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Cristina Morrison: I Love
by C. Michael Bailey
Vocalist Cristina Morrison is also quite the lyricist as she demonstrates in spades on I Love. Original compositions like “Summer in New York" are beautifully carnal while the title track is a celebration of art and free spirits. Swing is the vitamin that nourishes this music, catalyzing a fine extended band to pitch-perfect performance. This is ...
Enrico Pieranunzi: Permutation
by C. Michael Bailey
Italy's jazz piano poet, Enrico Pieranunzi, records with his “American Trio"--bassist Scott Colley and drummer Antonio Sanchez--on Permutation, a collection of original Pieranunzi compositions that concentrate on percussive motifs and rhythmic variations. Pieranunzi's résumé is long and varied, and Permutation shows the pianist has no plans in slowing down his musical explorations.For all of ...
Mina Agossi: Red Eyes
by C. Michael Bailey
The French Classical Naive label continues its campaign into jazz with Mina Agossi's Red Eyes. Her second recording for the label after 2010's Just Like A Lady, Red Eyes finds the French singer staking out her rightful claim on what only can be described as the furthest molecule on the cutting edge of jazz vocals, before ...
David Basse: Uptown
by C. Michael Bailey
West Coast singer Mark Winkler (Sweet Spot [Cafe Pacific Records, 2011]) heard David Basse and immediately signed him to his Cafe Pacific Records. Uptown is the first product of this partnership and, for the sake of the male jazz singer, does not come a moment too soon. There exists a huge disparity between female and male ...
Mary Jenson: Beyond
by C. Michael Bailey
Vocalist Mary Jenson follows her well-received 2009 recording Close Your Eyes (Self Produced) with an homage to the dream state with Beyond. Coming from a large military family that never stayed put for long, Jenson developed a gypsy's soul and a musical taste for the world rhythmic and cosmopolitan. Her song selection is novel, including compositions ...
Dan Cray: Meridies
by C. Michael Bailey
There is nothing iconoclastic about pianist Dan Cray. He derives his piano style more from Tommy Flanagan and Hank Jones than Matthew Shipp or Ran Blake. He has been driving a trio through four previous recordings: Who Cares (Cray Sounds, 2001); No One (Blujazz productions, 2003); Save Us! (Blujazz productions, 2005); and Over Here Over Heard ...
Little Feat: Waiting for Columbus
by C. Michael Bailey
...He's got two degrees in Bebop, a Ph.D in Swing, he's the master of rhythm, he's a rock and roll king?" The art of slide guitar, that method of playing using a metal or glass tube and sliding it on guitar strings typically tuned to an open chord, such as Gmaj or Emaj, ...
The London Blues of Zoë Schwarz
by C. Michael Bailey
The American music genres blues and jazz are the subatomic particles of every note played since their commission to media in the early part of the last century. While one did not beget the other, were this a Venn diagram, there would exist an overlapping of blues and jazz in that place behind the roadhouse on ...
Wes Montgomery: Echoes of Indiana Avenue
by C. Michael Bailey
In welcome fits of serendipity, the manuscripts of previously unknown European classical compositions are found in attics, old churches or forgotten libraries and brought to light with no little fanfare. In the United States, there is an equivalent situation with hitherto previously unissued jazz recordings being revealed in the most unlikely places. In a recent example, ...
Allman Brothers Band: At Fillmore East
by C. Michael Bailey
The Blues is atomic music in the respect that as a part of American Popular Music it is an indivisible element, one that cannot be deconstructed. The Blues is a part of every genre of popular music: Rock, R&B, Jazz, Country, Bluegrass, and Rap. How did the blues insinuate itself into every popular form of American ...
