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Live Review

Fano Jazz by the Sea 2024

Read "Fano Jazz by the Sea 2024" reviewed by Libero Farnè

by Libero Farnè

Varie sedi Fano Jazz by the Sea 2024 Fano 20--28 luglio 2024 La trentaduesima edizione di Fano Jazz by the Sea ha in gran parte confermato l'impostazione consolidata del festival marchigiano, a cominciare da una programmazione artistica che alterna nomi nuovi del panorama internazionale, procurando sorprese impreviste, e protagonisti di peso, magari già presentati in passato, proposte più impegnative ed altre indubbiamente di facile consumo, anche per richiamare un ampio pubblico meno specialistico, riequilibrando nel ...

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6

Play This!

The Bad Plus: Flim

Read "The Bad Plus: Flim" reviewed by Scott Lichtman

by Scott Lichtman

The 2001 first album from The Bad Plus was a shot across the bow for redefining the piano trio genre. Covering bands from ABBA to Nirvana and offering original compositions that swung, whispered and pounded, pianist Ethan Iverson, upright bassist Reid Anderson and drummer David King drew new audiences to jazz. The second album, These are the Vistas (Columbia Records, 2003), featured a cover of Aphex Twin's “Flim." Compared to the Bad Plus's more avant-garde/muscular pieces, this cover comes across ...

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7

Live Review

Monterey Jazz Festival at 65: Let it Happen

Read "Monterey Jazz Festival at 65: Let it Happen" reviewed by Josef Woodard

by Josef Woodard

Monterey Jazz Festival Monterey County Fairgrounds Monterey, CA September 23-25, 2022 For the finale of the arena portion of this year's Monterey Jazz Festival programming, Gregory Porter channeled one of the aspects which make him special in the jazz pantheon, as spirit mover with gospel roots, and with show biz instincts in tow. Launching into his moving, swaying anthem “No Love Dying" as an encore for his festival-closing set, Porter invoked the classic “lighter" moment ...

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3

Radio & Podcasts

New releases from Lydian Nadhaswaran, Sven Gotz and Troy Roberts

Read "New releases from Lydian Nadhaswaran, Sven Gotz and Troy Roberts" reviewed by Len Davis

by Len Davis

New music with Lydian Nadhaswaram from Chromatic Grammatic, Swedish guitarist Sven Gotz, UK based Bassist Mike Forrest Flynn, The Bad Plus, Yellow Jackets, Troy Roberts, and KneebodyPlaylist Lydian Nadhaswaram “Spot" from Chromatic Grammatic (Amly) 00:00 Sven Gotz “The Promise" from Panjoy (Jazzandrecords) 07:07 Mike Forrest Flynn “Strange Weather" from Strange Weather (Self Produced) 14:10 The Bad Plus “Sun Wall" from The Bad Plus (Edition) 21:12 Yellow Jackets “Resilience" from Parallel Motion (Mack Avenue) 28:23 Troy Roberts “Big Night ...

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4

Live Review

The Bad Plus at Bijou Theatre

Read "The Bad Plus at Bijou Theatre" reviewed by Mark Sullivan

by Mark Sullivan

The Bad Plus Bijou Theatre From Big Ears, Part 2 Knoxville, TN December 4, 2020 The Bad Plus kicked off the virtual concert series “Sites & Sounds from Big Ears" with their October 9th concert streamed from Knoxville's historic Bijou Theatre. This second installment began with a point of view shot walking down S. Gay Street to the theater entrance, through the glamorous Art Deco lobby (which surely will trigger a twinge of recognition ...

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Album Review

The Bad Plus: Activate Infinity

Read "Activate Infinity" reviewed by Emmanuel Di Tommaso

by Emmanuel Di Tommaso

Quando alla fine del 2017 Ethan Iverson lasciò i Bad Plus si parlò di fine di un'era per uno dei piano jazz trio più originali e longevi della musica contemporanea. Sempre aperti a nuove sperimentazioni e a sconfinamenti che li hanno portati a contaminare il loro post-bop jazz di partenza già di per sé istrionico con la freschezza e il melodismo della pop music e del rock strumentale, con l'abbandono di Iverson sembrava veramente che qualcosa potesse minare la coesione ...

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2

Radio & Podcasts

Highlights of Jazz in the Early 2000s (1999 - 2003)

Read "Highlights of Jazz in the Early 2000s (1999 - 2003)" reviewed by Russell Perry

by Russell Perry

This is the 97th of 100 programs in the Jazz at 100 series. We move now into the 21st century, presenting music from less than twenty years ago. Which of these performances will have lasting value? What players will be remembered for their contributions to advancing the music? What trends will turn into dominant themes? The more recent the music, the more difficult it is to tell with any certainty. As mentioned in the last two hours of ...

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