Articles

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

INTERVIEW

Eddie Daniels: 'Sings' Ivan Lins

Read "Eddie Daniels: 'Sings' Ivan Lins" reviewed by R.J. DeLuke

Eddie Daniels, one of the finest of clarinetists during his decades in jazz, is still an active, curious, exploring musician. He welcomes new things. His latest album, Night Kisses: A Tribute to Ivan Lins (Resonance Records), set to be released at the end of July, represents something new for him. Music is an art that always reveals something fresh for those aware enough to look for it. For Daniels, the new project lit one fire and ...

ALBUM REVIEW

Eddie Daniels: Heart Of Brazil

Read "Heart Of Brazil" reviewed by Dan Bilawsky

When Resonance Records' George Klabin pitched Eddie Daniels on this project saluting Egberto Gismonti, the legendary reedist was enthused yet somewhat trepidatious. Gismonti's music--a sui generis form of fantasia that proves evocative in its blending of Brazilian forms, a jazz harmonist's argot, and European classical languages--is no easy nut to crack or translate. But Daniels, of course, is no slouch. A doyen of the clarinet and an expert at navigating tricky divides like the potentially deadly jazz-classical fault line, he ...

ALBUM REVIEW

Eddie Daniels and Roger Kellaway: Just Friends: Live at the Village Vanguard

Read "Just Friends: Live at the Village Vanguard" reviewed by C. Michael Bailey

Resonance Records has dramatically improved the respective discographies of Bill Evans (Live At Art D'Lugoff's Top of The Gate (2012), Some Other Time: the Lost Session From the Black Forest (2016), Another Time: The Hilversum Concert (2017)); Wes Montgomery (Echoes of Indiana Avenue (2012), Wes Montgomery: In The Beginning-Early Recordings from 1949-1958 (2015), Smokin' in Seattle: Live at the Penthouse (1966) (2017)); and Gene Harris (Live in London (2008), Another Night In London (2010), Three Sounds: Groovin' Hard -Live at ...

ALBUM REVIEW

Eddie Daniels & Roger Kellaway: Just Friends

Read "Just Friends" reviewed by Dan Bilawsky

Clarinetist Eddie Daniels and pianist Roger Kellaway are more than just friends; they're musical soulmates, connected in pulse and impulse, focused on the same syncretic sum of sounds and styles, and bound by a telepathic rapport. Both men are virtuosos of the highest order, but that's beside the point. The real measure of their artistic collaborations is tied to the way they communicate and connect, not how fast they can go or how many notes each can cram into a ...

ALBUM REVIEW

Eddie Daniels & Roger Kellaway: Duke at the Roadhouse: Live in Santa Fe

Read "Duke at the Roadhouse: Live in Santa Fe" reviewed by Hrayr Attarian

For their third collaboration on IPO records, veteran musicians pianist Roger Kellaway and multireed player Eddie Daniels recorded a benefit concert for “Santa Fe Center for Therapeutic Riding." The resulting Duke at the Roadhouse: Live in Santa Fe is a tribute to pianist and composer Duke Ellington comprising eight of his standards and an original a piece by Kellaway and Daniels. This unique and elegant interpretation of Ellington's work is laid back but vibrant, exuberant yet mature. On ...

ALBUM REVIEW

Eddie Daniels & Roger Kellaway: Duke at the Roadhouse: Live in Santa Fe

Read "Duke at the Roadhouse: Live in Santa Fe" reviewed by Jack Bowers

For a powerful adrenaline rush, it's hard to beat a full house (sixteen or seventeen single-minded musicians wailing in unison and swinging like there's no tomorrow), although there's a lot to be said for a pair of aces, too. That's the hand that's dealt on Duke at the Roadhouse: Live in Santa Fe, the aces in question being clarinetist / tenor saxophonist Eddie Daniels and pianist Roger Kellaway (with cellist James Holland raising the ante as a wild card on ...

MULTIPLE REVIEWS

Ellingtonian Intimacy: Dukish Duos

Read "Ellingtonian Intimacy: Dukish Duos" reviewed by Dan Bilawsky

Duke Ellington elevated the art of big band writing to great heights, but his music was never relegated to the large ensemble corner of the room. While it's true that the large majority of his recordings showcase the ever-evolving, yet incredibly consistent “Orchestra" he fronted, he wasn't averse to presenting his music in small group settings; in fact, the rare duo session--This One's For Blanton (Pablo, 1973) with bassist Ray Brown--or trio outing with unlikely collaborators--Money Jungle (United Artists, 1962) ...


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