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Kim Simmonds and Savoy Brown: The Devil to Pay
by Doug Collette
John Mayall may remain the so-called 'Godfather of British Blues," but if that's so, then Kim Simmonds is certainly his consigliere. After all, Simmonds did mentor three members of Foghat, among other stalwarts of the the British blues boom of the late Sixties. And like Mayall, Simmonds has followed a similar path of regular touring and ...
The Staple Singers: Freedom Highway Complete
by Nenad Georgievski
Music has always been the perfect medium over which people expressed their dissatisfaction and protested social injustices. As such it has a tremendous ability to show the world from the perspective of the oppressed. During the '60s in US the revival of protest music was propelled as a reaction to the social changes and turmoils during ...
The Chris Robinson Brotherhood: Betty's Blends Volume Two - Best from the West
by Doug Collette
Even before the final fracture of the Black Crowes, the Chris Robinson Brotherhood proved their prolific nature and hearty work ethic. To date they've produced three studio albums, accompanied by regular roadwork, that's now given birth to two live collections in what looks to be a series of such titles under the aegis of Betty Cantor-Jackson, ...
Talk Thelonious: NRBQ + Terry Adams plays Terry Adams Arrangements of Thelonious Monk Songs
by C. Michael Bailey
Musician and AAJ contributor Skip Heller calls the New Rhythm and Blues Quartet (NRBQ), “the greatest band of all time." A listen to the band's catalog reveals a depth and breadth of material that betrays an omnivorous appreciation of all American Music, all with a wicked and acute sense-of-humor, something so much music lacks. Never a ...
Turtle Records: Pioneering British Jazz 1970-1971
by Roger Farbey
This extended analysis discusses the celebratory release of the Turtle Records story, a clamshell box set containing a fifty page, 17,000 word booklet written by John McLaughlin biographer Colin Harper which includes rare photographs and new interviews. Crucially, it also includes the only three recordings to be issued on the label. The albums, originally released in ...
Chick Corea & Bela Fleck: Two
by Doug Collette
The collaboration of pianist/composer Chick Corea and banjoist/composer Bela Fleck is a magnificent meeting of the minds, one as unlikely as jazz of any era is likely to see and hear. The ever-so-serious and often precious approach of the former is largely contrasted by the playful, though occasionally cute-to-a-fault latter, but the complementary nature of their ...
Stuart McCallum: City
by Phil Barnes
Much of what passes for progressive radio programming, whether that be traditional live to air or internet stations, has been pushed into genre ghettos in recent times--where a record can be enormous within a particular scene but invisible to 99.9% of the world at large. Even in Europe, where the genre constrained formats common in the ...
Eberhard Weber: Hommage à Eberhard Weber
by John Kelman
Despite being waylaid from playing the instrument that defined his approach to both performance and composition by a severe 2007 stroke, Eberhard Weber has managed to accomplish the seemingly impossible feat of continuing to make recordings that revolve around his instantly recognizable, custom-made electro-acoustic instrument: 2013's Resumé and 2015's appropriately titled Encore, both on ECM Records, ...
The Weave: Knowledge Porridge
by Phil Barnes
Once there was a time when to be an individual meant pursuing self-realisation, working out who you were, how you felt about the world and what you believed for yourself. If that meant that say Thelonious Monk, Sun Ra or Charles Mingus were viewed as eccentrics then too bad, it was just how they were or ...
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4
by Doug Collette
There's a theory a nascent jazzlover could build an estimable collection of the music simply by picking and choosing from the discography of Miles Davis and the various musicians with whom he's collaborated over the years. Likewise, the mercurial alterations of style enacted by the man with the horn reflect the evolution of the music itself, ...
