Jazz Articles about Roswell Rudd
Archie Shepp: Fire Music To Mama Too Tight Revisited
by Chris May
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 ...
read moreRoswell Rudd, Duck Baker: Live
by Mario Calvitti
La combinazione in duo tra trombone e chitarra (particolarmente se acustica) non è mai stata molto frequente, ma d'altra parte anche Duck Baker non è proprio un chitarrista convenzionale. Partito dal fingerpicking tradizionale nella scuderia di Stefan Grossman, ha ben presto allargato il suo raggio d'azione fino a comprendere tutta la storia del jazz, dal ragtime al free d'avanguardia, soffermandosi in particolare su alcuni nomi (notevoli i suoi omaggi a Herbie Nichols e Thelonious Monk), unendo spesso le forze con ...
read moreAlbert Ayler: New York Eye and Ear Control Revisited
by Mark Corroto
The backstory of New York Ear and Eye Control is a significant factor in the music and the direction free jazz took in the 1960s. Filmmaker Michael Snow commissioned Albert Ayler's trio with bassist Gary Peacock and drummer Sunny Murray to record a thirty-minute soundtrack for a movie, “Walking Woman," he had yet to film. As explained in the liner notes, he “wanted to buy a half hour of music." Also invited to the session were trumpeter & cornetist Don ...
read moreAlbert Ayler: New York Eye And Ear Control Revisited
by Chris May
The development of so-called free jazz in New York during the first half of the 1960s was topped and tailed by three landmark recordings: Ornette Coleman's Free Jazz (Atlantic, 1961), John Coltrane's Ascension (Impulse, 1966) and Albert Ayler's New York Eye And Ear Control (ESP, 1966). Of the three discs, only New York Eye And Ear Control broke away completely from jazz's normative structure of theme/solos/theme. Commissioned as an art-film soundtrack, Ayler's recording was also the product of an altogether ...
read moreRoswell Rudd/Jamie Saft/Trevor Dunn/Balazs Pandi: Strength & Power
by C. Michael Bailey
Octogenarian Roswell Rudd just released a frighteningly traditional recording with vocalist Heather Masse on the brilliant August Love Song (Red House, 2016). But that is not what he is most known for. Rudd has been a jazz freedom fighter who made his bones in the 1960s, when Rudd collaborated with free jazz functionaries: New York Art Quartet; the Michael Mantler & Carla Bley 1968 Jazz Composer, Cecil Taylor, Don Cherry, Pharoah Sanders, Larry Coryell and Gato Barbieri. Foremost in his ...
read moreRoswell Rudd & Heather Masse: August Love Song
by C. Michael Bailey
I am reading a book entitled When Breathe Becomes Air by Dr. Paul Kalanithi. The book details the most fundamental things of life, those things as close to us as skin. He derives his title from the 17th Century sonnet series by Fulke Greville, 1st Baron Brooke, an Elizabethan poet, dramatist, and statesman who sat in the House of Commons at various times between 1581 and 1621. Greville was no George Gordon, Lord Byron, much less a John Milton, his ...
read moreRoswell Rudd/Jamie Saft/Trevor Dunn/Balazs Pandi: Strength & Power
by Dan Bilawsky
Buckle up. This is one wild ride that cares not for your apprehension, concerns, expectations, or fears. Pianist Jamie Saft and two of his regular collaborators--bassist Trevor Dunn and drummer Balazs Pandi--got together with trombone icon Roswell Rudd to get down to the art of music making with nothing but their senses to guide them. It was an improvised session in its purest form--no charts, no sketches, and no preconceived notions about where things should or shouldn't go. These men ...
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