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Results for "Braithwaite & Katz Communications"
Ran Blake: Ghost Tones: Portraits of George Russell
by Jakob Baekgaard
Sometimes an album can haunt you. It can be a companion that follows you through life. In the liner notes for the album: Ghost Tones: Portraits of George Russell (A-Side Records, 2015), pianist and composer Ran Blake reveals his love for composer and bandleader George Russell's album Jazz Workshop (RCA-Victor, 1957): “I listened to it so ...
Nick Finzer: The Chase
by Mark Sullivan
Trombonist Nick Finzer distinguishes himself as horn player, composer, and bandleader on this exciting sextet date. It's upbeat modern jazz just about all the way, aided by creative arranging. This is bop-based music, but Finzer avoids the trap of having all of the tunes follow the same head-solos-head format. There's plenty of solo space, but not ...
RelativE ResonancE: RelativE ResonancE
by Budd Kopman
With RelativE ResonancE, composer and drummer Devin Gray has staked out new, exciting and different territory than that explored in his highly acclaimed previous album, Dirigo Rataplan. Whereas the earlier band (saxophonist Ellery Eskelin, trumpeter Dave Ballou and bassist Michael Formanek) emphasized improvisation within group and compositional boundaries, the music for the new group ...
Satoko Fujii Tobira: Yamiyo Ni Karasu
by Karl Ackermann
If ever there were a restless musical spirit, it would be pianist, composer (and occasional accordionist) Satoko Fujii. The Japanese artist has issued more than sixty recordings in settings from solo to full orchestra and most everything in between. While she demonstrates virtuosic straight-ahead balladry on occasion, her preference has long leaned toward unorthodox improvisation. Fujii ...
John Fedchock New York Big Band: Like It Is
by Dan Bilawsky
Trombonist John Fedchock may be a seasoned veteran, but he's not set in his ways as a player, arranger, or composer. While some big band leaders of his ilk either try to recreate the past or completely abandon it, attempting to reboot themselves by genuflecting at the altar of modernism, he isn't one of them. Fedchock ...
Rich Halley 4: Creating Structure
by Hrayr Attarian
The totally improvised Creating Structure is saxophonist Rich Halley's fifth release with his regular working quartet in as many years. With this exquisite album Halley achieves a new level of musical excellence as he perfects his signature sound of raw sophistication and his unique, simultaneously emotive and cerebral style. On the dramatic and free ...
Satoko Fujii Tobira: Yamiyo Ni Karasu
by Budd Kopman
If it were possible to give ten stars to Yamiyo Ni Karasu, it would deserve every single one for its power, inventiveness and the sheer ecstasy of creation in the moment. Pianist, composer, improviser and overall whirlwind Satoko Fujii returns to once again to lead a quartet, Tobira, which was built from New Trio ...
Maria Schneider Orchestra: The Thompson Fields
by Karl Ackermann
At the time Maria Schneider released Evanescence (Enja, 1994), big band jazz--especially in the US--was overly predictable and indecisively hanging on like ballroom music in a ghost town. Schneider, while embracing the best practices of earlier legendary big band leaders and her mentors, Gil Evans and Bob Brookmeyer, had added unconventional elements to her own compositions. ...
Brian Landrus Trio: The Deep Below
by Hrayr Attarian
With his sixth release as a leader The Deep Below, low reedman Brian Landrus continues to explore the bottom octaves of woodwind registers with his characteristic elegance and captivating charm. What sets this album apart from its predecessors is the sparseness of its setting. Backed only by bass and drums, Landrus places his various ...
Charles Evans: On Beauty
by Budd Kopman
When “uncompromising" is used to describe a musician, one of the first word that usually comes to mind is “difficult," as in “difficult to understand." The musician in question puts out music which dispenses with that which the mind uses to recognize patterns: rhythm, harmony and melody. Furthermore, music which eschews euphony is invariably called “difficult." ...
