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Loren Stillman: Winter Fruits

Read "Winter Fruits" reviewed by Mark F. Turner

Loren Stillman's Winter Fruits is an impressive follow-up to the saxophonist's stellar Blind Date (Pirouet Records, 2007). The increasingly visible altoist has been spotted on a number of recordings including Paul Motian's On Broadway, Vol. 5, (Winter & Winter (2009), yet found time to refine his own music. Through a couple of lineup changes with new members Ted Poor (drums) and Nate Radley (guitar) and the return of Gary Versace (now on organ), Stillman's release maintains a stylized and highly ...

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Loren Stillman: Trio Alto Volume 2 & Blind Date

Read "Loren Stillman: Trio Alto Volume 2 & Blind Date" reviewed by Tom Greenland

Loren Stillman Trio Alto Volume 2 SteepleChase 2007 Loren Stillman Blind Date Pirouet 2007

Loren Stillman's latest projects, Trio Alto Volume 2 and Blind Date, both give evidence of his growth as a bandleader, composer and improviser. The former is his second pianoless trio date for SteepleChase and, in contrast with 2006's cover-dominated ...

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Loren Stillman: Blind Date

Read "Blind Date" reviewed by Michael P. Gladstone

Not having the advantage of hearing altoist Loren Stillman's earlier albums, Blind Date can only be compared to having seen him in concert some five years ago. Opening for the more straight-ahead Lew Tabackin Quintet and singer Roberta Gamborini, Stillman and his quartet showed no mercy and spent the entire set in full free jazz flight. Stillman had either misjudged this very mainstream audience or wanted to make the most of such an opportunity.

Blind Date begins promisingly, ...

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Loren Stillman: Blind Date

Read "Blind Date" reviewed by Budd Kopman

After what appears to be an interlude of SteepleChase releases ( Brothers' Breakfast & Trio Alto Volume One, released in 2006 and Trio Alto, Volume 2, 2007), saxophonist Loren Stillman returns to his earlier quartet format with the marvelous Blind Date. The music on the current release connects directly to Stillman's first three (mature) recordings: How Sweet It Is (Nagel Heyer, 2003), Gin Bon (Fresh Sound New Talent, 2004) and It Could Be Anything (Fresh Sound New ...

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Loren Stillman: Blind Date

Read "Blind Date" reviewed by Jerry D'Souza

A blind date can be risky, cause apprehension and kindle a sense of adventure. Anticipating Loren Stillman's foray into his own Blind Date stirs all those feelings.

Stillman has been inspired by jazz as he has with classical music. His compositions reflect both streams, and his narratives are eloquent. He brings in a minimalist approach, letting the notes fall in random and float in the wide space he provides. He brings in contrast as well, with ...

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Loren Stillman: Blind Date

Read "Blind Date" reviewed by Mark F. Turner

For alto saxophone aficionados, Loren Stillman's Blind Date is an exquisite release. An intrepid artisan with virtuosity, a refined tone and evocative phrasing; it's hard to believe that the London-born musician is only in his twenties. But with a number of recordings as a leader he's showing that practice does indeed strive for perfection. The recording is a progressive set of Stillman originals that are equally atmospheric and acutely performed with a band of like-minded players including ...

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Loren Stillman: The Brothers' Breakfast; Trio Alto Volume One

Read "Loren Stillman: The Brothers' Breakfast; Trio Alto Volume One" reviewed by Donald Elfman

Loren Stillman The Brothers' Breakfast SteepleChase 2007 Loren Stillman Trio Alto Volume One SteepleChase 2007

Loren Stillman has emerged from prodigy status into a player of great interest. While using traditional instrumental formats and settings, the altoist has an approach to tunes that sound fresh and different. On both of these ...

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Loren Stillman: Brothers' Breakfast & Trio Alto Volume One

Read "Loren Stillman: Brothers' Breakfast & Trio Alto Volume One" reviewed by Budd Kopman

When he finally hit the limelight, saxophonist Loren Stillman seemed to come out of nowhere, fully formed--or at least with a clear composing technique and playing style, both of them distinctive and recognizable.

However, an “overnight sensation" is rarely that and How Sweet It Is (Nagel Heyer, 2003), the album that signaled the arrival of a major new (and quite young) talent, was preceded by Cosmos (Soul Note Records, 1997), recorded when Stillman was in his teens. ...

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Loren Stillman: It Could Be Anything

Read "It Could Be Anything" reviewed by John Kelman

Jazz fans seem to be constantly debating when the best period for jazz was. That some believe that now is unequivocally the worst time for a genre now in its second century is puzzling. The arguments most often heard have to do with there being no “significant innovations, and the predominance of high profile artists like Diana Krall and Jamie Cullum overshadowing more “serious jazz artists.

Whether or not top-charting artists are serious is an argument for another day. But ...

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Loren Stillman: It Could Be Anything

Read "It Could Be Anything" reviewed by Jeff Stockton

In a year when the hottest straight-ahead jazz CD featuring an alto saxophonist was recorded sixty years ago, it's important to remember that we must live in our own times as well. And in jazz music, where players carry on into their '80s, Loren Stillman at 23 is like a ten year-old playing major league baseball. But what an arm! (So to speak.) Composing and playing in the tradition of Lee Konitz and Greg Osby, Stillman includes eight originals on ...

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Loren Stillman: How Sweet It Is

Read "How Sweet It Is" reviewed by Budd Kopman

Occasionally a totally new CD finds its way to the player, and from the music's very first notes, just totally entrances both mind and body. These magical times are rare, but this is really what jazz is about. Furthermore, a CD that manages to make this kind of impression almost always remains able to over time, even years later. How Sweet It Is is one such effort. It is one of those rare releases that draws one in willingly without ...

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Loren Stillman: Gin Bon

Read "Gin Bon" reviewed by Russ Musto

Gin Bon reunites gifted young saxophonist Loren Stillman with the inspired rhythm section of Russ Lossing, Scott Lee and Jeff Hirshfield from last year's acclaimed How Sweet It Is ; and, on half the session, guitarist John Abercrombie, the altoist's band mate from the group Jackalope. Stillman's sumptuous sound and well-developed technique are matched by his remarkably mature aptitude for composing engaging melodies in variety of forms and feelings.The opening 'Psalm No. 3' is a soulful and seductive ...