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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 ...
Erik Truffaz: Saloua
by Paul Olson
French trumpeter Erik Truffaz's sonic world is a benevolent, positive one, fusing elements of Arabic and African musics, hip-hop, groove, dub, and pop into one electronically seasoned stew. Saloua, his first CD since 2003's The Walk of the Giant Turtle, continues its eclectic synthesis of the above musical ingredients, but with new musicians. Here Truffaz's group ...
Stefano di Battista: Parker's Mood
by Jim Santella
Recreating a bit of jazz history, Stefano di Battista displays the kind of blazing-fast technical wizardry that brought Charlie Parker to our attention when bebop was just a youngster. Alternately, he adds tender ballads with his heart on his shirtsleeve to demonstrate that side of Bird which appealed to the lover within each of us. His ...
Bill Charlap: Plays George Gershwin: The American Soul
by Jim Santella
With a crisp attack and seamless, lyrical phrasing, pianist Bill Charlap interprets this collection of ten Gershwin songs with authority. His septet allows plenty of room for each artist to speak his piece throughout, each soloing along individual lines. Frank Wess is featured on “How Long Has This Been Going On?," which exhibits his ...
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