into the studio or to the stage where they bump elbows and trade riffs, drawing their individual personalities out to form a collection of sound waves to craft a finished work of art. On the other hand, we have the solo outing. Alone at the piano, or with the guitar--or ...

16
Extended Analysis

String Planes

Read "String Planes" reviewed by Dan McClenaghan


Collin Sherman takes the 'A' train to his day job in Manhattan. Billy Strayhorn, the writer of the tune “Take the 'A' Train" that was made famous by the Duke Ellington Orchestra, must be smiling. Do the seeds of Sherman's compositions germinate during these forty-five-minute rides? Possibly, though his music has no resemblance to Ellington's or Strayhorn's. Day job and train rides aside, Sherman creates his music in a home studio in a one-person endeavor via the overdubbing ...

11
Album Review

Collin Sherman: Organism Made Luminous

Read "Organism Made Luminous" reviewed by Dan McClenaghan


The Covid pandemic slowed artistic progress for many musicians. Opportunities to collaborate became scarce; live music in front of an audience blinked out. However, the enterprising players out there found a way. File sharing and solo projects blossomed, and these—along with the relative affordability of home studio set ups—had an invigorating effect on musical creativity. If you cannot go out and play to an audience, you might as well stay home and create. But for multiple instrumentalist (primarily ...

8
Album Review

Collin Sherman: Suitable Benchmarks of Reform

Read "Suitable Benchmarks of Reform" reviewed by Dan McClenaghan


Multi-reedist Colin Sherman's thirteenth album, Suitable Benchmarks Of Reform, was made from the same template from which his previous twelve releases came into being—recording alone in his New York City apartment, recording the individual parts then layering each onto the next to make an ensemble sound. This, in the time of the arrival of the Covid virus, has become a more common practice; it is just that Sherman got a head start on the go-it-alone process. Call it ...

12
Album Review

Collin Sherman: Arc of a Slow Decline

Read "Arc of a Slow Decline" reviewed by Dan McClenaghan


Music is typically a collaborative affair. A given number of players comes together and each takes a part in the shaping of a particular sound. Teamwork is the word. But sometimes a musician just has to go it alone and--in this technological age that allows such things--the recording then collaging and layering of sounds creates an ensemble work. Music lovers of a certain age may remember Paul McCartney's McCartney (Apple, 1970) as a groundbreaker in this style of expression.


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