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Steve Korn: Points in Time
by Dan McClenaghan
This one, more than most sets that come this way, reveals itself in successive layers. Melody didn't initially assert itself to these ears. It was there, in dreamy post bop permutations, but it was the harmonies that grabbed me from the start. Drummer Steve Korn and company explore unusual and engaging harmonic frameworks, and I spent ...
Ivo Perelman Double Trio: Suite for Helen F.
by Dan McClenaghan
My initial encounter with the opening cut of Suite for Helen evoked images of a man blowing saxophone with a nest of small stinging insects busy swarming inside his pants. To carry the image further, this man, though painfully beset, is resolute in a singular pursuit of his sonic mission—blowing the guts and maybe even the ...
Frank Darmiento: Sudden Impact
by Dan McClenaghan
Flip through your collection of quartet recordings and odds are that a saxophone—alto or tenor—in front of a rhythm section comprises the bulk of the sets. Trumpet out front might be next, followed by a variety of different instruments like guitar or vibes; and then you might (though I didn't) come across a lone trombone blowing ...
Ron Horton: Subtextures
by Dan McClenaghan
Trumpeter/flugelhornist Ron Horton came onto my radar—floating on a cloud, it seemed—on Andrew Hill's Dusk (Palmetto, 2000). His solo on that disc's stunningly beautiful title track drifted and roiled with a understated, dreamy poetic grace, a song within a song, a personalized expansion of Hill's theme. The approach on Subtextures is much the same.The ...
Helen Sung: Push
by Dan McClenaghan
It's always a good sign when the opening cut has you snapping your fingers about fifteen seconds in. Push is pianist Helen Sung's debut effort. The song that elicited the fingersnaps is “Conundrum," a swinger that features some clean-lined tenor sax work by Marcus Strickland. It hits a groove early, and a couple ...
Jenny Scheinman: Shalagaster
by Dan McClenaghan
If you're one of the, what, couple of million or so music purchasers in possession of Norah Jones' Come Away With Me, you've heard Jenny Scheinman, who lent her big violin sound to that surprising hit—one of many astute backing musician choices made for the singer's debut recording.With Shalagaster, Scheinman has put together an ...
Fred Hess Quartet: The Long and Short of It
by Dan McClenaghan
Appearances, as they say, can be deceiving. On the cover of The Long and Short of It, the grey-haired and bespectacled Fred Hess wears a standard blue dress shirt beneath a conservative sweater vest. It's a look that might make you guess the sounds he's offering up here are a set of time-tested standards, played in ...
Ned Otter: Powder Keg
by Dan McClenaghan
For years tenor saxophonist Ned Otter polished his jazz craft as a protege of sax man George Coleman. Indeed, the first CD issued on Otter's Two and Four Recordings was Coleman's Danger High Voltage. Otter played alongside his mentor on that disc, and Coleman joined him on the younger player's debut, So Little Time (Two and ...
Jeremy Pelt at Dizzy's
by Dan McClenaghan
Trumpeter Jeremy Pelt could have been forgiven if he and his crack quartet had turned in a ho-hum performance Monday, January 12, at Dizzy's in downtown San Diego. The band had just wrapped up a successful four day stay at the Jazz Bakery in Los Angeles, and were, at show time, eight hours away from hitting ...
David Krakauer: Live in Krakow
by Dan McClenaghan
The world of MTV isn't klezmer clarinetist David Krakauer's milieu, but if it were, a video for “Table Pounding," the opening track of Live in Krakow, might include a scene of four black-clad, bearded, traditional-looking Jewish gents cruising the streets of Krakow in a low-riding car. This car is is equipped with a muscular sound system ...
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