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ALBUM REVIEWS

Steve Khan: Patchwork

Read "Patchwork" reviewed by John Kelman

Amongst the many myths out there about music-making—especially in jazz, where the improvisation quotient is often so high—is that composing may, indeed, be work, but doesn't require the kind of relentless attention to detail that far more truthfully defines how many artists write and arrange their music. These days, one need only look to music by artists including Pat Metheny, Antonio Sanchez and Christian Scott aTunde Adjuah to find music conceived with intimate and painstaking detail while, at the same ...

ALBUM REVIEWS

Steve Khan: Backlog

Read "Backlog" reviewed by Mark Sullivan

Latin jazz has rarely featured the guitar, but that hasn't stopped Steve Khan. Backlog continues in the vein of previous albums including Parting Shot (Tone Center, 2011) and Subtext (Tone Center, 2014): creative Latin arrangements of Great American Songbook standards and modern jazz tunes that are rarely played in Latin style (or in any style, in the case of the more obscure choices). The two previous installments included a number of Khan originals, but Backlog is entirely devoted to covers. ...

ALBUM REVIEWS

Steve Khan: Backlog

Read "Backlog" reviewed by Mark F. Turner

Steve Khan's love affair with Latin music germinated in the 1980's with his stellar Eyewitness recordings and continued to develop in a number of releases including 2011's Parting Shot and 2014's Subtext both on Tone Center Records. Backlog is third in this series and represents some of the esteemed jazz guitarist's finest work to date. A consummate musician, Khan's credits include heavy work in the '70s and '80s with pop and jazz icons Donald Fagen, Michael Brecker, ...

ALBUM REVIEWS

Steve Khan: Subtext

Read "Subtext" reviewed by Mark F. Turner

From his obscure gems on Columbia Records--Tightrope (1977), The Blue Man (1978) and Arrow (1979), or the critically acclaimed 1980s Eye Witness recordings, to 2011's Latin-tinged Parting Shot (Tone Center), jazz guitarist Steve Khan continues to deliver his unique artistry--exquisite touch, expressive solos, and warm tonality--that's made his music identifiable. Subtext finds that mastery still intact with a renewed mix of originals and covers. In addition to Khan's musicianship, he's always been a great interpreter of standards, ...

ALBUM REVIEWS

Steve Khan: Subtext

Read "Subtext" reviewed by Glenn Astarita

Steve Khan has always been a consummate, story-telling improviser. His extensive resume and distinguished solo career spans jazz fusion, modern mainstream, and with Subtext, he delves a bit deeper into the Latin element, when looking back at his days recording and performing with former Weather Report percussionist Manolo Badrena who was a member of Khan's early 80s bands. It's a sprightly session, featuring guest appearances by trumpeter Randy Brecker, keyboardist Rob Mounsey and others of note. But the core personnel ...

EXTENDED ANALYSIS

Subtext

Read "Subtext" reviewed by John Kelman

Change is a fact of life, and it's something that's better to be embraced than challenged; as inevitable as death and taxes, it's one of those things that you may as well accept, because there are few, if any, options to do otherwise. That said, while the then-aptly titled Parting Shot (Tone Center, 2011) suggested that guitarist Steve Khan's days recording as a leader were over, it is, indeed, great news to find, in 2014, that he's changed his mind ...

ALBUM REVIEWS

Steve Khan: Subtext

Read "Subtext" reviewed by Dan Bilawsky

Guitarist Steve Khan's latter day work has been increasingly focused on Latin jazz fusion of various shapes, so the scope and direction of Subtext should come as no surprise to his longtime followers. This album arrives three years after Parting Shot (Tone Center, 2011) and runs along similar lines. That one was an originals-heavy, percussively-coated session that dipped into the songbooks of Thelonious Monk ("Bye-Ya") and Ornette Coleman ("Blues Connotation" and “Chronology"); this one is a mostly covers companion piece ...


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