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Alisha's Quartet: Along for the Ride
by C. Michael Bailey
Alisha Pattillo's tenor saxophone case sports an impressive variety of destination stickers, real and metaphorical, where the young artist has visited in her life. Anglo-Australian, Patillo was raised in Singapore and proceeded to woodshed throughout Southeast Asia before receiving a first-rate schooling at Australia's Queensland Conservatorium of Music in Brisbane, majoring in jazz saxophone and education ...
Pharez Whitted: For The People
by Dan Bilawsky
Indianapolis-born trumpeter Pharez Whitted has kept a low profile in the new millennium. He's busied himself with teaching, attending to his duties as Director of Jazz Studies at Chicago State University, performing live and appearing as a sideman on a scant number of under-the-radar albums, but none of this has helped to boost his reputation beyond ...
Jordan Young: Cymbal Melodies
by Dan Bilawsky
Drummer Jordan Young took the organ quartet outside of its stylistic comfort zone on his debut, Jordan Young Group (Self Produced, 2010), and continues to carve his own path within this format on this enjoyable follow-up. Young reconvenes the quartet from his first leader date, with Avi Rothbard taking the place of guitarist Yotam Silberstein, and ...
What Is Jazz Now?
by Dom Minasi
Back in February, All About Jazz Managing Editor John Kelman asked me to develop a column based on points I made in the comment section of the article BAM or JAZZ: Why It Matters. I still feel the same way, but trumpeter Nicholas Payton's statement that jazz died in 1959 made me think, and I've been ...
Cynthia Felton: Freedom Jazz Dance
by C. Michael Bailey
Cynthia Felton has released two exceptionally well-conceived concept recordings in Afro Blue: The Music of Oscar Brown (Self Produced, 2009) and Come Sunday: The Music of Duke Ellington (Self Produced, 2010). She makes a partial break with this refined focus to release a collection of personal favorite standards on Freedom Jazz Dance. Like her two previous ...
Booking Jazz: A Subjective Guide
by Bruce Klauber
There is no rule book, reference work or formal set of regulations that club and restaurant owners can consult about how to book and present jazz.There was a quasi-model of sorts in the 1930s, 1940s and 1950s, given the proliferation of cafés, boites, bistros, bars, ballrooms, and all types of nightspots that used live ...
Cynthia Felton: Freedom Jazz Dance
by Dan Bilawsky
Vocalist/academic Cynthia Felton established herself right out of the gate with two artist-specific tribute albums that were stacked with A-list guests and highlighted her supple and soulful vocals. Felton's debut--Afro Blue: The Music Of Oscar Brown (Self Produced, 2009)--was a welcome nod to an underappreciated figure in jazz, and her journey through the world of constantly ...
Dennis Rollins Velocity Trio: The 11th Gate
by Chris M. Slawecki
For more than two decades, British trombonist Dennis Rollins has played alongside Maceo Parker, Courtney Pine, The Brand New Heavies and others in and around his home base in the United Kingdom. Rollins' first international release, The 11th Gate came about from a simple conversation Rollins had with Pine, who wondered if it was possible for ...
Missives from Distant Fronts
by Chris M. Slawecki
Bio RitmoLa Verdad Electric Cowbell Records2011 In September 2011, Bio Ritmo, the ten-piece salsa band from Richmond (Virginia), celebrated twenty years together, no small accomplishment for a band originally formed (says its official company bio) “as a percussion ensemble brought together by two misplaced Puerto Ricans who met ...
Ro Sham Beaux: Ro Sham Beaux
by Dave Wayne
Most jazz tunes are arranged in a certain way: head, solos, head. It's a valid and useful way to present improvised musical ideas based on a theme or chord progression. The head can be a simple melody or a convoluted riot of contrasting harmonies and tempi. Rock or pop songs are constructed differently: verse, chorus, verse, ...
