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Joëlle Léandre: A Woman's Work...
by Mark Corroto
How do you sum up the career of an improvising artist like Joëlle Léandre? Do you reissue a package of recordings from her 40 years of performance? That is probably not possible, given the multiple labels and the location and ownership of the masters. Besides, free improvisation, almost by definition, dissipates (or probably should dissipate) upon ...
Jazz Musician of the Day: Derek Bailey
All About Jazz is celebrating Derek Bailey's birthday today! Bailey was born in Sheffield, England. A third generation musician, he began playing the guitar at the age of ten, going on to study with John Duarte among others. As an adult he found work as a guitarist and session musician in clubs, radio, dance hall bands, ...
Jazz Stories: 2016
by Michael Ricci
All About Jazz--a longstanding internet destination for all things jazz--is a community bound by its love of the music. Since March, we've solicited jazz stories from our members asking them to answer any of a handful of questions and we wanted to recognize some of our submissions from 2016. New stories arrive daily and ...
Emanem Tidies Up
by John Eyles
As well as releasing contemporary recordings of improv, Martin Davidson's Emanem label has played a vital role in documenting the history of the music by releasing, re-releasing or re-curating recordings that are decades old. In the process, Davidson has sometimes worked tirelessly to improve the sound quality of recordings that were never intended for release, and ...
Jeff Parker: Slight Freedom
by Dave Wayne
One is tempted to think of Jeff Parker as the first guitar anti-hero. He's a subtle player, first and foremost, not given to showy pyrotechnics and rapid-fire flights of plectral fancy. His chameleonic, almost self-effacing, presence on recordings by Tortoise, Joey DeFrancesco, Isotope 217, Fred Anderson, the Brian Blade Fellowship, Peter Erskine, Nicole Mitchell, Yo La ...
Mats Gustafsson
by Paolo Peviani
Il tratto principale della mia musica Devono giudicarlo gli altri. La qualità che desidero nei musicisti che suonano con me La dedizione e il fuoco. Come musicista, il momento in cui sono stato più felice Sempre il momento che verrà. Come musicista, il mio principale difetto
Borbetomagus: The Eastcote Studios Session
by John Eyles
Borbetomagus--Donald Miller on electric guitar, Don Dietrich and Jim Sauter on (tenor) saxophones--have been together since the late 70's. They soon established their own distinctive sound and working methods that suited the unconventional instrumentation and gave the trio a strong identity. With Dietrich and Sauter owing a debt to such free saxophonists as Albert Ayler, John ...
Kris Davis: Duopoly
by Stefano Merighi
Per valutare l'arte pianistica di Kris Davis si ascolti l'incipit di Aeriol Piano, album solitario di qualche anno fa. La decostruzione e conseguente reinvenzione dell'usurata “All the Things You Are" rivelavano un folgorante talento di sintesi, di rara sensibilità; per apprezzarne invece la sottigliezza di orchestratrice è utile tornare a Novela, fantastico disco a nome Tony ...
Jeff Parker: Reinventing Tradition
by Jakob Baekgaard
Is there such a thing as a Chicago sound? Back in the year 2000, a compilation was released that tried to portray a new and exciting musical scene. The album was called Chicago 2018... It's Gonna Change and it highlighted a brilliant mixture of free jazz, electronica, post-rock, art pop and experimental folk music. Of the ...
Joe Morris: Shock Axis
by Mark Corroto
I am applying for a NEA grant to test my theory that you can judge an album by it's cover. For instance, The Rolling Stones' Exile on Main St (RSR, 1972) and The Clash's London Calling (CBS, 1979) are two albums where you just knew what to expect by gazing at the covers. In the jazz ...
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