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Maria Borghi ci parla della We Insist!
by Libero Farnè
L'indagine sulle case discografiche indipendenti italiane, di cui sono già state presentate due interviste relative a Red Records e Dodicilune, ha lo scopo soprattutto d'individuare le differenze e le peculiarità che caratterizzano queste coraggiose realtà; ognuna infatti ha una propria storia, una sua filosofia, oltre che metodi organizzativi per affrontare i vari aspetti della produzione, distribuzione ...
Levon Eskenian: Giving Voice to the Sacred Lineage of Armenian Music
by Nenad Georgievski
It is not often you come across a musician whose work feels like a bridge--between cultures, centuries, and inner worlds. Levon Eskenian, the Armenian musician and artistic director behind the Gurdjieff Ensemble, is one of those rare figures. Through his thoughtful arrangements and deep cultural understanding, he has led the Ensemble in reimagining the music of ...
Tessa Souter: Making Connections Between Erik Satie, Jazz, and Personal Identity
by Victor L. Schermer
New York-based vocalist Tessa Souter is deservedly treasured among jazz fans, critics and musicians alike. Equally effective performing live and on her several fine recordings, she is a jazz singer who combines the sonority, vocal range and discipline of a classical mezzo soprano with subtle and sultry jazz inflections. Everything she sings is well thought out ...
Hayeli: Mirrors Unto The Improvising Soul
by Ian Patterson
Two double basses is an uncommon lineup, particularly when it comes to improvised music. But Lebanese double bassist Donna Khalifé and Armenian double bassist Khachatur Savzyan are well attuned to one another. Partners in life, their creative philosophy is reflected in each other's approach to improvisation. Not for nothing is their project entitled Hayeli, which means ...
Jazzmeia Horn: Timeless Voice, Modern Spirit
by Ieva Pakalniskyte
In the ever-evolving landscape of contemporary jazz vocalism, few artists navigate the intricate dialogue between tradition and innovation with the intelligence and visceral impact of Jazzmeia Horn. Her recent appearance at the Kaunas Jazz festival in Vilnius was more than a concert; it was a potent demonstration of an artist in full command of her voice ...
Al Foster: Love, Peace and Jazz!
by Terrell Kent Holmes
This article was first published on All About Jazz on May 3, 2009. Drumming great Al Foster has spent nearly a half-century playing with some of the greatest musicians, and on some of the most memorable albums, in jazz history, from Miles Davis' On The Corner and Agharta to Joe Henderson's State of the ...
Fievel Is Glauque: For Ma Clément Anything Goes But Be Careful
by Dean Nardi
This interview is with Ma Clément, who is the vocalist half of the Fievel Is Glauque compositional duo, in partnership with Zach Phillips. The tandem typically eschews digital correspondence, opting to meet in either Brussels or New York when the muse is calling. Assuredly, they would appreciate the muse even more if it would purchase air ...
Fievel Is Glauque: Zach Phillips Believes Harmony Does Not End With Writing
by Dean Nardi
Fievel Is Glauque is an integration between multi-instrumentalist Zach Phillips and vocalist Ma Clément along with a mutable cast of eminent musicians. Their latest album is the homophone-titled Rong Weicknes (Fat Possum, 2024), which may or may not also be an oxymoron. Linguistics aside, this fantabulous collection of songs may well be the most ...
Jack Chambers: Rethinking Duke Ellington
by Jack Kenny
Jack Chambers is professor at the University of Toronto and teacher of music and language. His jazz writings include the prize winning biography Milestones: The Music and Times of Miles Davis (Da Capo Press, 1998) and Bouncin' with Bartok: The Incomplete Works of Richard Twardzik (Mercury PR, 2008). Sweet Thunder: Duke Ellington's Music In Nine Themes ...
Sharel Cassity: In the Spirit
by Katchie Cartwright
Even on an old familiar tune like Charlie Chaplin's “Smile" (1936), it is clear from note one that Sharel Cassity is a child of Bird, an altoist in the modernist tradition of Charlie Parker. Her first influence was actually her biological father, an organist, with whom she shared the stage in New Orleans at age 11, ...
