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Trumpet Summit: Jeremy Pelt, Brad Goode and Terell Stafford
by C. Michael Bailey
The spirit of trumpeter Miles Davis remains very much a creative quasar furnishing a certain gravitational pull to a considerable population of bodies orbiting it. On the outer edges of this quasar's orbit are the (relatively) young trumpeters who emerged after the pedantic eclipse of Wynton Marsalis occurred. Three of these orbiting horn players have released ...
Skydog: The Duane Allman Retrospective
by C. Michael Bailey
If a musical note has a soul, Duane Allman could slide up to it and hold it beneath a Coricidin bottle in a tremolo seizure of sonic perfection until it screamed. Whether it is the whiplash introduction to “Don't Keep Me Wonderin'" or the most perfect electric blues performance recorded on “One Way Out," Allman had ...
Albert King: Born Under a Bad Sign
by C. Michael Bailey
First things first. Left-handed blues guitarist Albert King played a right-handed, right-strung guitar turned upside down. Left-handed blues guitarist Jimi Hendrix played a right-handed, left-strung guitar upside-down.That said..When Albert King came to Memphis and signed with Stax records in 1966, no parties knew exactly what effect King's blues sensibilities would have on ...
Lela Kaplowitz: Lela & Joe Kaplowitz - With Every Breath
by C. Michael Bailey
Croatian singer Lela Kaplowitz sings con brio and gleeful abandon. Eastern Europe has always been a hotbed terrain for big band music, with creativity exploding after the end of the Cold War. Kaplowitz and her husband/pianist/arranger Joe Kaplowitz emerge fully formed and swinging on With Every Breath. The pair employ the wares of the Croatian Radio-Television ...
Fiddlers on the Roof: Aisslinn Nosky and Julia Wedman
by C. Michael Bailey
Violinist Lara St. John is not the only noted fiddler from the friendly climes of Canada. The past few years have seen the emergence of two exceptional violinists, Aisslinn Nosky and Julia Wedman, who intersect one another in multiple places, including: Tafelmusik, the Eybler String Quartet and the Baroque chamber group, I Furiosi. Outside of Tafelmusik, ...
Sacred Steel: Rev. Utah Smith, et al. and The Slide Brothers
by C. Michael Bailey
The “Sacred Steel" tradition born in the House of God Church some 80 years ago employed the pedal steel and lap steel guitars as the centerpiece of their message. The steel guitars, long an eloquent staple of country and western music are used to a much grittier effect in this largely African-American mode of worship.
Jim Pearce: You Are An Edgy Visionary Seer
by C. Michael Bailey
Jazz is serious music: so serious that sometimes it becomes a labor of such intensity that the composers and performers fail to have fun making the music. Vocalist/pianist/composer Jim Pearce specifically makes it a point to have fun, before getting serious (as serious as he ever gets). Gratefully in the mold of Bob Dorough, Dave Frishberg ...
Maria Jacobs: The Art of the Duo
by C. Michael Bailey
Simplicity in jazz performance is a sure bet when one has the chops to deliver. Jazz vocal in a duet format is one of the more exposed configurations, one where the singer liability is great. All mistakes, mis-steps and wrong notes are readily audible. Cleveland, Ohio native singer Maria Jacobs' fourth release features seven voice-guitar duets ...
Antonio Adolfo: Finas Misturas (Fine Mixtures)
by C. Michael Bailey
Brazilian pianist/composer Antonio Adolfo has been making important contributions to the Brazilian-Caribbean musical discography for 40-plus years. His most recent recordings--Chora Baiao (Self Produced, 2011), with Adolfo as leader, and La e Ca (AAM Music, 2010), made with daughter, vocalist Carol Saboya--display the results of a careful evolution of jazz through Caribbean and South American music, ...
Chris McNulty: The Song That Sings You Here
by C. Michael Bailey
Great art often results from conflict, pain or loss. Australian-born singer Chris McNulty notes that The Song That Sings You Here, in spite of being conceived and recorded before she suffered the death of her son Sam, could have just as easily been conceived and recorded after, summing these circumstances into a type of preemptive creative ...
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