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John Hebert: Byzantine Monkey
by Stuart Broomer
John Hébert's Byzantine Monkey begins with a loop of the traditional “La Reine de la Salle" sung by Odile Falcon in an ancient reedy voice, Hébert's improvised bass joining in, his lines at once swift and empathetic, lyrical and microtonal, his sound deeply resonant and every metallic buzz of string and finger captured. It's an arresting ...
Komeda Project: Requiem
by Chris May
Despite the snowballing emergence of European jazz musicians on the world stage, relatively few European jazz composers have, in 2009, made it into the global repertory, which continues to be dominated by American voices. Perhaps it always will be, and perhaps local singularities--Italian or British or Scandinavian or whatever--are in any case better treasured, rather than ...
European Jazz Jamboree 2009
by AAJ Staff
European Jazz JamboreeBerlin, GermanySeptember 18-24, 200920 years after the Berlin Wall came down, the global appreciation of Germany's jazz is arguably finally getting its due, with no small help from the European Jazz Jamboree (EJJ). In its sophomore year, EJJ has quickly garnered attention throughout Europe, and now the States, too, is (and/or ...
Mika Pohjola: The Ever Search
by Maxwell Chandler
From studying music theory with his father to attending Vantaa Music Institute and the Royal College of Music, Mika Pohjola's life has been entwined with both music and the pursuit of knowledge. His work mirrors his desire to journey ever outward, searching for ways to incorporate the various influences and inspirations which have helped him create ...
The Nice Guy Trio: Here Comes The Nice Guy Trio
by Mark Corroto
Give three imaginative artists a yearlong residency in a performance space, located in a breeding ground for creative music and the results hopefully will turn out to be something like Here Comes The Nice Guy Trio. Canadian trumpeter Darren Johnston, now living in the Bay area of San Francisco, spent a year making music ...
Underground Horns: Funk Monk
by Elliott Simon
Alto saxophonist Welf Dorr has spent the last several years putting his own unique spin on the brass band, an instrumental lineup that is usually found in NYC crossing jazz with Balkan music. Although Dorr does look to Serbia for part of his musical muse he also draws heavily on a host of things including Afro-Cuban ...
Jesse Elder: The Winding Shell
by Ian Patterson
What is clear from one listen to The Winding Shell is that pianist Jesse Elder is a composer/arranger of some ambition. Changing time signatures and the harmonizing of alto and tenor are features of the music, as are interesting percussive dynamics and contrasts between softly voiced and more animated passages. Lively charge and pregnant pause coexist ...
Roberta Gambarini: Learning to Love Jazz
by Samuel Chell
Not long ago a veteran Chicago jazz disc jockey played a track from a female vocalist's new CD only after complaining on the air about the seemingly unending stream of new recordings by female singers sent to his notice each week. The exception to his policy not to play them was due, he explained, to the ...
1959: The Year Classic Albums Were Born
by R.J. DeLuke
When the year 1959 began, there were only 48 states. Alaska and Hawaii would became part of the United States during that annum, the third year of President Dwight D. Eisenhower's second term. It was the year Fidel Castro came to power in Cuba and took a goodwill tour of the U.S., two months after an ...
Paul Giallorenzo: Get In To Go Out
by Mark Corroto
Pianist Paul Giallorenzo locates the jazz he makes with his quintet somewhere in the early 1960s, when post-bop was getting ready to explode into free jazz and its pioneers were rooted in swing, but thinking outward thoughts. Eric Dolphy's Out To Lunch (Blue Note, 1964), Ornette Coleman's Tomorrow Is The Question (Contemporary, 1959), and Andrew Hill's ...
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