Jazz Articles about Jenny Scheinman

Bill Frisell: Unspeakable

by John Kelman
August 22, 2004

Some artists spend an entire lifetime within a narrow genre, honing their skill and working at stretching the boundaries of that style, while others transcend all definitions and labels, creating a music that defies categorization. Such is the case with guitarist Bill Frisell, who over a twenty-five year career has contributed to everything from the Nordic cool of Jan Garbarek's quartet to the downtown edge of John Zorn's Naked City. On his own records he has explored diverse landscapes including ...

Jenny Scheinman: Shalagaster

by Celeste Sunderland
March 21, 2004

Jenny Scheinman’s third solo album, Shalagaster, shimmers with such an array of color that it could work quite nicely as the score to a silent film. In fact, with a traipsing swagger and harmonies that gleam like satin, the record recalls a bit of silver screen romance. But purely old fashioned it is not. The violinist’s manipulation of sound and texture convey a thoroughly real, of the moment, visage. Featuring Myra Melford on piano and harmonium, Russ ...

Jenny Scheinman: Shalagaster

by AAJ Staff
February 16, 2004

Tzadik's Oracle series, dedicated to creative female artists, is now in its ninth reincarnation, after memorable releases by Susie Ibarra and Yuka Honda, among others. Shalagaster draws its strength from the warm, melodic sound of Jenny Scheinman's violin, funneled into a series of relatively low-key original compositions. Varied international flavor comes through in the form of the undercurrents of “Tango For Luna," the kicking wedding dance of “Wiseacre," and the almost military “See Through."

Scheinman belongs to the ...

Jenny Scheinman: Shalagaster

by Mark Corroto
February 3, 2004

At some point in the ongoing developments of postmodern American music, the eclecticism that is the signature of this movement had to take on a more personal approach or forever be assigned to the obscurity of novelty music. Like Dizzy Gillespie’s absorption of Latin music or John Coltrane’s incorporation of Indian themes, violinist Jenny Scheinman’s music gathers from many sources, but feels very much like a “Jenny Scheinman record."

Her personal statement encapsulated in this Tzadik Oracle Series ...

Jenny Scheinman: Shalagaster

by Dan McClenaghan
February 2, 2004

If you're one of the, what, couple of million or so music purchasers in possession of Norah Jones' Come Away With Me, you've heard Jenny Scheinman, who lent her big violin sound to that surprising hit—one of many astute backing musician choices made for the singer's debut recording.With Shalagaster, Scheinman has put together an eclectic sound with a quintet that employs harmonium (or piano) and trumpet with the leader's violin, in front of bass/drums rhythm. The set is ...

Bill Frisell: The Intercontinentals

by AAJ Staff
July 25, 2003

It's time to admit a bias. Anyone who covers Boubacar Traoré automatically scores points in my book. The Malian guitarist is infinitely remote to anyone outside Mali, but that isn't for any good reason except the vagaries of the recording industry. It's fitting that guitarist Bill Frisell would choose “Boubacar" as the opener to The Intercontinentals given the international flavor of the record, the omnipresence of Malian percussionist Sidiki Camara, and the way blues from Mali builds feeling and depth ...

Bill Frisell: The Intercontinentals

by Farrell Lowe
May 17, 2003

With the release of The Intercontinentals, Bill Frisell invites us into a lush and verdant musical world. On this outing he has chosen to work with five superb musicians from various parts of the planet. The eclectic range of instruments employed herein include electric and acoustic guitars, subtle electronics, calabash, djembe, vocals, oud, bouzouki, pedal steel guitar, and violin. This music reminds me of the color green in the way it surges with masterful precision, swells with quiet drama, recedes ...