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Sonny Rollins: A Night At The Village Vanguard
by C. Michael Bailey
Sonny Rollins A Night At The Village Vanguard Blue Note 99795 1957/1999 (Rudy Van Gelder Edition) Located on 7th Avenue just below West 11th Street in New York City's Greenwich Village, the Village Vanguard has been the seat of live jazz since the 1940s. Ninety-one live recordings have ...
Greg Osby: Channel Three
by John Kelman
At some point in their careers, most saxophonists decide to tackle the trio format and do away with chordal instruments, or pick up another linear front line player to provide either the implicit or explicit harmonies inherent in larger groupings. Greg Osby has waited longer than most to tackle the challenging context, but with Channel Three, ...
Jimmy Smith: Retrospective
by Sean Patrick Fitzell
He might not have been the first jazz organist, but Jimmy Smith's place in jazz history as the first to modernize and popularize its use as a featured jazz instrument is secure. His innovative style created the sub-genre of organ jazz, which many have followed. When he died this past February at age 76, Smith was ...
Greg Osby: Channel Three
by Michael McCaw
Channel Three, the first trio album in Greg Osby's now almost twenty-year recording career, is one of challenging, accessible, and incessantly swinging music. In many ways it sits in contrast to anything else in his catalog, but it nonetheless also sounds exactly like the alto saxophonist, due to Osby's indomitable spirit. Such a unique ...
Grant Green: Sunday Mornin'
by Norman Weinstein
There are a lot of Grant Green records on the market these days, entirely too much for those of us who think of him as one of the more erratic talents in the distinguished Blue Note catalog. But Sunday Mornin', coming immediately after the recent release of three funk-themed Green compilations of questionable value, is a ...
Madredeus: Faluas Do Tejo
by Franz A. Matzner
There is a unique pleasure in listening to music in an unfamiliar language. While much meaning is lost, there are nuances in the sounds that would be forsaken if one could translate every word. For those unfamiliar with Portuguese, listening to Faluas Do Tejo provides an acute example of this contradictory experience. This ...
Greg Osby: Channel Three
by Mark F. Turner
Progressive jazz enthusiasts have to admire an artist who is willing to take chances. From early beginnings with the creative music outlet of the M-BASE collective and popular music which included early hip hop, to becoming one of today's most individualistic jazz artists, saxophonist Greg Osby has continued to create music that is grounded yet is ...
Herbie Hancock: Inventions & Dimensions
by Norman Weinstein
All too often the concept of a Latin jazz album by a musician without a history inside that genre implies bop solos over a heavy-handed polyrhythmic foundation. What makes pianist Herbie Hancock's Inventions & Dimensions so utterly fresh and challenging, even decades after its original 1963 release, is his willingness to try a number of Latin-sounding ...
Erik Truffaz: Saloua
by Eric J. Iannelli
Jazz is by nature an act of continual fusion, the conflation of disparate styles, instrumentation and techniques into one dynamic whole. Nevertheless, one small subgenre--specifically the blending of rock and jazz--is most often applied with the “fusion" label; and though Miles Davis' name isn't exactly synonymous with the term, on the strength of his pioneering efforts ...
Erik Truffaz: Saloua
by Mark F. Turner
A disciple of Miles Davis' fusion/electric years, trumpeter Erik Truffaz has provided his own sounds of fusion for many years and quite impressively by cultivating many influences into this “not so new wave of jazz that younger artists are now discovering. His new release, Saloua, finds him back with a signature style that uses everything from ...
