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Jazz Articles about Mike Reed

297
Album Review

Mike Reed's People, Places & Things: About Us

Read "About Us" reviewed by Troy Collins


Chicago-based drummer Mike Reed's debut of his People, Places & Things Ensemble, Proliferation (482 Music, 2008), was dedicated to the under-recognized people, places, and things from late 1950s Chicago that he found inspiring. About Us continues this concept, eschewing the previous session's focus on under-sung cover tunes in favor of original compositions written by Reed and his band mates, with one tune apiece contributed by three of Chicago's most influential artists.

The line-up once again features the effusive ...

419
Multiple Reviews

Mike Reed: Proliferaiton & The Speed of Change

Read "Mike Reed: Proliferaiton & The Speed of Change" reviewed by Jeff Stockton


Mike Reed's Peoples, Places & Things Proliferation 482 Music 2008 Mike Reed's Loose Assembly The Speed of Change 482 Music 2008

Ken Vandermark gets a lot of attention for building relationships among jazz musicians in Chicago but drummer and composer Mike Reed is securing his own reputation as an energetic performer, ...

563
Multiple Reviews

Mike Reed: The Speed of Change & Proliferation

Read "Mike Reed: The Speed of Change & Proliferation" reviewed by Troy Collins


Chicago-based composer, bandleader and percussionist Mike Reed is one of the Windy City's most active young musicians and well-connected music presenters. In addition to leading his own ensembles and working with various collectives, Reed is founder of the Emerging Improvisers Organization, director of the Pitchfork Music Festival and a co-curator of the Chicago Jazz Festival.

Released simultaneously, The Speed of Change and Proliferation showcase two very different aspects of his oeuvre. The former is the follow-up to Last ...

244
Album Review

Mike Reed's Loose Assembly: Last Year's Ghost

Read "Last Year's Ghost" reviewed by Jerry D'Souza


Drummer Mike Reed returns with a Last Year's Ghost, this time featuring his band, Loose Assembly. The quintet, in existence for three years, has made a mark on the Chicago jazz scene. This is not surprising knowing what Reed has done and what he is capable of. His recordings, The Treehouse Project (482 Music, 1999) and a series of improvised duets, In The Context Of (482 Music, 2006), testify to Reed's distinctive imagination and innovative styling.

Loose Assembly came together ...

210
Album Review

Mike Reed: Last Year's Ghost

Read "Last Year's Ghost" reviewed by Nic Jones


482 Music was responsible for one of 2006's most iconoclastic releases, in the form of Intents & Purposes by Kyle Bruckmann's Wrack. This debut by drummer/composer Mike Reed and his group is not on the same level in terms of the way in which it fundamentally breaks with a lot of what has already gone down in the past. The fact remains that this is a program of music that's equally uncompromising, albeit in a more unassuming way.

Reed's compositions ...

290
Album Review

Mike Reed's Loose Assembly: Last Year's Ghost

Read "Last Year's Ghost" reviewed by Troy Collins


Drummer Mike Reed's previous album, In the Context Of (482 Music, 2006), showcased his gifts as an improviser in a series of spontaneous duets with his fellow Chicagoans. Last Year's Ghost provides more evidence of his talents, demonstrating his arranging and composing skills as well as his continuing development as a brilliant percussionist on the rise.

The debut recording of Loose Assembly, his three-year-old quintet, incorporates free-wheeling sonic explorations with nuanced harmonic structures. By reconfiguring group improvisations developed ...

413
Album Review

Mike Reed: In the Context of

Read "In the Context of" reviewed by Paul Olson


Pure improvisation can be a challenge for both musicians and listeners. With no compositional road map, the players must enter into a compact of attention and belief that's largely process-based--after all, no one knows where the music's going to go. If they do, they're not improvising, they're assembling already-played licks on the fly. Then there's the question of the listener. In a public performance, an audience member can be pulled into the musical process, or they can feel they're sitting ...


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