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...
This disc is almost entirely a modal improvisation. Each piece, saving one or two, is built on a single scale, propelled by a single bass figure. It reminds me of a highbrow John Lee Hooker. Boom, Boom, Boom Boom. Tom Christensen, the erstwhile leader of this merry band is a multi-reedist and brass player who uses this ensemble and opportunity to air out is considerable talent. He is joined by fellow Eastman collegue Charles Pillow, also a multi-reedist. Together with their rhythm section, they weave a sometime light-as-a-feather sometime brick-heavy web of music.
Completely entertaining, this is no Kind of Blue. I could not help thinking that the performers here were simply playing as if at a clinic, attempting to use the music as a vehicle for illustrating composing methods. That can't be all bad. After all, Bach''s Well Tempered Klavier was composed for the same reasons.
Track Listing: Gualala; The Cats of Ulthar; Cellular Coyotes; Thank You; Tangoed Web; Waiting is; New
Pedal Tune; Bare Trees; Or Not. (Total Time: 65:34)
Personnel: Tom Christensen, tenor & soprano sax, oboe & English horn; Charles Pillow, tenor &
sopranino sax, clarinet & bass clarinet, oboe; Satoshi Takeishi, percussion; Ben Allison,
bass; Doug Weiss, bass.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
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!