Jazz Articles about Marty Ehrlich

Marty Ehrlich / Myra Melford: Spark!

by Matthew Miller
October 14, 2007

Multi-reedist Marty Ehrlich and pianist Myra Melford share more than a virtuosic touch and rugged lyricism. Their work embodies a single-minded approach to duo playing that lends an air of cohesion to the most abstract improvisation, allowing their ideas to blend to the point where Ehrlich's tone becomes a growling, vibrato-laden extension of Melford's sensitive voicings and provocative counterpoints or a serene answer to one of the pianist's jarring exclamations. Spark! opens and closes with “Hymn, a ...

Marty Ehrlich Trio in Tel Aviv

by Eyal Hareuveni
February 17, 2007

Marty Ehrlich Trio New Opera House Tel Aviv, Israel Friday, January, 19, 2007

The first performance in Israel of New York-based composer and reed player Marty Ehrlich offered a concise overview of the career of the gifted player. Ehrlich presented his new trio--Shanir Ezra Blumenkrantz on bass and oud along with drummer Mark Fereber--and hosted Israeli saxophonist Albert Beger in the second half of the concert.

Ehrlich opened the concert with two ...

Lindsey Horner: Don't Count on Glory

by AAJ Italy Staff
February 24, 2006

Contrabbassista flessibile e sicuramente troppo poco considerato, Lindsey Horner ha condiviso sin dagli anni Ottanta alcune importanti esperienze del jazz creativo newyorkese, a fianco di Myra Melford e di Herb Robertson, di Muhal Richard Abrams o di Bobby Previte, distinguendosi per timbro preciso e acuta sensibilità. Nelle sue prove da leader, come nel caso di questo nuovo Don't Count on Glory, l'attenzione è focalizzata sulla scrittura, con sette temi a firma propria e una rilettura di “Green Chimneys" di Thelonious ...

Marty Ehrlich: News On The Rail

by Joel Roberts
November 12, 2005

Multi-reedist Marty Ehrlich can always be counted on to make thoughtful, provocative music on the modern-creative end of the jazz spectrum. His last album (The Long View, 2003) featured an extended large-group composition inspired by the work of painter Oliver Jackson. News On The Rail is a somewhat less abstract effort comprising eight new tunes written for what he calls a “large small ensemble--actually a sextet.An avant gardist with an appreciation for melody, Ehrlich has long been associated ...

Marty Ehrlich: News on the Rail

by David Miller
November 1, 2005

Jazz is a big word. And the jazz world is a big world. In an independent study of mine, I am trying to define just how big that world is. But that's the thing. It's boundless. And not only is it boundless, but musicians are constantly exploring new frontiers, trying things that haven't been tried before. Maybe that's why I love jazz, because I hope that some day I can possess the mindset to do something completely new.

Marty Ehrlich: The Long View

by Jeff Stockton
July 3, 2004

Jazz needs composers like Marty Ehrlich. Like his mentor Julius Hemphill, Ehrlich, while proficient in the more conventional small group settings, envisions something greater, hearing music of multiple textures, moods, origins and voicings. Divided into six movements and a postlude, The Long View was originally conceived as aural accompaniment to an exhibition of paintings by Oliver Jackson (another Hemphill cohort). That this work stands on its own is implicit.

The first movement commences with a bracing sax statement by Ehrlich, ...

Marty Ehrlich: Knows No Bounds

by Clifford Allen
March 11, 2004

My first experience of Marty Ehrlich was as the lanky, bespectacled fellow standing near my uncle on the back cover of the Creative Improvisers’ Orchestra LP The Sky Cries the Blues. A relatively obscure Leo Smith-directed album cut during the trumpeter’s sojourn in the New Haven scene of the early ‘80s, it is but a blip on the screen of Ehrlich’s vast discography. He and my uncle performed in a bass clarinet dialogue on side one, and though they never ...