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R.L. Burnside & The Sound Machine: Raw Electric: 1979-80
by Derek Taylor
In the intensely fickle proving ground of the music business probability of success routinely defies prognostication. This is particularly true in the realms of niche genres such as blues. A musician can struggle and toil for decades before lightning strikes thrusting him or her into the pale and often fleeting limelight that is public adulation. Bluesman ...
JATP: Carnegie Hall 1949
by Derek Taylor
Home to the filibustering solo and crowd pleasing barrages of bombast, Norman Granz's JATP extravaganzas were a direct populist affront to the intellectualism that invaded jazz in the wake of the bebop revolution. Often taking a carnival barker's stance Granz made no bones about his emphasis on saturating his concerts with thrills even when it came ...
Kalaparush Maurice McIntyre & the Light: South Eastern
by Derek Taylor
Ceasing a long hiatus from recording with a date for Delmark in late 1997 as part of the Bright Moments ensemble, Kalaparush seemed on the verge of a much belated renascence. Two sessions for CIMP followed, the first as leader in 1999 and the second as a member of Luther Thomas’ Quintet in 2000. Sadly all ...
Alex Harding Trio: Freeflow
by Derek Taylor
Baritone saxophonists remain a comparatively rare breed. Even more rare are those souls who choose the cumbersome horn as their main medium of improvisatory expression. Detroit native Alex Harding is a card-carrying member of this rarified clique. He shares the ranks proudly with such peers as Bluiett and James Carter, all three of whom collaborate freely ...
Fred Hess Quartet: Exposed
by Derek Taylor
Boulder, Colorado doesn’t crop up often in serious conversations about creative improvised music. But based on the serendipitous contents of this new CIMP release perhaps it should. Fred Hess founded the Boulder Creative Music Ensemble at the onset of the Eighties and according to producer Bob Rusch the aggregate of creative improvisers continues to this day. ...
Charles Eubanks: New Beginnings
by Derek Taylor
In the expanding CIMP canon piano recordings are comparatively small in number. The cramped size and nature of the Spirit Room makes the presence of a piano problematic. To accommodate the small number of sessions where the instrument is essential Bob Rusch commonly rents space in a nearby recital hall. The change of locale necessarily creates ...
Ned Rothenberg & Denman Maroney: Tools of the Trade
by Derek Taylor
Capitalizing on a healthy work ethic on their collection of CIMP duets reedman Rothenberg and pianist Maroney meet the challenges of their chosen instrumentation head-on. The no frills titles of the pieces stand directly at odds with the amount of preparation and planning that went into their respective birthings. Maroney’s manipulations to his rented instrument were ...
Don Sleet: All Members
by Derek Taylor
Jazz, like any commercial art form, is a proving ground populated by far more practitioners than actually make the cut. The analogy of an iceberg is apropos. For every musician whose talent rises above the sea of public opinion’s surface there are literally thousands of others that toil away in obscurity beneath the waves. In the ...
Joe Pass Trio: Live at Donte's
by Derek Taylor
There’s a popular, if somewhat misguided tendency amongst critical circles to rank musicians by relating them to those who have come before. Specific attention to the standing each one holds in relation to his or her peers in the areas of prowess, impact and artistic originality are just some of the prime determinants. Norman Granz is ...
The Cosmosamatics: The Cosmosamatics
by Derek Taylor
Their nom de plume conjures celestial images of an errant Arkestral offshoot surfing the space ways in Sun Ra’s otherworldly wake. Musically the results of this inspired, if at times uneven, conference of first rung creative music improvisers yields musical manna worthy of such comparisons. Simmons and Marcus, both sorely under appreciated reedsmiths, share compositional chores, ...
