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Jeremy Pelt: November
by C. Michael Bailey
In the same way that Roy Hargrove's Earfood (Emarcy, 2008) updated Lee Morgan's Cornbread (Blue Note, 1965), so Jeremy Pelt's November updates Miles Davis' Miles Smiles (Columbia/Legacy, 1966). If creativity and art can be evaluated on both the vertical and horizontal, Morgan's and Davis' offerings represent horizontal progressions of the art of jazz into new areas, ...
Norma Winstone: Distances
by C. Michael Bailey
Practice brings one closer to perfection. British singer Norma Winstone has enjoyed a very prolific 35-plus year career that has been divided among a number of recording labels. Her recordings with John Taylor and Kenny Wheeler in the form of the group Azimuth brought her international exposure and recognition. These formats were the unusual combination of ...
The Hilliard Ensemble: Thomas Tallis / Christopher Tye / John Sheppard: Audivi Vocem
by C. Michael Bailey
How did the ancient monophony of Gregorian Chant evolve into the Renaissance polyphony of the 16th Century English Church? A bit of background is helpful. Musically speaking, monophony is the simplest of aural expression which consists of a melody without accompanying harmony. Music where all the notes sung are in unison is termed monophonic. The earliest ...
Harmonious Wail: Resist Temptation
by C. Michael Bailey
Django Reinhardt is often overlooked as one of the seminal figures in jazz. Jazz, a uniquely American art, became international in the hands of Reinhardt and his partner in crime, French violinist Stephane Grappelli. Reinhardt's jazz was colorful, natural, and spontaneous. As a trend setter, Reinhardt gave birth to many “gypsy jazz" combos, one of the ...
Piers Lawrence Quartet: Stolen Moments
by C. Michael Bailey
William “Count" Basie was a master of economy in his piano playing. Never flashy or overtly technical, Basie had a knack for being able to play the least number of notes while still maintaining the necessary momentum to swing. Miles Davis was another such master, where the music was more about style than technique. Guitarist Piers ...
Garth Knox, Morton Feldman, and a Viola Walk Into a Bar...
by C. Michael Bailey
What's the difference between a violin and a viola? Well, take your pick: (a) the viola burns longer (b) the viola holds more beer (c) you can tune the violin. The poor viola. She does not even get a piece of a break. The viola is the least understood and respected of orchestral stringed ...
World Without End: John Coltrane, Michael Brecker, and the Saxophone Summit
by C. Michael Bailey
In 2004 Michael Brecker, Joe Lovano, and Dave Liebman joined forces as the long-lived Saxophone Summit and entered the studio with the expressed intent of considering the most difficult of the John Coltrane corpus--late Coltrane. This is the Coltrane typified by spiritual melody overwhelmed with the catharsis of improvisation taken to its highest multiple. ...
Art Pepper: Art Pepper: Unreleased Art, Vol. III; The Croydon Concert, May 14, 1981
by C. Michael Bailey
Laurie Pepper, widow of alto saxophonist Art Pepper, has single-handedly made the most significant contribution to her late husband's legacy in the last decade with the release of Unreleased Art, Volume 1: The Complete Abashiri Concert November 22, 1981 and Unreleased Art, Volume 2: The Last Concert May 30, 1982. Both were released in 2007 on ...
Thom Rotella 4-tet: Out of the Blues
by C. Michael Bailey
Let's hear it for the straight-ahead, blues-drenched, Blue Note circa 1955 blowing session. Sometimes after feasting on the rich duck pate of ECM or the decadent foie gras of Winter & Winter, the listener just craves the black-eyed peas and collards simplicity of the blues. Let's also hear it for a full, round arch top guitar ...
Sylvia Bennett, Aniya, Lauren White, Perez: A Quartet of Standards
by C. Michael Bailey
Standards are still the bread and butter of jazz. Whether from Tin Pan Alley's American songbook or specifically composed as jazz and assimilated into the jazz repertoire, the standard offers musicians a proven, tried and true vehicle with which to ply their artistic trade. This is never more the case than in the realm of jazz ...
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