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Christopher Zuar, Kenny Barron, and Andrea Wolper
by Jerome Wilson
This episode features a wide variety of approaches, such as large ensemble jazz from Christopher Zuar and Eberhard Weber, small group work from Kenny Barron and Artemis, and vocals from Andrea Wolper and Tiziana Ghiglioni. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of ...
Individuation
Label: Destiny Records
Released: 2015
Track listing: Interior Designs; Guru; Me, But Not Myself; Alter Ego; Prickly; Centrifuge; You're My
Mystery; Individuation: Part 1; Part 2; Part 3; Part 4; Part 5; Lifecycle.
Michael Eaton: Individuation
by Ben Scholz
On his debut album as a leader, saxophonist Michael Eaton presents a collection of original material featuring a rotating group of New York City based musicians including Jon Crowley on Trumpet, David Liebman on Saxophone, Brad Whiteley on piano, bassists Daniel Ori and Scott Colberg, and Shareef Taher on drums. Exhibiting his artistic and ...
Michael Eaton: Individuation
by Dan Bilawsky
Individuation, as a concept, can be seen as a parallel to the process of making music. In speaking one's own voice through an instrument and/or through composition, individuals manage to direct their imagination and unconscious into something tangible. Saxophonist Michael Eaton knows a thing or two about this, as demonstrated on his aptly-titled debut.
Individuation
Label: Unknown label
Released: 2005
Track listing: Sing a Song; Domino City; Tout de Suite; Baby Mine; Mission; Love You Tonight; Individuation; Returning
Thomas Marriott: Individuation
by Jack Bowers
Talk about getting off on the wrong foot. On Individuation, trumpeter Thomas Marriott (and arranger Joe Locke) turn Joe Raposo's sunny, down-to-earth melody on the opening “Sing a Song into a pretentious, dirge-like hymn that robs it of its charm and manages to make the endeavor seem much longer than its actual 5:16 playing time. Marriott ...
Thomas Marriott: Individuation
by John Kelman
All too often you hear that jazz is dead, that there is little of significance being created today. Maybe the playing field is just so large that it can be more difficult to identify major leaps forward than in past decades. Still, for a marginalized genre that is responsible for something like 3% of total CD ...
