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Jazz Articles about Lafayette Gilchrist

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Radio & Podcasts

Lafayette Gilchrist, John McLaughlin, Cannonball Adderley and More

Read "Lafayette Gilchrist, John McLaughlin, Cannonball Adderley and More" reviewed by Jerome Wilson


This is an older show from December 2021 that features several different pianists and saxophonists. Musicians heard include Lafayette Gilchrist, Cannonball Adderley, John McLaughlin, Noah Haidu, Chet Doxas, and more. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of Henry Threadgill & Air (Mosaic) 00:00 Lafayette Gilchrist “Dark Matter" from Dark Matter (Self Produced) 00:51 Noah Haidu “Steepian Faith" from Doctone (Sunnyside) 6:09 Host Speaks 13:24 Lucian Ban ...

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Album Review

Lafayette Gilchrist: Undaunted

Read "Undaunted" reviewed by Mike Jurkovic


Barn-burning, barrel-housing pianist Lafayette Gilchrist may or may not be known by everyone pretending to be hip and attuned or even by the rather rarefied company he has been known to keep--David Murray, Cassandra Wilson, Andrew Cyrille--but Undaunted is going to get him some much deserved attention. Abundant with cajones and plenty of rhythm, Undaunted captures the imagination and attention immediately. The title track percolates within a laid back groove that Gilchrist, an admitted admirer of Duke Ellington's ...

8
Album Review

Lafayette Gilchrist: Now

Read "Now" reviewed by Ian Patterson


For much of the 2010s, Baltimore-based pianist/composer Lafayette Gilchrist has looked to larger ensembles to give voice to his expansive arrangements. In fact, you have to go back to Three (Hyena, 2007) to find his previous trio outing. With Now, Gilchrist embraces a more intimate setting in the company of drummer Eric Kennedy and bassist Herman Burnie. It's a triumphant, grass-roots return that showcases the dazzling breadth and originality of Gilchrist's pianism and the enduring appeal of the piano trio ...

5
Album Review

Lafayette Gilchrist: Now

Read "Now" reviewed by Franz A. Matzner


Pianist and composer Lafayette Gilchrist has made clear that, in part, Now addresses the racial and political conflicts erupting across America in 2020. The music is suitably intense and tumultuous. The album demands change while also reminding us that the violence and divisions splintering the country are not new. The repression and oppression embedded in American race relations has been pervasive for an unconscionably long time. Gilchrest pointedly underscores this through pieces like “Bmore Careful," which pulses forward ...

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Album Review

Lafayette Gilchrist: Now

Read "Now" reviewed by Geno Thackara


In some alternate world somewhere, Lafayette Gilchrist is a great modern American novelist, spinning real-life stories that vividly evoke the spirit of the times. In our world, he ended up as a comparable spirit doing the same thing in the music realm instead. His piano playing nonetheless criss-crosses the span of jazz, blues, funk, gospel, ragtime, boogie and much else besides, weaving all manner of familiar elements in the way other storytellers would thread recognizable slices of life into their ...

4
Multiple Reviews

Three Rounds of Solo Piano

Read "Three Rounds of Solo Piano" reviewed by Geno Thackara


Diogo Vida Inner Dance Self Produced 2020 The isolation album has sprung up as a new genre practically overnight—an unfortunate if unavoidable development in the season of Covid-19. If Diogo Vida is one among many in that regard, at least where quantity is concerned, he also stands alone in having a quality all his own. This outing makes a candid snapshot of an unusual time, having been recorded over one day near the beginning of ...

5
Album Review

Lafayette Gilchrist: Dark Matter

Read "Dark Matter" reviewed by Jerome Wilson


It would seem almost impossible by this point for a jazz pianist to avoid common modern influences like Bud Powell, Bill Evans, McCoy Tyner or even Cecil Taylor, but somehow Lafayette Gilchrist falls outside all of those parameters. On this solo concert recorded at the University of Baltimore in 2016, he shows a keyboard style built on materials like stride, gospel and go-go, the infectious party music from the Baltimore-Washington DC area, all turned into its own unique sound.


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