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My Conversation with Pharoah Sanders
by AAJ Staff
From the 1995-2003 archive: This article first appeared at All About Jazz in February 1999. When I first heard “The Father And The Son And The Holy Ghost" off of John Coltrane's Meditations, I was floored. I got the same reaction when I first heard Maria Callas sing “Vissi d'arte" in Victor de Sabata's ...
Herbie Hancock: An Essential Top Ten Albums
by Chris May
The title of Herbie Hancock's 1973 hit single “Chameleon," pulled from his jazz-funk monster Head Hunters (Columbia), was an apt one. Hancock had already undergone several transformations: from the blues-and-gospel-infused vibe of his Blue Note debut, Takin' Off (1962), to more experimentally inclined Blue Note albums in the mid-to-late 1960s, and on to his early 1970s ...
Miles Davis Quintet: Live Europe 1960 Revisited
by Chris May
A high proportion of the studio albums recorded by Miles Davis from the mid 1950s until Bitches Brew (Columbia) in 1970 are landmark ones, so frequent and so momentous were the occasions on which Davis adjusted his direction. With a few exceptions, notably My Funny Valentine (Columbia, 1964), this is less true of the live albums ...
World-Renowned Smoke Jazz Club Celebrates Its Highly Anticipated Reopening And Expansion
SMOKE Grand Reopening Concert Celebration George Coleman Quartet plus special guest Peter Bernstein: George Coleman (tenor saxophone), Peter Bernstein (guitar), Davis Whitfield (piano), Peter Washington (bass), and Joe Farnsworth (drums). Thu-Sun, July 21-24, 2022, sets at 7:00 p.m. + 9:00 p.m. and additional 10:30 p.m. (Fri & Sat only). Doors open at 5:00 p.m. SMOKE ...
What Next After Kind of Blue?
by Steve Cook
For those dipping a first toe into jazz, the Miles Davis classic Kind of Blue (Columbia, 1959) is a common initial purchase or listen for many plausible reasons. Web searches for “best jazz albums of all time," or the like, bring up numerous lists that put it at the top and on newcomers' radars. Prominent placement ...
Jean-Luc Ponty: Imaginary Voyages, Part 2
by Peter Rubie
Part 1 | Part 2American violinist Stuff Smith once said about the young, classically trained and self taught jazz violinist Jean-Luc Ponty, “He plays violin like Coltrane plays saxophone." Born in 1942, Ponty has almost single-handedly taken jazz violin from the swing era into modern jazz, and beyond. At rock musician Frank Zappa's urging, ...
From George Coleman to Meeco: Ten Overlooked Classics
by Chris May
The only thread running through this installment of Building A Jazz Library is that of unsung quality. No particular artist is spotlighted, nor any particular genre. There are simply ten, randomly selected albums, recorded in the US and Europe between 1953 and 2021, which show jazz off at its finest, but which, for one reason or ...
Caleb Wheeler Curtis and Laurent Nicoud: Substrate
by Paul Rauch
The duo, in jazz or any musical form, is an intimate conversation that requires a large degree of artistic courage. The participants must be willing to expose themselves emotionally as well as musically. It is brutally honest, a practice in individuality within the context of mutual respect and humility. In the case of Swiss pianist Laurent ...
Miles Davis & Don Cherry: Which One Is The Grifter?
by Chris May
The Swiss-based ezz-thetics label's Revisited strand of reissues is a jazz connoisseur's dream. The label identifies outstanding albums of the 1960s, sets one of its gifted audio engineers to mastering them and makes them newly available. Earlier editions of many of these albums are hard to find and the sound on all of them is substantially ...
Melissa Aldana: 12 Stars
by Chris May
Before we get into tenor saxophonist Melissa Aldana's album--which is excellent, so hang on in there--a word about press releases and publicity campaigns. Specifically, those from Blue Note. The label's headquarters in Los Angeles is in danger of becoming known for award-winning b.s. in this regard, as demonstrated during the campaign for Aldana's label ...
