If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Not having the advantage of hearing altoist Loren Stillman's earlier albums, Blind Date can only be compared to having seen him in concert some five years ago. Opening for the more straight-ahead Lew Tabackin Quintet and singer Roberta Gamborini, Stillman and his quartet showed no mercy and spent the entire set in full free jazz flight. Stillman had either misjudged this very mainstream audience or wanted to make the most of such an opportunity.
Blind Date begins promisingly, the title tune showcasing Stillman's balladry and coming across fully as a combination of Lee Konitz and a dry martini; the perfect start for someone who blew the house awaya negative connotationwith his avant-garde playing in the past.
Stillman reports that he studied with both Konitz and Dave Liebman, but his influences also include Béla Bartók and Frank Zappa. After bassist Drew Gress and pianist Gary Versace solo on the seven minute-plus "What Will People Think," the altoist approaches his playing with some edginess, in the general vicinity of Ornette Coleman's early-1960s Atlantic period.
Stillman's group is well-chosen to accompany him. Versace doesn't always provide the more standardized comping and cushioning, laying out during Stillman's solo on "Theme For A New Regime," while providing some dissonant flourishes on "Don't Be Too Nice" that are later matched by Gress and drummer Joey Baron. Gress and Baron are individualistic musicians and the drummer's experience with outside players helps.
"Theme for a New Regime" and "Don't Be Too Nice" find Stillman very carefully toeing a line between mainstream and avant-garde. It is almost as if his long phrases and swoops are making it clear that he is fully capable of taking it out, but is providing just a taste of it here. Appropriately, the closing tracks ("Major," "Legroom" and "Etude) offer something that this listener would want to hear more of, but that may well have to wait for another occasion.
Track Listing: Blind Date; What Will Other People Think; Etude; Shape Shifter;
Theme For A New Regime; Don't Be Too Nice; Major; Legroom; Etude - Reprise.
I love jazz because I love the freedom.
I met guitarists Oscar Aleman and Larry Carlton.
The best show I ever attended was Les Paul at Iridium Jazz Club.
The first jazz record I bought was by vibraphonist Lionel Hampton.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!