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Ed Cherry: Soul Tree
by C. Andrew Hovan
If there were a reward given for the most consistently underappreciated guitarist with the longest staying power, it would have to go to Ed Cherry. Most known for his fifteen-year stint with Dizzy Gillespie back in the '80s and '90s, Cherry has been constantly active, but criminally undocumented as a leader throughout most of his career. ...
GoGo Penguin: Man Made Object
by Geno Thackara
They're not your parents' kind of piano trio. Regardless of your age, they're not the obvious idea of yours either. In a milieu that's based on exploration or at least adaptability, GoGo Penguin is still more restless and exploratory than most; this UK outfit's brew of what they call “acoustic electronica" owes a debt to Brian ...
Hans Luchs: Time Never Pauses
by Budd Kopman
While it does not scream downtown, avant-garde, uber originality, guitarist Hans Luchs debut recording, Time Never Pauses, is far from a vanilla, “jazz as style" offering, and, in fact has much going for it. For one thing, his band, consisting of drummer George Fludas, bassist Clark Sommers, pianist Stu Mindeman and Shaun Johnson on ...
Bruno Raberg: For The Unknown
by Dan McClenaghan
Bassist Bruno Raberg's artistry sounds as if it would be a good fit for ECM Records. His music has a drifting elasticity; space is an important component; and his muse has introduced him to electronic sound design--an approach that the Swedish-born, and now Boston-based, performer has embraced. Raberg's sound is unique. Over the course ...
Per Gärdin/Rodrigo Pinheiro/Marco Franco/Travassos: Oblique Mirrors
by Mark Corroto
Listening to the free improvisation recording, Oblique Mirrors brings to mind a most memorable line from the film The Usual Suspects, where Kevin Spacey as Roger “Verbal" Kint says, “The greatest trick the Devil ever pulled was convincing the world he didn't exist. And like that, poof. He's gone." Maybe its the evanescent nature ...
Ergo: As subtle as tomorrow
by Glenn Astarita
The premise for this album is based on a succinct Emily Dickenson poem, As Subtle as Tomorrow with the verse allocated to the individual track titles. Subtle is an adjective that parallels the trio's chief mode of operations. The band's muse is nestled somewhere within an existential progressive jazz format, layered with ambient-electronic treatments and hearty ...
Monkbeatz: Ugly Beauty
by Mark Corroto
Seventy years ago, nobody was playing pianist Thelonious Monk's music, except Monk. One of the originators of bebop, along with Dizzy Gillespie; Charlie Parker, and Bud Powell, he created his own language. As the 1940s turned into the 50s, Monk's music developed its own distinctive parlance. The earliest interpreter of Monk, maybe a better ...
Brad Shepik / Ron Samworth: Quartet 1991
by Dan Bilawsky
Tony Reif is calling a mulligan here. Some twenty-five years ago, shortly before he founded and launched the Songlines imprint and long before he was known the world over for his work in the production and promotion of creative music, Reif went into a Seattle studio to produce a recording for a quartet fronted by guitarists ...
Steve Wiest And Phröntrange: The High Road
by Dan Bilawsky
You don't encounter a lot of trombone-centric fusion dates these days. But then again, you also don't encounter too many musicians like Steve Wiest, the unabashedly enthusiastic veteran trombonist fronting this project. He's a true polymath, respected as a performer, educator, science fiction author, cartoonist, and composer-arranger. But he also clearly knows how to let rip ...
The Jim Cullum Jazz Band: Porgy and Bess Live
by Jack Bowers
Since its New York City debut in September 1935, George Gershwin's beloved folk opera Porgy and Bess has been recreated and performed in almost every possible context, from classical opera to musical theatre to mainstream jazz, in America and overseas. The opera has been probed and dissected so often, in fact, that at first blush another ...
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