Jazz Articles about David Binney

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The Multi-Tasking State of David Binney 2010

by C. Michael Bailey
May 21, 2010

Saxophonist David Binney has been a ubiquitous presence in jazz since his first recording, Point Game (Owl, 1989), both as a leader and a sideman. So prolific is Binney, that any multiple-disc review featuring him will be dated immediately. Well, so be it, this is a summer 2010 snapshot of some of the recent activity of this very busy and talented saxophonist/producer. It features Binney first as leader and then in the company of drummer Adriano Santos and bassist Alper ...

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David Binney Quartet at L'Astral in Montreal, May 13, 2010

by John Kelman
May 21, 2010

David Binney QuartetL'Astral Montréal, Canada May 13, 2010

For one night, saxophonist David Binney brought a little taste of the 55 Bar to Montréal's L'Astral, courtesy of the Festival International de Jazz de Montréal. Mind you, as much as the well-known New York club acts as a regular performance space for Binney, and a laboratory for new music and new collaborations, it's hard to imagine it matching L'Astral, a venue opened during the 2009 FIJM ...

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David Binney: Aliso

by Karl Ackermann
May 9, 2010

Saxophonist David Binney's resume boasts of diverse stints with Maria Schneider, Craig Taborn, and Uri Caine among many others; a wide range of styles with the best musicians, composers and arrangers in jazz. While the scope of his talents as both a player and composer are recognized by his fellow musicians, wider public recognition has still been somewhat elusive. Though Binney's playing has always been inventive, it has also had an element of restraint that seemed to hold it within ...

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David Binney: Aliso

by Dan Bilawsky
April 13, 2010

Finding musical parallels to David Binney's work is not always an easy task. As a composer, he has managed to create a distinctive sound, yet no single quality can properly define his work. Binney wears his influences on his sleeve throughout Aliso, choosing to touch on the work of Wayne Shorter, Sam Rivers, Thelonious Monk and John Coltrane, but his own writing for this album is often markedly different from the works of these icons. Melodic twists ...

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David Binney: Aliso

by John Kelman
April 12, 2010

In a career now in its third decade, alto saxophonist David Binney's greatest accomplishment, despite being a player of no small worth, has been as a composer whose often knottily idiosyncratic tunes manage to remain not just accessible, but deeply compelling. From the earliest days of Lost Tribe through to last year's outstanding Third Occasion, Binney's distinctive compositional style has become a touchstone for players on the New York scene and beyond. It's not that he can't play ...

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David Binney / Alan Ferber: In the Paint

by John Kelman
March 24, 2010

With an influence felt, perhaps, as much or more in the work of others than in his own record sales, alto saxophonist David Binney rarely co-leads groups, but his longstanding collaboration with pianist Edward Simon has been fruitful in more ways than one. Sharing compositional and conceptual duties frees him to focus more on his playing, and that's always a good thing, as Binney's innovative writing has sometimes overshadowed the fact that he's also a damn fine performer. Co-leading brings ...

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David Binney: Third Occasion

by J Hunter
July 17, 2009

The cool thing about liner notes is they contain clues about other places to look for great music. For example, cast members of Joel Harrison's flame-throwing Urban Myths (HighNote, 2009) have their own fish to fry: keyboardist Daniel Kelly gave the piano trio format a good swift kick with Emerge (Brooklyn Jazz Underground, 2009), and now altoist David Binney has cooked up the phenomenal Third Occasion.

Evoking classical theatre, a Greek chorus appears first with “Introdução," a portent of things ...