Jazz Articles about Edward Simon

Edward Simon: Unicity

by John Kelman
December 23, 2006

Artistic evolution is an interesting phenomenon. Emerging musicians, filled with the brashness of youth, are often more focused on chops, energy and complexity. But as many mature they evolve into players more concerned with space and profound simplicity. Edward Simon is a strong case in point: the pianist's earlier albums are filled with detailed compositions and an almost pathological approach to blending his South American roots with the sophisticated language of modern jazz.

Recently he's been paring down his approach, ...

Edward Simon: Unicity

by Robert R. Calder
October 15, 2006

Edward Simon, John Patitucci and Brian Blade did a few magical things on a 2003 album under Patitucci's name (Songs, Stories and Spirituals, Concord). At the time these three musicians decided that they ought to get together and do, well, what they do well here. After a minute's “Invocation," they're jamming heartily on Patitucci's “The Messenger," as if they'd met up overjoyed at three in the morning and were so accomplished they could do everything unbridled without disturbing a neighbour. ...

Edward Simon: Unicity

by Mark F. Turner
September 8, 2006

Pianist Edward Simon has been quietly but profoundly making an impact for a number of years. He's been an astute sideman with high-caliber players like trumpeter Terence Blanchard, saxophonist Greg Osby and guitarist Adam Rogers, but it is his own works--The Process (Criss Cross, 2003) and Simplicitas (Criss Cross, 2005)--that truly reveal his performance and compositional prowess. Edwards explores the mystic of the piano trio again on Unicity, joined by two other outstanding musicians: bassist John Patitucci ...

Edward Simon: Simplicitas

by John Kelman
May 11, 2005

Some artists seem to burst onto the scene, even though the reality may be something else entirely. Ethan Iverson of the Bad Plus and Esbjorn Svensson of E.S.T. both worked below the radar for periods of time before they were, seemingly suddenly, “discovered." Such instant fame comes with a disadvantage, however. Being the flavour of the month also implies that, at some point, the public's tastes will move on.

Others gradually insinuate themselves into the public's consciousness, often through years ...

Edward Simon & David Binney: Fiestas de Agosto

by John Kelman
April 8, 2005

With the possible exception of solo performance, there is no more exposed format than the duet. But while solo playing allows for more complete freedom of interpretation, the duet demands, perhaps, a greater sense of responsibility, without the safety net afforded by larger groupings. In the duet format there is no room for error; risks are taken with the knowledge that there is little to hide behind, and the expectation that one's partner simply has to be there without fail ...

David Binney: Free To Dream

by John W. Patterson
August 1, 1999

Binney is known to many as the sax genius of Lost Tribe and his skill is no less evident herein — in Binney's chosen dreamworld, a musical vibe, a flow, where he is free. Running his own record label, going the freshly popular independent route, affords total control and thus creativity and style unbounded by the prickly hedges of commercialism's maze.Believe me, this spirit works well to my ears. Binney's eleven compositions echo a fuller, matured Lost Tribe ...

Edward Simon: La Bikina

by John W. Patterson
August 1, 1999

Lovers of jazz piano, Latin-flavored music, and the tender elegance and power of Keith Jarrett's playing will find all this and more in Edward Simon's La Bikina. Simon hails from Venezuela and also brings some Cuban flavor along in his lively yet lilting style. Smell the salsa cooking, hear the exotic percussives, toe-tap that dance unique to Simon's sound. He flies all over the keyboard, pausing leaping, running, skipping, hop-scotching — his soul laughing on “El Manicero (The Peanut vendor) ...