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Ted Rosenthal Trio: Out of This World
by Edward Blanco
Borrowing from The Great American Songbook is a standard practice for many jazz artists, who include one or more pieces when rounding out a repertoire of primarily new material. Not so for pianist Ted Rosenthal, whose affinity for music from the Songbook is reflected on at least two previous recordings, Rosenthology (Concord Jazz, 1994) and One ...
Ted Rosenthal Trio: Out Of This World
by Dan Bilawsky
Standards, when presented in their original form, speak of the time and place of their creation, but part of their longevity is due to the fact that they aren't encased in an early twentieth century amber that fossilizes and dates the material. The music of George Gershwin, Cole Porter, Billy Strayhorn, and Richard Rodgers is timeless, ...
John Law / Mark Pringle: This is
by Jakob Baekgaard
Traditionally, the art of the piano duo has been linked to classical music, and almost every significant classical composer, from Mozart to Maurice Ravel, has written music for two pianos. In jazz, however, this particular medium is somewhat rare, and although Bill Evans recorded Further Conversations with Myself (PolyGram, 1967), where he overdubbed himself on piano, ...
Alex Brown: Pianist
by Edward Blanco
With a little help from Cuban-born saxophonist Paquito D'Rivera the jazz world heralds the entrance of 22 year-old Alex Brown, capturing but a glimpse of his talents on a monster recording debut simply entitled Pianist. It was actually D'Rivera's bassist, Oscar Stagnaro,who began to gig with pianist around the Boston area, ultimately introducing Brown to D'Rivera, ...
JC Stylles: Exhilaration And Other States
by Edward Blanco
The debut album from New York guitarist JC Stylles, Exhilaration and Other States, swings through a varied selection of music running the gamut from Wayne Shorter and Billie Holiday to Cole Porter and Stevie Wonder. Reminiscent of early organ trios, the Australian-born Stylles features an impressive trifecta of his own with drummer Lawrence Leathers, and Hammond ...
Stanley Jordan: Friends
by David Rickert
Stanley Jordan's breakthrough recording, Magic Touch (Blue Note, 1985), was aptly named; the guitarist's two-handed tapping technique seemed to be achieved through sorcery rather than practice. People had used tapping before, but never to the level that Jordan did--comping and soloing at the same time, and giving the illusions of two guitarists playing at once. Those ...
Take Five With Laura Ainsworth
by AAJ Staff
Meet Laura Ainsworth: I was born in Los Angeles but came to Dallas as a tot when my dad, jazz sax/clarinetist Billy Ainsworth, relocated to become a part of the growing commercial recording industry. Came up in the music biz (details to follow!). Graduated from the University of Texas at Austin with a B.S. in Radio-TV-Film. ...
Rick Savage Jazz 4tet: Warwick, NY
by David A. Orthmann
Rick Savage Jazz 4tetWarwick, NYAugust 22, 2011 The opening set of trumpeter/flugelhornist Rick Savage's Jazz 4tet was a witty, civilized conversation between longtime colleagues, all of whom had something essential to say and respected one anothers' space. As part of the last day of the second annual Warwick Valley Jazz Festival, the ...
Atsuko Hashimoto: Until The Sun Comes Up
by Edward Blanco
Atsuko Hashimoto rides the Hammond B-3 organ through a selection of familiar standards, borrowing songs from The Great American Songbook on Until The Sun Comes Up, the Japanese organist's sixth album as leader. The recording is also her third project with Grammy Award-winning drummer Jeff Hamilton, following Time After Time (CDBY, 2008) and Introducing Atsuko Hashimoto ...
Jazz Arts Group Presents "Don't Listen to This!" - An Evening of Banned Music Featuring Byron Stripling, Dave Powers & Christian Howes
The Jazz Arts Group's Inside Track series kicks off the 2011-12 season on September 23 24 at the Lincoln Theatre with “Don't Listen To This!," an evening of music and lyrics that once fanned the flames of controversy, featuring Byron Stripling, Dave Powers, Christian Howes and a pre-concert lecture with the Thurber House. Music censorship didn't ...
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