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Article: Live Review

Festival International de Jazz de Montreal 2017

by John Kelman
July 7, 2017

Part 1 | Part 2 Festival International de Jazz de Montréal 2017 Montréal, Canada June 29-July 3, 2017 It's always a thrill to return to Le Festival International de Jazz de Montréal (FIJM). Deemed the biggest jazz festival in the world by the Guinness World Book of Records, it only ...

Article: Genius Guide to Jazz

How the Other Half Swings

by Jeff Fitzgerald, Genius
July 6, 2017

If there has been a frequent criticism of the Genius Guide, besides the fact that it's hard to tell what the hell I'm going on about most of the time, it would be that I have largely ignored the contributions of women to Our Music. One would think, from the body of my work to this ...

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Article: Live Review

The Stanley Clarke Band At Kuumbwa Jazz Center

by Walter Atkins
July 3, 2017

The Stanley Clarke Band Kuumbwa Jazz Center Santa Cruz, CA June 15, 2017 Preeminent bassist/composer Stanley Clarke and his talented band came to the welcoming and intimate environment of Santa Cruz's Kuumbwa Jazz Center for an enjoyable one night only date. The four time Grammy winner's band of young lions consisted ...

Article: Live Review

Chris Oatts Quintet at Chris’ Jazz Cafe

by Victor L. Schermer
June 26, 2017

Chris Oatts Quintet Chris's Jazz Cafe Philadelphia, PA June 23, 2017 Philadelphia keeps churning out great musicians, and one of those who is beginning to generate considerable interest is Chris Oatts. A graduate of Temple University's Boyer College of Music and Dance, he is the nephew of legendary saxophonist Dick Oatts, ...

Article: Interview

Roberto Gatto: vivere sbagliando è una gran perdita di tempo

by Daniele Vogrig
June 26, 2017

Tra una lezione e l'altra, abbiamo incontrato Roberto Gatto nel suo studio presso il Conservatorio di Latina, dove è titolare della cattedra di batteria e percussioni jazz. Ripercorrendo la carriera di uno tra i più illustri batteristi del panorama jazz italiano e internazionale, ne è scaturita una lunga e piacevole chiacchierata fra aneddoti, ricordi e progetti ...

News: Recording

Charles Mingus: Changes One

June 20, 2017

One of my favorite Charles Mingus albums is Changes One, recorded for Atlantic Records at the tail end of December 1974. There something about the recording that exceeds even Mingus's high composing standards and exotic vision. The album is moody, brooding and reminds me of New York in the mid-1970s more than any other. Yesterday, when ...

Article: Album Review

Pasquale Mirra: Moderatamente Solo

Read "Moderatamente Solo" reviewed by Neri Pollastri

by Neri Pollastri
June 20, 2017

Ultima uscita in ordine di tempo dell'etichetta Fonterossa di Silvia Bolognesi (che ce ne parlava nell'intervista che le abbiamo fatto recentemente ), Moderatamente Solo di Pasquale Mirra è un rarissimo esempio di album per solo vibrafono. Registrato dal vivo nel 2016 al Fonterossa Day #2 di Pisa, è dedicato dal suo autore ai propri genitori. Sebbene ...

Article: Album Review

Gregory Lewis: Organ Monk, The Breathe Suite

Read "Organ Monk, The Breathe Suite" reviewed by Jerome Wilson

by Jerome Wilson
June 10, 2017

Gregory Lewis aka Organ Monk, is an organ player with a uniquely grandiose and dramatic style that owes as much to a prog rock icon like Keith Emerson as to a Jimmy Smith. That was clear enough on his previous recording, American Standard where he played a selection of familiar pop standards. It's even more evident ...

Article: Live Review

PRISM Quartet with Joe Lovano at the Painted Bride

by Victor L. Schermer
June 7, 2017

PRISM Quartet with Joe Lovano Painted Bride Art Center Heritage/Evolution Philadelphia, PA June 3, 2017 An optical prism breaks down white light into the distinct colors of the spectrum. For the PRISM Quartet, this analogy applies in two ways 1) the expression of the music in the four registers of ...

Article: Live Review

Like A Jazz Machine 2017

by Ian Patterson
June 4, 2017

Like A Jazz Machine Centre Culturel Regionel Opderschmelz Dudelange, Luxembourg May 25-28, 2017 Size, as Like A Jazz Machine knows, isn't everything. The audience in the Centre Culturel Regionel Opderschmelz amounts to just four seated rows downstairs, with a small standing section to the rear, and ten rows ...