Jazz Articles about Perry Robinson

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Henry Grimes & Marzette Watts: The Call

by Glenn Astarita
October 5, 2026

Long before Henry Grimes became known as jazz's great Lazarus story, he was simply one of the most technically astonishing bassists working in New York City's' free jazz underground. Recorded on December 28, 1965, and issued by ESP-Disk in 1966, The Call stands as his debut as a leader, and it remains a document of quiet audacity rather than the raw energy so often associated with the label's catalog. Teaming with clarinetist Perry Robinson and drummer Tom Price, Grimes assembled ...

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Steve Tintweiss and the Purple Why: Live at Tompkins Square Park

by Hrayr Attarian
May 10, 2026

Bassist Steve Tintweiss forged a career as a sideman to such avant-garde luminaries as tenor saxophonists Albert Ayler and Frank Wright and pianist Burton Greene.  During the late 1960s and early 1970s, he also led a few bands of rotating memberships.  Several of these were recorded live at various venues.  In the 2020s, Tintweiss started releasing these sessions on vinyl and CD on his own Inky Dot imprint. The captivating Live in Tompkins Square Park documents a 1967 set from ...

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Barry Altschul, David Izenson, Perry Robinson: Stop Time: Live At Prince Street, 1978

by John Sharpe
January 8, 2024

If at all familiar to modern day listeners, David Izenzon's name is most likely to ring a bell for his bass wizardry on Ornette Coleman's two-volume At The Golden Circle Stockholm (Blue Note, 1965). But the archive recording Stop Time is a reminder of just what listeners are missing. Izenson remained active well after his sojourn with Ornette, playing in New York City, with the likes of Jaki Byard and Paul Motian, until his untimely death in 1979, aged 47. ...

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Archie Shepp: Fire Music To Mama Too Tight Revisited

by Chris May
September 26, 2022

In 2022, it is widely accepted that, when free jazz (aka the New Thing) was in its ascent in New York in the 1960s, there was, despite superficial appearances, no fundamental incompatibility between it and the historical jazz tradition. More contentiously, revisionist historians are now suggesting that there was no real conflict between New Thing and changes-based or modal-based musicians either. They should try telling that to Archie Shepp. In autumn 1966, during the Miles Davis quintet's ...

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Cook / Coursil / Gale / Robinson / Tintweiss: Ave B Free Jam

by Richard J Salvucci
April 3, 2022

A small story to motivate this review. Once upon a time, there was a scholar in a field of the humanities who wrote quite obscurely, even for the humanities, although his prose did not approach the glories of the postmodern. Most agreed that his writing was incomprehensible. It was sesquipedalian, if not totally obscure. In his defense, some would say that, ah, it is a case of poor translation into English, which is not his native language. But then it ...

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Undivided: Exploring Consciousness in Ukraine

by Alex Martynov
January 10, 2010

UndividedPhilarmony Concert HallLviv, UkraineOctober 1, 2009

It's been a long time since head-solo-head was the only possible structure for jazz improvisation. Jazz symphonies, jazz operas, unprepared hour-long improvisations, recorded as well as performed live, frequently depart from the conventional formulaic pattern. Another popular form is the suite. The history of the extended jazz suite goes back to Duke Ellington's annual Carnegie Hall concerts with the premiere of Black, Brown and Beige in ...

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Henry Grimes: The Call

by AAJ Italy Staff
January 12, 2009

Era il 1965 quando Henry Grimes, all’epoca uno dei contrabbassisti di punta della generazione free, registrava per la ESP di Bernard Stollman il suo primo e unico disco, The Call. Chi avrebbe potuto immaginare che solo due anni più tardi sarebbe stato inghiottito da un buco nero che lo avrebbe tenuto lontano dalle scene per 35 lunghissimi anni? Della spettacolare rentrée di Grimes e delle vicende legate al suo ritorno alla musica ormai si è scritto fin troppo [per leggere ...