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New York Beat

Eric Reed at Smoke Jazz & Supper Club

Read "Eric Reed at Smoke Jazz & Supper Club" reviewed by Nick Catalano


Hard Bop continues to find a home in NY's Smoke Jazz & Supper Club. For decades the room featured One for All -a group whose stalwart players Eric Alexander, Steve Davis, David Hazeltine, John Webber, Jim Rotondi, and Joe Farnsworth had critics comparing them to Art Blakey's Jazz Messengers. These players often led smaller groups into Smoke with players such as Harold Mabern and other hard boppers. Last week (7-22) the club brought in Eric Reed and company ...

14

Bailey's Bundles

Smoke Sessions: Cyrus Chestnut, Orrin Evans and Eric Reed

Read "Smoke Sessions: Cyrus Chestnut, Orrin Evans and Eric Reed" reviewed by C. Michael Bailey


Cyrus Chestnut Midnight Melodies Smoke Sessions 2014 Elegance and economy characterize Cyrus Chestnut's art. Chestnut's career was the one Kenny Kirkland could have had had Kirkland's fate been different. Chestnut (and Evans and Reed) represent the generation given way to with the passings of Mulgrew Miller and Cedar Walton. Chestnut is a keeper of the flame, a lyrical and expressive pianist who likes to use notes in sculpting songs. Midnight Melodies was ...

108

Album Review

Eric Reed: Something Beautiful

Read "Something Beautiful" reviewed by Greg Simmons


Eric Reed's Something Beautiful is well-named: a collection of mostly standards, delivered with sensitive hands and unerring taste. The pianist shows a knack for choosing great material, mostly staying away from jazz's grossly overplayed warhorses in favor of lesser-known material that is, nonetheless, classic and elegant. The album offers a unified atmosphere of down- and mid-tempo melodies--sometimes melancholy, sometimes bouncy, and occasionally even uplifting. Jesse Tabish's “Black Tables" is almost hymn-like, with deep left-handed chords creating gravity under ...

357

Album Review

Eric Reed: The Dancing Monk

Read "The Dancing Monk" reviewed by Greg Simmons


Every jazz pianist stands somewhere in the shadow of Thelonious Monk (1917-1982), and Eric Reed has embraced that shadow, with The Dancing Monk. Interpreting the near-mythic pianist/composer's music--let alone making an entire album of his tunes--poses significant challenges to any modern musician, and especially for a pianist. First, Monk's compositions are, indeed, challenging, in and of themselves; full of odd meters, syncopations, and some of the most counter-intuitive melodies ever written. Second, Monk's flat-fingered keyboard work was completely ...

994

Megaphone

Eric Reed: Sacred Jazz

Read "Eric Reed: Sacred Jazz" reviewed by Eric Reed


Generally, the idea of “sacred jazz" either brings to mind Duke Ellington's three sacred concerts or causes confusion in the minds of those who are not cognizant of what is “sacred" or “jazz." Is it John Coltrane's A Love Supreme, Mary Lou Williams' Black Christ of the Andes or Ahmad Jamal's After Fajr? In all these cases, yes. In the broad sense of what is “sacred," the common thread that exists among the aforementioned references pays respect to the devotion ...

443

Album Review

Eric Reed: Stand!

Read "Stand!" reviewed by Andrew Velez


This eighteenth release by pianist Eric Reed is a spiritual melding of gospel and jazz idioms. Though not yet 40, Reed has accumulated considerable mileage. He was with Gerald Wilson at a mere 16, enjoyed a long association with Wynton Marsalis, and displayed a marked flair for the American Songbook. This outing offers a rich outpouring of Reed as composer and orchestrator. The opening title track is a hard driving and muscular piece with an African-tinged reference ...

158

Album Review

Eric Reed: Here

Read "Here" reviewed by J Hunter


"Here. This moment. Right now. That's not just a message inside the jewel case for Here, Eric Reed's new CD; it's also a mission statement.

The opener, “Stablemates, reveals a team working together towards a common goal. Reed's trio takes the Benny Golson standard to a more intimate level, while still preserving the ebullient feel of the original. The former Wynton Marsalis sideman maintains a smooth, reasonable voice from beginning to end, rooting his piano solos in simple, elegant phrases ...


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