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Matt Renzi: The Cave
by Michael P. Gladstone
I've always approached a piano-less trio like this sax/bass/drums combo with at least some trepidation. In the world of free jazz, it is, more or less, a rather standard pairing of instruments that allows for greater freedom without the chorded support from piano (or guitar). Within mainstream jazz, the work of Sonny Rollins (notably during his ...
Chris Gestrin / Ben Monder / Dylan van der Schyff: The Distance
by John Kelman
Creative jazz festival promoters have the unique opportunity to bring together artists who have never worked together but share common ground. Such collaborations are inherently risky; still, this type of gamble can sometimes yield a festival's most memorable moments. While Canadian pianist Chris Gestrin and percussionist Dylan van der Schyff had worked together on Gestrin's Stillpoint ...
John McNeil: East Coast Cool
by Dan McClenaghan
The music called “West Coast Cool" was well-represented by the mid-fifties Gerry Mulligan/Chet Baker Quartet, with Mulligan on the baritone saxophone and Baker on trumpet, backed by bass and drums. Working without a chording instrument--piano or guitar--was quite innovative at the time. The sound, in contrast to the sharper-edged bop of the day, had a loose, ...
Maria Schneider Orchestra: Days of Wine and Roses: Live at the Jazz Standard
by Edward Blanco
Days of Wine and Roses, captured in a live performance at the Jazz Standard in New York, was originally packaged in 2000 with two bottles of Riesling wine for sale, conceived and promoted as a marriage of music and wine, when the project encountered difficulties as the laws governing the sale and ditribution of liquor prevented ...
Deanna Witkowski: Length of Days
by Jerry D'Souza
Deanna Witkowski marches on to the sound of some well-crafted tunes on her latest release, Length of Days. The pianist/vocalist blends standards, her own compositions, and a chilled-out, laid-back, and unusual, but endearing version of “Hi-Lili Hi-Lo, to winning effect. Witkowski plays with clarity, never rushes, and keeps away from a welter of notes ...
John McNeil: East Coast Cool
by Jim Santella
Celebrating the piano-less quartet sound that Gerry Mulligan and Chet Baker brought us over 40 years ago, trumpeter John McNeil reflects on their individual spirit with a free jazz interpretation of his own. As he applies Mulligan's arranging principles to free music, his quartet introduces a unique sound that remains both cool and intense. McNeil, 57, ...
Jim Hall / Geoffrey Keezer: Free Association
by John Kelman
To the committed artist, music is something that represents a calling rather than a job that provides income from which one ultimately retires. Looking at the number of jazz musicians who continue to work into their 70s and 80s and are constantly moving forward, it's clear that it's more dedication than occupation. Jim Hall's reputation may ...
Deanna Witkowski: Length of Days
by Dan McClenaghan
Pianist Deanna Witkowski began her musical journey on the classical side, studying piano and flute. In college jazz called, first on the saxophone, then through piano lessons from Chucho Valdes and Hilario Duran. Length of Days, Witkowski's third release as a leader, opens with “Beautiful Hands," inspired by a compliment given to her by Billy Childs. ...
Maria Schneider Orchestra: Days of Wine and Roses: Live at the Jazz Standard
by Brian P. Lonergan
Big band leader Maria Schneider employs a simple formula on Live at the Jazz Standard: beautiful, multi-hued, and layered arrangements plus first-rate instrumentalists equals a vibrant modern big band session. This is not to say that the music is simple; anything but. Rather, the musicians' fluidity makes the set come across as effortless, while Schneider's approach ...
Deanna Witkowski: Length of Days
by John Kelman
Brian Camelio's ArtistShare model, allowing music to be distributed without the inherent loss of profitability that comes from dealing with all manner of middle men, has taken off in the past two years, with releases by artists like Maria Schneider, Jim Hall, and Cuong Vu. By placing more control in the artist's hands, he's made it ...
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