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George Coleman: George Coleman with Strings
by Jack Kenny
The allure of recording with strings has captivated many jazz icons, from Stan Getz and Dizzy Gillespie to, most famously, Charlie Parker. For some, it is a pursuit of a different kind of respectability, an envying nod to the classical world. For George Coleman, a revered NEA Jazz Master, it was a chance to expand his artistry. As he explained in an interview with Rob Shepherd (2024): “I try not to be close-minded but instead try to expand my interest ...
Continue ReadingGeorge Coleman: George Coleman with Strings
by Dan McClenaghan
Tenor saxophonist George Coleman decided to leave the orbit of trumpeter Miles Davis in 1964. Or he got an elbow to the ribs and a hip check to leave the quintet, to be replaced by Wayne Shorter in the saxophone slot. Three top-notch live albums came out of the group that featured Coleman: In Europe: Live at the Antibes Jazz Festival (1964); My Funny Valentine: In Concert (1965); and “Four and More:" In Concert (1966), all on Columbia Records. Add ...
Continue ReadingOne For All: Big George
by C. Andrew Hovan
The world has changed dramatically since the end of the 20th century, the time period when the jazz collective One For All began to forge their stamp on the history of hard bop. Using the club Augie's on New York's upper west side as their stomping grounds, the group would make their debut recording at the beginning of 1987. The Broadway club would eventually become home of Smoke, one of the gems of the city's jazz scene and continued purveyor ...
Continue ReadingOne for All: Big George
by Joshua Weiner
Smoke Sessions Records, based out of NYC's Smoke Jazz Club, has a fascinating recording model: artists play a few nights at the club, take a day off, and then go into a studio such as the famous Sear Sound to record their repertoire for release. They been putting out some excellent material, the latest of which is the first album in seven years from the sextet One for All. The title, Big George, reveals what sets this one apart from ...
Continue ReadingReeds and Deeds: Cookin'
by C. Andrew Hovan
Chances are that if you're reading these notes right now you're more than a bit familiar with the talents of tenor saxophonists Eric Alexander and Grant Stewart and might even have picked up Wailin' (Criss 1258), their first effort together leading a quintet billed as Reeds and Deeds. As such, it would probably be redundant to go into detailed biographical sketches of each of these men. Suffice it to say that Alexander just might be one of the most recorded ...
Continue ReadingDavid Hazeltine: Inversions
by C. Andrew Hovan
It's often said that those with enviable skills make the most sophisticated actions look easy. Be it glass blowing or ice-skating, what appears to be within the grasp of the novice often involves an underlying complexity not readily apparent at first. The same could be said of higher forms of music such as classical and jazz. What might seem simplistic or straightforward on the surface, actually involves a highly refined degree of mastery that's akin to a magician's flick of ...
Continue ReadingDoug Lawrence: Doug Lawrence & Friends
by Jack Bowers
If the name Doug Lawrence doesn't sound familiar, the name Count Basie surely should. What is the Lawrence- Basie connection? Well, for more than two decades Lawrence has been the featured tenor saxophone soloist with the renowned and still- active Count Basie Orchestra, a chair once impressively occupied by the likes of Lester Young, Eddie “Lockjaw" Davis, Lucky Thompson, Wardell Gray and Frank Foster, among others. When someone has been around as long as Lawrence, he or she makes a ...
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