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Julian Lage: Love Hurts
by Doug Collette
By the release of Modern Lore (Mack Avenue, 2018), Julian Lage had fully established his very own style of modern jazz, one arising directly from his approach to the electric guitar. Justifiably proud of what he's accomplished to date, yet not content to rest on his laurels, Lage stretches himself on Love Hurts, simultaneously freshening the ...
Dwight Trible: Mothership
by Chris May
The Beatles' Revolver (Parlophone, 1966), recorded while the band were out of their skulls on high-voltage lysergic acid diethylamide, was the first masterpiece of British psychedelic rock. One of the album's highlights, the sitar-drenched closing track, “Tomorrow Never Knows," still sounds potent enough to trigger a flashback. Remarkably, Dwight Trible's version of “Tomorrow Never ...
The Interplay Jazz Orchestra: On The Sunny Side
by Dan Bilawsky
The third album from The Interplay Jazz Orchestra follows in its predecessors' footsteps, featuring all-original arrangements from musicians in the ranks and highlighting a deep and oft overlooked talent pool that, for the most part, rests east of the Big Apple. As on this group's previous dates, My Love You're Free (Self Produced, 2013) and Detour ...
John Swana / Tim Motzer / Doug Hirlinger: Channels
by Geno Thackara
It's a jungle in here. The atmosphere is thick and close, even when things are still. Strange creatures keep flitting through the trees and rustling the bushes. The air never stays quiet for very long amidst the eerie calls of strange birds. The here in this case is a landscape that is imaginary, but that makes ...
Jake Leckie: The Abode
by Chris Mosey
Bassist Jake Leckie, born in Boston but currently living in Los Angeles, describes the eight songs on this, his first album, as “a meditation on migration, understanding and empathy." He says they pay tribute to the people and places that have contributed to his identity and are intended to evoke a sense of place and home--his ...
Enzo Rocco, Ferdinando Faraò: Fields
by Neri Pollastri
Enzo Rocco e Ferdinando Faraò sono due musicisti che si muovono spesso in molteplici contesti musicali, ma che hanno sempre di mira la sperimentazione e sono accomunati da un forte interesse per l'improvvisazione più libera--testimoniata dalle collaborazioni di Rocco con personalità del calibro di Giancarlo Schiaffini e Lol Coxhill e dall'impegno profuso da Faraò nell'Artchipel Orchestra. ...
Carlos Franzetti: Ricordare
by Maurizio Zerbo
Il titolo del CD e il suo brano manifesto sono emblematici nell'esplicare il debito artistico di Carlos Franzetti per Ennio Morricone. Al di là dell'affinità con le colonne sonore italiane e francesi, il settantenne musicista argentino possiede ben altre e più rigogliose frecce al suo arco. Lo testimonia una poliedrica cifra espressiva, che spazia dal tango ...
Jennifer Wharton's Bonegasm: Bonegasm
by Dan Bilawsky
The bass trombone occupies a unique niche, serving as that most powerful of pedal peddlers, the anchor of a big band's brass section, and the ballast stabilizing harmonies. Unfortunately, the instrument also holds status as a seriously pigeonholed force. While you can't argue with the usefulness of its robust, below-the-staff whole notes, this horn is made ...
Dave Liebman: On the Corner Live!
by Victor L. Schermer
When the Miles Davis album On the Corner (Columbia, 1972) was released, Davis had already begun to engage in electronic instrumentation and jazz fusion with soon to be revered recordings: In A Silent Way (Columbia, 1969), Bitch's Brew (Columbia, 1970) and Jack Johnson (Columbia, 1971). On the Corner, however, was so experimental and funky that it ...
Deborah Shulman: The Shakespeare Project
by Nicholas F. Mondello
William Shakespeare's works have generated many musical endeavors. Duke Ellington's Such Sweet Thunder (Columbia Records, 1957) and Leonard Bernstein's score for West Side Story are among those which come to mind. In 1941, British composer Arthur Young recorded Shakespeare in Swing (Decca Records, 1941), which featured his compositions over Shakespeare's words. And, in 1964, celebrated British ...
![Full Moon [Feat. New York Voices, Mark Egan]](https://s3.amazonaws.com/allaboutjazz/coverart/large/a07a6f1d5edcd6c801f0e1c3b527da37.jpg)
