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Klez-Edge: Ancestors, Mindreles, NaGila Monsters
by Elliott Simon
John Zorn once remarked to that in the '60s, “we didn't want to hear Jewish music at our Bar Mitzvahs, we wanted to hear Hendrix." Funny how a few decades and some intermarriage with post-bop jazz can change all that. However, if back then some very hip parents convinced the best free jazzers to do a ...
Klez-Edge: Ancestors, Mindreles, NaGila Monsters
by Lyn Horton
Although rewards can come from listening to a recording where mixing styles is done through patching different samples together, the music on Ancestors, Mindreles, NaGila Monsters radiates out of the mindful integration of several identifiable musical idioms within the same performance spectrum. A child of pianist Burton Greene's 1989 band Klezmokum, the group Klez-Edge does more ...
Burton Greene and Laurence Cook Duo at Studio 234
by Lyn Horton
Burton Greene and Laurence Cook Studio 234 Cambridge, MA April 26, 2008 It was chilly for late April in New England. It had not rained for a while. And in a salon-type event, a small room filled with a motley grouping of chairs awaited an audience for a ...
Burton Greene: Bloom in the Commune
by Marc Medwin
In one of the interviews that flesh out this new reissue, pianist Burton Greene states that while he doesn't often listen to a record once it's done, his first date for ESP sounds quite fresh. Bloom in the Commune (originally released simply as Quartet but now retitled via the first track of the original B side) ...
Burton Greene: Bloom in the Commune
by Lyn Horton
How cultural history impacts present practice is a part of a recurring cycle of reminders. Because those who have lived that history continually refresh it, its renewed view in coincidence with our exposure to it collapses time. And then we all become one, moving through now as we moved then but in, perhaps, different global circumstances. ...
Burton Greene: Ins and Outs; Signs of the Times; Retrospective 1961-2005: Solo Piano (August 18, 2005)
by Clifford Allen
The era that ushered in free jazz was perhaps marked more greatly by hornmen than by the pianists. Chicago-born pianist Burton Greene, who came to prominence on three 1966 ESP recordings, seems to have been given a bit of short shrift in the history books, mostly because until the last decade or so a significant amount ...
Burton Greene: Retrospective 1961-2005: Solo Piano (August 18, 2005)
by Lyn Horton
Clarity of an all-encompassing vision can push a musician to say in music whatever is desired no matter what the response. This approach bolsters certainty and confidence which resultantly flows out of the instrument the musician plays. Both certainty and confidence exude from Burton Greene on Retrospective 1961-2005, Solo Piano. The recording is the third and ...
Burton Greene: Retrospective 1961-2005: Solo piano, August 18, 2005
by AAJ Italy Staff
Se chiedete a un accademico del jazz notizie del signor Burton Greene, nato a Chicago nel giugno del 1937, vi sentirete probabilmente rispondere qualcosa del tipo: “seppur misconosciuto, è un pianista di una certa importanza in quanto tentò di coniugare il free jazz con il cool di Lennie Tristano e con la contemporanea di Cage (l’introduzione ...
Pianist Burton Greene
by Clifford Allen
Pianist Burton Greene was born June 14, 1937 in Chicago. Following a brief stay in San Francisco he moved to New York in the early ‘60s and quickly became part of the nascent free jazz movement, playing with Alan Silva in the Free Form Improvisation Ensemble. He was a member of the Jazz Composers’ Guild, worked ...
Burton Greene: Live at Grasland
by Clifford Allen
You would not be faulted for raising an eyebrow at the appearance of a Burton Greene solo record. It is not without precedent, of course, for 1998’s Shades of Greene (Cadence Jazz) and It’s All One (Horo, 1975) set a worthy course. Nevertheless, Greene’s music has been fruitfully explored in ensemble recordings, from the classic open-communications ...
