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Julian Pressley: From The Duke To Ornette In His Own Way
by Victor L. Schermer
Julian Pressley isn't exactly a household name, but it's a name every jazz aficionado should know. When he plays his alto saxophone, ears perk up because he's playing what they came to hear: music that embodies the legacy. Passionate, quick-witted, and full of new ideas, Pressley stands out in the crowd, a genuine original. Yet you ...
Culture Clubs: Part IV: When Jazz Met Europe
by Karl Ackermann
The Geography of Jazz--When Jazz Met Europe In 2004 Maureen Anderson, a researcher at Illinois State University contributed a dissertation to the journal, African American Review, titled The White Reception of Jazz in America. Ostensibly, her article deals with stories published in high profile periodicals and journals from 1917 and into the 1930s, written by white ...
Mark Morganelli: Adds Club Owner To His Resume
by R.J. DeLuke
Mark Morganelli has long been known as a fine trumpet player and a promoter with years of experience in the New York City area dating back to a jazz loft 39 years ago, through booking at the Village Gate, Birdland, morphing into his nonprofit Jazz Forum Arts organization known for the summer concert series he has ...
Adam Shulman Sextet: Full Tilt
by Jack Bowers
In music, as in life, not every new voice is worth hearing. Here's one that is. Full Tilt, the fifth CD by San Francisco-born and based pianist Adam Shulman's sextet, is a throwback to those halcyon days when bop was king and giants like Diz, Bird, Miles, Max Roach, Hank Mobley, Benny Golson, Horace Silver, Wardell ...
Kaze: Atody Man
by Dan McClenaghan
What was it drummer Art Blakey said about surviving in the tough, competitive business of being a jazz musician? Something along the lines of: “You're either busy appearing or you're busy disappearing." There might be something to this. Artists who release a recording every three or four years, or who tour sporadically, face the possibility of ...
Michael Dease: Reaching Out
by Mark Corroto
Somebody has to be the keeper of the flame, right? In jazz, an art form that has only recently passed the century mark, that responsibility has seemed to diminish in importance. It's not that music schools aren't churning out graduates versed in the traditional repertory, and post-modern players aren't constantly pushing the envelope of possibilities. It's ...
Culture Clubs: A History of the U.S. Jazz Clubs, Part III: Kansas City, Philadelphia, Los Angeles & Beyond
by Karl Ackermann
Beyond the Hubs While New Orleans, Chicago, Kansas City and New York City were the incubators of modern jazz, they were by no means the only locations with an appetite for live music. Jazz artists whose point of origin could not sustain multiple venues ventured to locations near and far to practice their trade. ...
John Coltrane: Trane 90
by Stefano Merighi
Coltrane l'apprendista, il collaboratore di talento, il leader, il visionario. È davvero possibile suddividere la carriera di John Coltrane attraverso questi ruoli ben distinti? O piuttosto la sapienza coltraniana si affina contando tuttavia già su una forza di partenza tutta particolare, e straordinaria? A parte le incisioni dei primi anni Cinquanta, infatti, sembra ...
We Four at Dazzle
by Geoff Anderson
We Four Dazzle Denver, CO October 21, 2017 The majority of Twentieth Century jazz was represented on stage at Dazzle Saturday night. Either the players were there, in person, or they were merely one degree of separation from the key action and the dominant personalities. History lessons can be nice, but ...
Leo Richardson Quartet: The Chase
by Roger Farbey
An alumnus of London's Trinity College of Music, tenor saxophonist Leo Richardson, who incidentally is the son of bassist Jim Richardson (formerly of the jazz rock band If), graduated from the College with a first class honours degree in Jazz Performance. Whilst studying at Trinity he was tutored by some world class players including Jean Toussaint, ...
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