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Gebhard Ullmann / Chris Dahlgren / Art Lande: Die Blaue Nixe
by Mark Corroto
How do you listen to well-recorded music? Is it in your car? Perhaps while you are washing the dishes, working, reading today's newspaper. Very few of us put a CD in the player, close our eyes and listen. That's exactly why popular music has that beat, the boom-boom-boom of our hectic lives. Like fast food, cell ...
Gato Libre: Nomad
by Jerry D'Souza
Natsuki Tamura and Satoko Fujii are two of the most daring improvisers in jazz. Their music blasts through unfettered, a brimful of heated animation. But daring can take other courses, and so it is with Gato Libre, Tamura's quartet, which does strange things considering the pedigree that he and Fujii have. They get into folk music, ...
Basement Research: Live in Munster
by Jerry D'Souza
Basement Research's third CD comes in the wake of Gebhard Ullmann's 50th birthday. The band got started with Ellery Eskelin on tenor saxophone in 1993, before Tony Malaby replaced him in 1999--and thus Malaby appears on this live recording from that year. Ullmann is a man of many parts. He plays in several bands, all of ...
Wayne Wallace: The Reckless Search for Beauty
by Dan McClenaghan
San Francisco-based trombonist Wayne Wallace's first professional musician jobs were in a Top Forty group and a James Brown cover band. From there, he attended San Francisco State University, graduating with a degree in Performance. Then he traveled to Havana, Cuba to study Afro-Cuban music at the National School of Arts. His search seems more steeped ...
Don Aliquo: Jazz Folk
by Michael P. Gladstone
The music on Jazz Folk has nothing whatsoever to do with folk music. Instead, Don Aliquo reports that he aimed to “capture the soul and spirit of folk music." Perhaps the title refers to “jazz people," which would make more sense. Don Aliquo is a well-respected saxophonist and educator in Nashville and a Director ...
Dan Willis: Velvet Gentlemen
by Michael P. Gladstone
File under: Eric Satie Jazz or Quantum Physics Jazz. I don't know f you have to intellectualize the music, only one of the above subjects is necessary for me. On his third album, multi-reed player Dan Willis reports in the liner notes of Velvet Gentlemen that his writing for this album was influenced by ...
Aaron Irwin Group: Into The Light
by Budd Kopman
Jordi Pujol, who manages FSNT, has a real knack for finding talented players and giving them a chance to record. Into The Light only further demonstrates his sensibilities. Still shy of thirty, Aaron Irwin has very mature musical instincts and an eclectic taste, with playing that is rhythmically quite free and unpredictable and compositions with a ...
Dan Willis: Velvet Gentlemen
by Jeff Dayton-Johnson
It's hard not to like a band that calls itself “Velvet Gentlemen, even before learning that the moniker derives from a nickname given to the velvet-clad composer Erik Satie by children in his Parisian neighborhood. It's similarly easy to appreciate the sound of the compositions and arrangements on this record even before knowing that they are ...
Satoko Fujii Four: When We Were There
by Jeff Dayton-Johnson
"Sandstorm, the opening cut on this album, is one of those all-hands-on-deck-and-make-some-noise extravaganzas that seem to be coming back into fashion (check out “3:10 Local on Dan Willis's Velvet Gentlemen (OmniTone,2006), or “Cosmic Tomes For Sleep Walking Lovers Part 1 on the Exploding Star Orchestra's We Are All From Somewhere Else (Thrill Jockey, 2007)). But, though ...
January 2007
by AAJ Staff
Helen Sung at Fazioli Salon Helen Sung's December 15 solo recital in the Fazioli Salon at Manhattan's famed piano showroom, Klavierhaus, was a picture of opulence. Surrounded by Steinways and Pleyels over a century old, the diminutive Sung took command of a new nine-foot Fazioli grand, closing out a season that boasted the likes of Bruce ...
