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Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

ALBUM REVIEWS

Scott DuBois: Autumn Wind

Read "Autumn Wind" reviewed by Dan Bilawsky

When last we heard from guitarist Scott DuBois he was conjuring visceral thoughts of our coldest times on Winter Light (ACT Music, 2015). Now he's turned back the calendar one season, turning his attention toward harvest days with Autumn Wind. While there are certain similarities between DuBois' two seasonal epics--the presence of bassist Thomas Morgan, multi-reedist Gebhard Ullmann, and drummer Kresten Osgood; the semi-programmatic nature of the music, taking shape within each single song and as a ...

ALBUM REVIEWS

Scott DuBois: Winter Light

Read "Winter Light" reviewed by Dan Bilawsky

The journey from morning to night, from the dark and promising wintry dawn to the gelid day's goodbye, is one fraught with possibility. At least that's how guitarist Scott DuBois sees it. On Winter Light, Dubois tells the story of a single frigid day. It's as wondrous, chilling, atmospheric, and powerful as can be. Over the course of seven tracks, DuBois and his longtime band mates--German multi-reedist Gebhard Ullmann, American bassist Thomas Morgan, and Danish drummer Kresten ...

ALBUM REVIEWS

Scott Dubois: Landscape Scripture

Read "Landscape Scripture" reviewed by Raul d'Gama Rose

Guitarist, Scott DuBois has taken a masterly turn with Landscape Scripture, an extended piece that carries aural impressions of one of Claude Monet's famous series of paintings, “Haystacks." The renowned French master had conceived of his pastoral exhibit in a series of 25 canvases that looked at the iconic sculptures of hay at different times of day, and at different times of the year. DuBois has created his suite around aspects of the paintings depicted by the four seasons and ...

ALBUM REVIEWS

Scott Dubois: Landscape Scripture

Read "Landscape Scripture" reviewed by Troy Collins

Art inspired by work in another medium can be difficult to successfully resolve--the old adage, “dancing about architecture," comes to mind. In the hands of a truly talented and empathetic artist however, such creative cross-pollination can bear surprisingly fruitful results, occasionally developing new potential for expression beyond the preconceived limitations of each respective form.Landscape Scripture is a highly accomplished and fully realized example of this concept. The fifth album by guitarist Scott DuBois (his third for Sunnyside Records), ...

ALBUM REVIEWS

Scott Dubois: Black Hawk Dance

Read "Black Hawk Dance" reviewed by Raul d'Gama Rose

There is a deep, questioning spirituality that pervades the music of Scott DuBois. On Black Hawk Dance, his second Sunnyside release, the music becomes a kind of ancient/modern ritual that reaches outward and upward to seemingly attain--as Don Cherry once did--complete communion with the Divine. But the journey is not easy, as the music on this album will verify. It comes at a price. The artist is heard grappling with a soul in torment before he finds solace in the ...

ALBUM REVIEWS

Scott DuBois: Banshees

Read "Banshees" reviewed by Glenn Astarita

On his previous 2005 release, Tempest (Soul Note), guitarist Scott DuBois aligned with prominent saxophonists, David Liebman, Loren Stillman and Jason Rigby as front line foils. Here, the artist employs German multi-woodwind ace Gebhard Ullmann for a largely, high-impact progressive jazz gala that comes right at you via sinewy discourses and complexly concocted song-forms.

Sparked by dynamic free-bop unison choruses, DuBois' intricately woven and somewhat animated single note flurries loom as a constant denominator. At times he seemingly ...

ALBUM REVIEWS

Scott Dubois: Banshees

Read "Banshees" reviewed by Terrell Kent Holmes

Scott Dubois thrives on mercuriality. The guitarist-composer writes and plays with a starkness and moodiness that suits him perfectly, as displayed on Banshees. The shifts of focus and varying tempos make the music as fluid and intriguing as a Dalì painting.

Dubois shows off his Metheny-influenced licks on “Mid to the West” and saxophonist Gebhard Ullmann shows immediately that he’s an acolyte from the upper register school of tenor playing. Thomas Morgan’s private-eye slick bass drives ...


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