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Jazz Articles about Marcus Gilmore
Andy Ezrin: I Was Here
by Jack Bowers
Pianist Andy Ezrin should be heard more often, and by a far wider audience. Like all commanders of the keyboard, he can make his chosen instrument sing, sigh, sway or soar, as he does the Fender Rhodes and Hammond B3 organ whenever he so chooses. On I Was Here, Ezrin doubles as composer, performing thirteen of his charming compositions in groups ranging from trio to quintet before playing the last one, “Cascades," alone. Saxophonist Donny McCaslin sits ...
Continue ReadingBlankFor.ms: Refract
by Neri Pollastri
Uscito il primo settembre, nove mesi dopo From the Dancehall to the Battlefield, lo splendido lavoro dedicato a James Reese Europe, questo Refract illustra l'altra faccia di un autore geniale e poliedrico qual è Jason Moran. Di fatto diretto da BlankFor.ms, alias Tyler Gilmore, artista elettronico già allievo di Moran che usa nastri degradati e sintetizzatori analogici per produrre “musica emotiva," il disco sviluppa un'originalissima e assai variegata integrazione elettroacustica, mettendo materiali elettronici predeterminati a disposizione del pianista e del ...
Continue ReadingBlankFor.ms - Jason Moran - Marcus Gilmore: Refract
by Pat Youngspiel
Electroacoustic music gains a new modern perspective with the sonic marvel that is Refract, a collaborative effort between degraded tapes artist Tyler Gilmore, aka BlankFor.ms, pianist Jason Moran and Marcus Gilmore on drums. An experimental series of sketched shapes featuring hovering loops turned sound- blankets, drum-set turned beat-machine and piano turned keyboard-impressionism, Refract's largely improvised fabric makes for one of the year's most adventurous and intriguing listens. Recorded with producer Sun Chung, the sonic properties are a focal ...
Continue ReadingChris Potter: Got The Keys To The Kingdom: Live At The Village Vanguard
by Ian Patterson
The title references an old gospel song, but for Chris Potter the keys in question could be those to the Village Vanguard. This is the saxophonist's third live recording from jazz's most storied club, not counting those with Paul Motian. For musicians and fans alike, this is hallowed turf. But it's not just about playing at The Village Vanguard. Documenting those dates is key--a rite of passage, to judge by the dozens of revered jazz musicians who have made live ...
Continue ReadingChris Potter: Got The Keys To The Kingdom (Live At The Village Vanguard)
by Chris May
There is a lot of heavy ordnance going off during this album. Indeed, the incoming only lets up once, and then briefly, during a performance of Billy Strayhorn's “Blood Count" at the halfway point. For the rest of the sixty-one minutes playing time, the watchword is eruptive. But no PPE is required. The barrage is benign. This is the third album Chris Potter has recorded live at the Vanguard. The attraction is no surprise. Saxophonists, especially those ...
Continue ReadingPatricia Brennan: More Touch
by Mike Jurkovic
It's uncanny how More Touch, vibraphonist Patricia Brennan's scarily good follow-up to her head-turning debut Maquishti (Valley of Search, 2021) follows one around all day. Its essence is in the air, in the room, in the conversation. It sneaks around the corner and races down the stairs, out into the street, and breaks into any and all of the machinations that drive the day. Born of its own fevered animation, the music on More Touchis brazen. Atmospheric yet ...
Continue ReadingChick Corea: The Montreux Years
by Doug Collette
If there is anything more ambitious than curating an extensive, comprehensive collection covering the history of an artist, it is collating selected works which vividly outline a particular timeline or theme. Chick Corea's The Montreux Years is a fine example of the latter; this seventh edition in the archive series devoted to the iconic festival not only reflects the late composer and pianist's technical skills, but also his eclectic stylistic tastes. And that is not to mention his fondness for ...
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