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...
You want to be faithful, but then you try to take the vibe of the context of the piece, go on with it a little more, and take it a little further.
While the European jazz scene has been vibrant and forward-looking for decades, it's only been in recent years that some of its brightest stars have received the kind of exposure in North America that they've both deserved and enjoyed elsewhere. The German ECM label, in particular, has been responsible for generating renewed interest in aging but still active and innovative artists, including Italian trumpeter Enrico Rava and Polish trumpeter Tomasz Stanko, to American audiencesnot only through recordings, but concert tours as well. Proof that art isn't static and that, for its best practitioners, it's a lifelong commitment.
Along with Stanko and Rava, Swedish pianist Bobo Stenson is another artist long-associated with ECM whose profile has risen in recent years. Through his work with Stanko, saxophonist Charles Lloyd and his own trio, his delicately-nuanced approach to interpretation is finally getting the attention it deserves. He may not have the cachet of a Keith Jarrett, but on his latest release, Goodbyefeaturing long-time musical companion, bassist Anders Jormin and drummer Paul Motianhe demonstrates an equal improvisational élan; the ability to both get to the musical heart of things and take it to new and unexpected places.
I love jazz because there are so many styles and ways to interpret the music--so much room for creativity.
I was first exposed to jazz at a very young age, listening to great artists such as Nat King Cole and Lena Horne.