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Muriel Grossmann: Universal Code
by Mark Corroto
Infectious is a word much maligned of late. What with a worldwide pandemic, the word has come to stand in for other terms such as contagious and transmittable. The word though has another meaning as demonstrated by saxophonist Muriel Grossmann's Universal Code. Infectious can also mean irresistible or compelling in an infectious way. Together with her ...
Joe Lovano: Cleveland's Ultimate Jazz Titan
by Matthew Alec
Friday, June 24th, 2022, saxophonist Joe Lovano's group Sound Prints (alongside trumpeter and co-leader Dave Douglas) delivered a tour de force performance to spellbound audience members at the historic Mimi Ohio Theatre in Playhouse Square as a part of Cleveland's annual Tri-C JazzFest. Seasoned group interplay between drummer Rudy Royston, bassist Matt Penman, and pianist Leo ...
Lia Booth & Jason "Spicy G" Goldman: There's Only One
by Edward Blanco
Southern California-based saxophonist, songwriter and award-winning producer Jason “Spicy G" Goldman, presents There's Only One, an engaging encore performance to his previously well-received album Hypnotized (2020, Self-Produced). This offering provides a selection of re-imagined standards supported by a core septet, plus the addition of violins and cello on selected tracks, that manages to produce a large ...
Take Five with Yulia
by AAJ Staff
Meet Yulia I was born in Siberia. In 2000 there were cardinal changes in my life--I moved to the USA. My formation as a musician began in childhood, from the age of age I began to learn to play the piano, and a little later to compose and record my music on sheet music. I studied at ...
Shawn Purcell: 180
by Jack Bowers
Guitarist Shawn Purcell's latest CD, 180, is all about swinging; Purcell's trio (Pat Bianchi on Hammond B3 organ, Jason Tiemann on drums) nestles squarely into the groove on the double-quick opener, “Cat and Mouse," which sets an upbeat tone for the album as a whole. The rhythm seldom flags on Purcell's sunny compositions ...
Ramsey Lewis: Life is Good
by Jacob Blickenstaff
Some jazz aficionados might characterize pianist Ramsey Lewis' music as a gateway into more serious jazz, as if popular Lewis albums like The In Crowd (Verve, 1965) were meant to lead novice listeners to saxophonist Ornette Coleman's The Shape of Jazz to Come (Atlantic, 1959). But Lewis' commercial successes should not be viewed as a liability ...
CTI: A Guilty Pleasure Special
by Patrick Burnette
Mike's busy in Europe so Pat goes solo with a look at controversial jazz label CTI. A lynchpin of the early seventies, record buyers loved the artwork, high production values and impeccable musicianship, but hard-core jazzbos and critics were suspicious that owner Creed Taylor was putting too much sugar into the mixes, not to mention those ...
CTI Records: Ten Tasty Albums With No Added Sugar (Almost)
by Chris May
Few jazz producers divide opinion as much as Creed Taylor. He is a hero to many and a villain to as many more. His fans love him for his high production values. His detractors accuse him of dumbing jazz down with excessively sweetened orchestrations and other sales-oriented compromises. Nowhere is the dispute more heated than over ...
Atis Andersons Organ Trio: Organic City
by Mark Corroto
With Hammond organ trios in the 21st century, everything old is new again, except in Latvia where Atis Andersons presents the very first Latvian Hammond organ trio recording in that country's history. Kudos to Andersons, guitarist Āris Ozols, and drummer Andris Buiķis, because Organic City fits perfectly into the traditions of soul, funk, and rock. Their ...
Steve Knight: Persistence
by Jack Bowers
Yet another guitar-led trio, this one by Kansas-born, Chicago-based Steve Knight who also writes in the manner of one of his role models, George Benson (Knight composed seven of the album's dozen numbers including two versions of “Sharps Disposal"). Although the recording's title refers in part to the eighteen months it took Knight to write the ...
