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Barry Stephenson
David Ecker: How to Rebuild
by Carl Medsker
Attempting to enhance jazz with classical music trappings is nothing new and has previously yielded mixed results. Often, the music comes across as saccharine, or the strings serve as mere window dressing to add a faux classical touch. At best, when the two worlds are creatively combined, the emergent results are something new and vibrant. Frequently, though, the jazz component and its companion classical group alternate and support each other, which, although it can be beautiful at times, dodges the ...
Continue ReadingChad LB: Time in a Bottle
by Jack Bowers
Sooner or later, jazz musicians--some, that is, not all--who have earned a measure of success decide they would like to try something different. In many cases, that “something different" involves a string section. Among the most recent wayfarers along the string-laden path is New York-based tenor saxophonist Chad LB (shorthand for Lefkowitz-Brown) whose recording, Time in a Bottle, showcases his impressive horn in front of a rhythm section and ten-member string component. The result is much the ...
Continue ReadingOwen Broder: Hodges: Front and Center: Vol. Two
by Pierre Giroux
Owen Broder's Hodges : Front and Center Vol.Two is a respectful yet refreshing tribute to Johnny Hodges, a saxophonist with an iconic sound while injecting a contemporary vitality into the mix. Hodges' influence looms large throughout the album, guiding Broder's approach to the music. In this quintet's musical journey, Broder, on both alto and baritone saxophone, is accompanied by trumpeter Riley Mulherkar, pianist Carmen Staaf, bassist Barry Stephenson and drummer Bryan Carter. In both his playing and composing, Hodges showed ...
Continue ReadingOwen Broder: Hodges: Front and Center: Vol. Two
by Dan McClenaghan
At times, while listening to random classics in the collection, one can have the idea that everything in jazz evolved from the late '40s to early '50s bebop. But before bop was swing. Duke Ellington stayed with swing through bop, funk, and fusion. And so did alto saxophonist Johnny Hodges (1906-1970), who played in Ellington's band from its early days, the late-1920s. A much-admired player with a distinctive tone and a beautiful way with a melody, Hodges also ...
Continue ReadingDavid Ecker: Respite (Despite)
by Dan McClenaghan
The Covid pandemic has been educational. One of its lessons is (to paraphrase a famous movie): music finds a way. If getting together in the studio is a problem, then grab the technology and go the remote recording route. It worked for guitarist Justin Morell and drummer Mark Ferber on 2022's Exit Music For Intelligent Life On Earth (Sonic Frenzy Records), and it works for pianist David Ecker in 2023, with his sophomore outing, Respite (Despite). The recording ...
Continue ReadingOwen Broder: Hodges: Front and Center, Vol.1
by Pierre Giroux
Johnny Hodges was a unique instrumentalist whose alto saxophone playing was readily recognizable due to his tone, phrasing, and melodic engagement in improvisation. For the greater part of his musical life, he was anchored in the middle chair of the Duke Ellington Orchestra's saxophone section. However Hodges never turned down an opportunity to stretch out in a small group setting on such albums as Back To Back and Side By Side. Additionally, there were several sessions with organist Wild Bill ...
Continue ReadingMusic
Used to Be Duke
From: Hodges: Front and Center: Vol....By Barry Stephenson
