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Andrew Hill: Judgement!
by John Kelman
Recorded two months after Black Fire and two months before Point of Departure, Andrew Hill's Judgement!--finally receiving the Van Gelder remastering treatment--demonstrates just how prolific the envelope-pushing pianist was during the '60s. While prolific doesn't necessarily mean good, what is most remarkable about Hill's seemingly endless output on Blue Note between '63 and '69--strangely eluding the ...
McCoy Tyner: Time for Tyner
by John Kelman
With the release of the latest batch of Rudy Van Gelder Blue Note reissues comes the opportunity to hear vibraphonist Bobby Hutcherson on two sessions that demonstrate just how flexible he is--something that continues to define him to this day on projects like the recently-released SFJazz Collective. But unlike SFJazz, which is a true cooperative ensemble, ...
Charlie Peacock: Love Press Ex-Curio
by John Kelman
Lines between musical styles have become so blurred that it's not only impossible to pin down what's happening all the time—it's irrelevant. Bill Frisell, initially considered a jazz guitarist, now divides his time between Americana, world music, groove, bluegrass, jazz, and more—none of the genres meeting traditional definitions and all likely to be liberally cross-pollinated. Similarly, ...
Johnny Maddox: Ragtime Historian
by Elliott Simon
When the Grateful Dead sang a hundred verses in ragtime to “Ramble On Rose, it was no accident that the leader of their conjured-up band was Crazy Otto. Their reference was to ragtime pianist Johnny Maddox, whose Crazy Otto Rag released in 1955, sold over 2 million copies and in the process became the first million ...
Erik Truffaz: Saloua
by Jim Santella
Erik Truffaz ensures that jazz will continue to grow. On Saloua, he incorporates a world view of the genre, picking up where Miles Davis left off. Tradition remains a part of his music; however, it's been disguised by modern concepts that affect all forms of popular music. Truffaz's horn swirls with the kind of moody melodicism ...
Charlie Haden/Liberation Music Orchestra: Not In Our Name
by Chris May
This empowering masterpiece of an album succeeds brilliantly on at least three levels: as proof that instrumental jazz can be as powerful a protest music as the lyric-based Woody Guthrie/Bob Dylan tradition; as demonstration that at least one corner of the domestic American opposition to the Bush administration is in strong and resonant form; and as ...
Tim Ries: It's Only Rock n' Roll, But He Likes It
by R.J. DeLuke
Saxophonist Tim Ries knows what its like to play with a big band. His first gig out of college was with Maynard Ferguson. More recently, he's been a part of Maria Schneider's critically acclaimed orchestra, including the recording of the multiple award-winning Concert in the Garden. But the big band he's with now has nothing to ...
Charlie Haden/Liberation Music Orchestra: Not In Our Name
by John Kelman
Whether or not music can have a social and/or political conscience in and of itself is often debated, but that it can respond to such conditions is unquestionable. From Dave Douglas' Witness, which stemmed from concerns about unilateral political action, to Pat Metheny Group's The Way Up, a considered response to the “dumbing down of society, ...
Charlie Haden/Liberation Music Orchestra: Not in Our Name
by Jim Santella
You can feel protest in the alto saxophone wails that Miguel Zenon delivers on “This is Not America." You can feel unity in the traditional melody of “Amazing Grace," as Charlie Haden “spreads the word" as bass soloist with Carla Bley comping on piano. You can feel the anticipation rising as a solitary trumpeter interprets “Goin' ...
Charlie Haden/Liberation Music Orchestra: Not In Our Name
by Mark Corroto
They say resistance is futile. But for many Americans, it is also part of being a patriot. Have you noticed, for example, that nearly a year after the election, most people have yet to remove their John Kerry bumper stickers? This homegrown opposition should adopt the title of Charlie Haden's new Liberation Music Orchestra recording, Not ...
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