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...
Words that DeVos once used to describe Montgomery applied to his own efforts as well: "The right notes in the right placesnothing extraneous" (Liner notes to his 2007 Savant release, Playing For Keeps). In addition to a guitar and amp, his setup included a padded seat that doubled as a guitar stand. Between sets the instrument was safely strapped to the rear of the unit. It was an apt metaphor for DeVos' style, one in which order, craftsmanship, and balance were always present. In contrast to Friedman's busy, crowded, and mercurial musicianship, DeVos impressed by making every note count, evincing a subtle blues sensibility, and making deeply rooted swing sound effortless. An introduction to "Come Rain or Come Shine" was distinguished by closely knit groupings of chords and single notes, which carefully doled out pieces of the melody. When Friedman and McGuirk entered, DeVos' rendering of the piece was more direct, and made room for the pianist's effusive comments. A solo on Montgomery's "D Natural Blues" was quintessential DeVos. His lines found a zone somewhere between measured and persistent. There was a sense of a payoff ahead and, true to form, DeVos didn't reach for a climax or a catharsis; instead, the sting of his tone and tightened phrasing made a sustained and deeply satisfying impact.
For any jazz musician, regardless of his or her status in the music's pantheon, the course of study never ends and no performance is ever complete or perfect. Even in long, fruitful careers of musicians like DeVos' and Friedman's, the music is a perpetual work in progress. What they brought to the stage for a couple of hours was a lot more than a sum total of their knowledge of Montgomery and Kelly. A combination of a genuine sense of craft, individual proclivities, as well as the commingling of differences and commonalities forged something essential. Moreover, DeVos and Friedman threw their whole selves into the music. This is the stuff of which genuine tributes are made.
I love jazz because it takes my mind away and is very relaxing.
I was first exposed to jazz by my older brother every morning while eating breakfast before school he would play Hiroshima One which I hated but after he moved away to college and I moved to Miami I fell in love with jazz music.