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Results for "Hrayr Attarian"
Nicole Mitchell/Tomeka Reid/Mike Reed: Artifacts
by Hrayr Attarian
Flutist Nicole Mitchell, cellist Tomeka Reid and drummer Mike Reed are three of the most prominent members of the third generation of Association for Advancement of Creative Music (AACM). Each one is a consummate musician; equally adept at composing and improvising. Each one of them has forged their boldly unique artistic path with an instantly recognizable ...
Ernest Dawkins' Live in the Spirit Residency Big Band: Memory in the Center, An Afro Opera: Homage to Nelson Mandela
by Hrayr Attarian
Perhaps no statesman (or woman), of the second half of the 20th century, personifies struggle for freedom and human rights as much as Nelson Mandela. This is because the late South African president dedicated his long life to ending apartheid and the injustices associated with it. His perseverance crowned by his success resonated globally.
Matt Mitchell: Vista Accumulation
by Hrayr Attarian
Composer and pianist Matt Mitchell creates haunting and vibrant soundscapes on his second release for Pi Records, Vista Accumulation. The eight, multilayered, originals that comprise the double disc set are organically fluid in structure with a tense ambience and a barely contained fervor within. Saxophonist and clarinetist Chris Speed opens the stimulating “The Damaged ...
AACM - The Association of the Advancement of Creative Music
by Hrayr Attarian
The Association of the Advancement of Creative Music (AACM) was created 50 years ago in Chicago to give voice to adventurous African American musicians and to express the political turmoil of the era. As this is the anniversary year of this revolutionary collective here are ten essential classic AACM recordings that belong in any collection, regardless ...
Kirsten Edkins: Art & Soul
by Hrayr Attarian
Saxophonist Kirsten Edkins delivers a delightful and charming batch of mainstream jazz with her engaging and exuberant debut Art & Soul. The tracks alternate between soulful, smoky burners and cooler, airier ones with relaxed tempos and intricate arrangements. Keyboardist Larry Goldings' earthy, simmering Hammond B3 often drives the former type. For instance, “Mean Greens" ...
Nicole Glover: First Record
by Hrayr Attarian
Tenor saxophonist Nicole Glover has made a bold statement with her First Record. The deceptively generic title belies the stimulating music comprising this thematically cohesive album. Glover's own compositions as well as her interpretations of others' work is rooted in the august tradition of her instrument in jazz and, much like that of her idols, it ...
Jen Shyu and Jade Tongue: Sounds and Cries of the World
by Hrayr Attarian
Vocalist and multi-instrumentalist Jen Shyu's Sounds and Cries of the World is both raw and sophisticated, fiercely compelling yet intimately fragile and, above all, terrifyingly beautiful. Her sixth album as a leader, it is a collection of seven original compositions and three folk melodies all inspired by the traditions of Korea, Indonesia and East Timor.
Wes Montgomery: In The Beginning-Early Recordings from 1949-1958
by Hrayr Attarian
Guitarist Wes Montgomery, despite his tragically short life, was very prolific and immensely impactful. Equally adept at sophisticated instrumental virtuosity and lighter, more commercially appealing sounds, Montgomery influenced majority of guitar players who appeared on the jazz scene during the 1960s and after. Montgomery cut his first record Fingerpickin' for Pacific Jazz in 1958 ...
Humphrey Lyttelton: In Canada
by Hrayr Attarian
The most prolific of the British trad jazz revivalists, trumpeter Humphrey Lyttelton had a long and varied career both as a musician and a broadcaster. In 1983 Lyttelton lead a Toronto based group on a session for Sackville interpreting eight songs penned by him. In Canada now reissued on Delmark showcases not only Lyttleton's superb trumpet ...
Wild Bill Davison: The Jazz Giants
by Hrayr Attarian
Cornetist Wild Bill Davison had a fiery, extroverted approach to playing that originated in the 1920s Chicago and mirrored his hard living. By 1968, when he recorded The Jazz Giants for the Canadian label Sackville, he had mellowed and his tone had become more melodic. A democratic leader, Davison allows the five, underrated practitioners of “prebop ...
