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Brian Landrus: Generations
by Jerome Wilson
With Generations baritone saxophonist Brian Landrus has created an ambitious set of music for full orchestra that is based in jazz but also touches on classical music, hip hop and reggae, giving prominent position to instruments like harp and vibraphone to give his ensemble an airy, spacious sound.It all begins with the five-movement “Jeru ...
Of Stories, Songs, and Self: Fred Hersch's Good Things Happen Slowly & Open Book
by Dan Bilawsky
Most everything in Fred Hersch's oeuvre has always miraculously existed as slow read and page-turner all at once. The many phrases, songs, and albums spun from the mind and fingers of this highly expressive pianist-composer have been something to really take time with, to be savored and appreciated for their beauty and depth of creative thought. ...
New England Conservatory’s Jazz Studies And Contemporary Improvisation Departments Present 100+ Performances And Events For 150th Season
2017-2018 Season highlights include: World premieres of new works by Darcy James Argue and Anthony Coleman Monk’s Dream: Thelonious Monk at 100 with T.S. Monk Manteca: Dizzy Gillespie and the Birth of Latin Jazz celebrating Gillespie’s centennial Residency featuring Matana Roberts Music of Jerry Bergonzi and Ken Schaphorst New England Conservatory’s (NEC) internationally renowned Jazz Studies ...
Fred Hersch: Open Book
by Dan McClenaghan
In the aftermath of his coma and very possible demise back in 2008, pianist Fred Hersch blossomed from a status as a first rate jazz pianist into the rarified air of one of the handful of top practitioners of that art form. A series of post-illness albums, from Whirl (2010), to Alone At The Vanguard (2011) ...
Paul Jones: Clean
by Dan Bilawsky
When saxophonist Paul Jones delivered his literature-indebted debut--Short History (Blujazz Productions, 2014)--it marked him as an intellectually curious seeker, eager and willing to walk a different path. With Clean he goes even further afield, utilizing minimalistic ideals, mathematically-oriented compositional methodology, post-millenial hip hop influences, and jazz language to create a whole that's wholly different from anything ...
The Liberation Music Collective: Rebel Portraiture
by Karl Ackermann
The Liberation Music Collective is a young group built around a pair of Indiana University graduates, bassist/vocalist Hannah Fidler and trumpeter Matt Riggen. As the name may imply, LMC liberally leans on the Charlie Haden/Carla Bley legacy of the Liberation Music Orchestra, even including a web site photograph that mimics the cover of LMO's self-titled debut. ...
Bill Cunliffe: BACHanalia
by Jerome Wilson
This is another entry in the durable “jazz meets the classics" subgenre with pianist and bandleader Bill Cunliffe leading a large ensemble through a fun program featuring mostly classical works and familiar standards.The classical adaptations start off with Johann Sebastian Bach's “Sleepers Awake" played with crisp, muscular drive by the band. Cunliffe and trombonist ...
Kevin Hays / Lionel Loueke: Hope
by Karl Ackermann
New York/Paris-based Newvelle Records, the vinyl-only subscription label, is well into its second season of six planned releases. The second of these albums is the Kevin Hays and Lionel Loueke duo outing, Hope. Pianist Hays plays with his namesake trio as well as the Bill Stewart Trio and has worked with Sonny Rollins, Benny Golson, Ron ...
Brian McCarthy Nonet: The Better Angels of Our Nature
by Karl Ackermann
Brian McCarthy's The Better Angels of Our Nature shares some common ground with Ted Nash whose Big Band collection Presidential Suite (Eight Variations on Freedom) (Motema Music, 2016) explored musical interpretations of great historical speeches including those of John F. Kennedy, Franklin D. Roosevelt, Ronald Reagan and Lyndon B. Johnson. McCarthy's focus is inspirited by American ...
Quinsin Nachoff: Quinsin Nachoff's Ethereal Trio
by Mark Corroto
It's interesting how modern jazz performers come to the music from very different circumstances than those of players of bygone eras. Instead of learning their craft in a bar or bagnio, they went to a conservatory to sharpen their chops. What they lack in perceived street-smarts (the outdated 1950s hipster delusion of jazzman as junkie), they ...
