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

ALBUM REVIEW

Anthony Coleman: Catenary Oath

Read "Catenary Oath" reviewed by John Sharpe

Catenary Oath presents a 2018 solo recital by pianist and composer Anthony Coleman, recorded at Jordan Hall in the New England Conservatory in Boston where he also teaches. The album, available as a limited edition LP or digitally, contains a mix of originals and standards all given deeply personalized interpretations by the pianist. Coleman's profile has lessened since the 1990s when he was a regular on the downtown scene alongside John Zorn, Dave Douglas and Marc Ribot, but he still ...

ALBUM REVIEW

Anthony Coleman: Freakish

Read "Freakish" reviewed by Warren Allen

Great composers put heavy demands on the people who play their music. No matter how long ago they wrote the tunes that continue inspire after they are gone, their presence continues to hover over the music, almost haunting the pianos that would crank out their concertos and rags. It takes work to deal with these ghosts. Perhaps this is why it took Anthony Coleman five years to complete his special tribute of the music of Jelly Roll Morton.

Coleman is ...

ALBUM REVIEW

Anthony Coleman: Lapidation

Read "Lapidation" reviewed by Kurt Gottschalk

After a recording career given over in large part to shtick and nostalgia, the last few years have seen a well-deserved spike for Anthony Coleman. His last two records for Tzadik showed him (on 2006's Pushy Blueness) as a strong composer and (also 2006, Shmutisige Magnaen: Coleman Plays Geburtig) a remarkable interpreter. Lapidation continues the documentation of the pianist as a strong composer. The five pieces included were written over the span of the last decade, ranging ...

ALBUM REVIEW

Anthony Coleman: Pushy Blueness

Read "Pushy Blueness" reviewed by Kurt Gottschalk

Anthony Coleman is such a dictionary of style and genre that he has been an invaluable sideman in the Downtown chronology for more than 25 years. His ability to adapt, reference and mimic gave breadth to the wide-eyed, nascent scene--and has also informed his own genre-busting projects. But anyone who has listened closely has surely thought that there's not just an interpreter in him, but a composer as well, and potentially a pretty great one. And in ...

ALBUM REVIEW

Anthony Coleman: Shmutsige Magnaten: Coleman Plays Gebirtig

Read "Shmutsige Magnaten: Coleman Plays Gebirtig" reviewed by Kurt Gottschalk

Mordechai Gebirtig was, as Anthony Coleman explained at a performance of the composer's work at The Stone in February, a writer of Polish folk songs evoking the hardships of Jewish life in the '30s and '40s. More a poet than a musician, Gebirtig would often sing or hum melodies to others to score. Coleman has given programs of Gebirtig's work at festivals in New York and Europe, and he broke out the songbook again at The Stone.

He's such a ...

MEGAPHONE

Anthony Coleman: Ambiguity is a Richness

Read "Anthony Coleman: Ambiguity is a Richness" reviewed by AAJ Staff

By Anthony Coleman Tradition. Sometimes I really don't like that word. It feels so limiting, conservative. And so much current discourse revolves around it. And we've seen something many of us hoped for: “jazz", or whatever you want to call it, put on the pedestal with the other great music of the world. Why aren't we happy? In my musical world there are so many influences. Improvisation is central, but not always present, and certainly ...


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