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Rob Levit: Touch the Spirit
by Budd Kopman
Rob Levit is an amazing guitarist and a deep, feeling musician. Uncertain Path (Symbol System, 2004) revealed his electric side alongside a band, and now Touch the Spirit explores his solo relationship with the acoustic guitar, both steel and nylon, with a bit of electric thrown in. Levit is also a bit of a Renaissance man--he ...
Elissa Lala: Touch of Your Voice: New Takes on Chet Baker
by Budd Kopman
Elissa Lala has a stunning, sultry, smoking delivery that makes these tunes associated with Chet Baker envelop the listener. Communication is the most important thing to her, and her singing, while pure of pitch and treated with what she calls a “natural" vibrato, speaks directly to the listener in a way that's reminiscent of Betty Carter. ...
Ricardo Gallo: Los Cerros Testigos
by Budd Kopman
Living in New York City, one can sometimes take the presence of so much local musicianship and creativity for granted. Ricardo Gallo's Los Cerros Testigos is, therefore, a strong reminder that great music is happening all over the world. Here we have another example of what a fusion of different music with jazz really means: the ...
Yaron Gershovsky: Personal Notes
by Budd Kopman
Personal Notes is just that, a personal musical statement by Yaron Gershovsky. He has worked with a long list of high-profile musicians, including Wayne Shorter, Dr. Lonnie Smith, George Benson and Michael Brecker. Most impressively, Gershovsky has been the music director and keyboardist for the Manhattan Transfer, with whom he is currently touring, since 1979.
Johnnie Valentino: Stingy Brim
by Budd Kopman
Omnitone strikes again with Stingy Brim, a release that is billed as commemorating the one hundredth anniversary of the death of the tuba as the bass line instrument, when it was replaced by the string bass. This album is very cool, hip, funny and just unpredictable enough to keep you glued to your chair, unless, that ...
Carl Maguire: Floriculture
by Budd Kopman
Floriculture is clearly a jazz record and does not seem to inhabit Between the Lines' usual niche at the point of collision between modern classical composition and jazz improvisation, perhaps because of the standard jazz band instrumentation. The first delicate notes of Carl Maguire's piano in “Egocentric" repeat odd phrases that move in ...
Wajdi Cherif: Jasmine
by Budd Kopman
Words like “progress," “advancement" and “moving forward" are dangerous to use in describing art, yet they pop up all the time in that context. The idea that the history of jazz is one of progress or advancement rather than simply change is very popular, but unwarranted in my view. It would be easy to say that ...
Tuesdays with Ken Hatfield
by Budd Kopman
Ken HatfieldFetch Restaurant New York, NY May 2, 2006 What is fascinating and wonderful for the jazz lover in New York City is that high quality jazz can be found in many unexpected places such as restaurants. While you will not find a Big Band, small acoustic groups abound. ...
Charles Lloyd: Sangam
by Budd Kopman
Those who have been following Charles Lloyd on ECM--as well as plenty of other people--have a real reason to rejoice. Sangam, Lloyd's first live recording for the label, is extremely well recorded and features a new configuration. The concert was part of an event entitled “Homage to Billy Higgins," which included a screening of Dorothy Darr's ...
Jeremy Steig: Flute On The Edge
by Budd Kopman
Flute On The Edge is a thoroughly enjoyable, if somewhat predictable, jazz release by a flute-led jazz quartet. Jeremy Steig addresses the issue of flute as jazz instrument slightly differently than Francois Richard did on his recent album Ad Infinitum (Effendi, 2006). Most, if not all flute players seem to have the deep need to add ...
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