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Paolo Fresu: con di Bonaventura su ECM
by Libero Farnè
Gli americani Ralph Towner e Uri Caine, il cubano Omar Sosa, il tunisino Dhafer Youssef, gli italiani Antonello Salis, Furio Di Castri, Gavino Murgia, Gianluca Petrella, perfino l'organista classico Claudio Astronio e il danzatore Giorgio Rossi... La lista dei nomi con cui Paolo Fresu intreccia duetti con maggiore o minore frequenza (e chissà quanti ne ho ...
Anton Fig: Behind the Band Stand, Part 1
by Ben Scholz
Part 1 | Part 2 It's around 3 o'clock in early January, that melancholy time of year where the day perpetually feels like 7 pm. We're standing on West 53rd Street between Broadway and 8th Avenue around the corner from the entrance to The Ed Sullivan Theater. A light haze of snow is falling ...
Interview: Damjan Krajacic
Q: When did you start playing the flute? Did your family already know you had an interest in music? A: I was a bit late coming to the flute, at 19. My main instrument was electric bass, and I dabbled into classical guitar and piano a bit prior to that. Once I entered college, I was ...
Band Ambition: Sherrie Maricle and Diva
by Richard J Salvucci
In the iconic photo A Great Day in Harlem (1958), bandleader and pianist Count Basie has taken a seat on the curb. Eleven neighborhood kids and one ringer, Taft Jordan Jr, are seated single file to Basie's right. Marian McPartland and Mary Lou Williams stand behind the kids, chatting. They are bookended, appropriately, by Oscar Pettiford ...
Donna Lewis: Brand New Day
by Ben Scholz
Pop culture's love-hate relationship with its artists presents an interesting conundrum. Music created for mass-consumption must be easily digestible, yet the public is quick to retaliate against content that lacks substance. Gifted musicians are often pigeonholed into a certain style or sound that may not reflect their true range. This myopic point of view focuses on ...
Interview: Irma Curry (Part 2)
Irma Curry was a big band singer at a time when most big bands were shifting to the blues and the college dance circuit. Despite the trend, Irma developed a style all her own and stuck with it, with an emphasis on romantic ballads that she delivered with enormous feeling. In some respects, she had been ...
A Remembrance of Percy Heath
by R.J. DeLuke
This article was originally published at All About Jazz in May 2005. Percy Heath could play the hell out of that big contrabass. Played it for more than half a century. With Bird and Miles and Diz and 'Trane and Brownie and the venerable Modern Jazz Quartet and on and on. And ...
Mauro Ottolini: Sousaphonix and Beyond
by Angelo Leonardi
Il Sousaphonix di Mauro Ottolini non ha bisogno di presentazioni. È una delle formazioni italiane più appassionanti e creative dell'ultimo decennio, dalla musica saldamente ancorata alla tradizione del jazz (fino a comprendere gli albori) e aperta a mille stimoli, dal rock all'avanguardia. In questi giorni è stato pubblicato il loro terzo album, Musica per ...
Interview: Irma Curry (Part 1)
Irma Curry may not be a familiar name to you, but in the early 1950s she was a star vocalist in Lionel Hampton's band. In 1962, she recorded a superb album for Columbia called Love Is a Necessary Evil. The band arranged by Al Cohn and conducted by Don Elliot including Hal McKusick (as), Barry Galbraith and ...
Interview: Slovak Bass Icon Juraj Griglak
Q: When did you learn to play the bass? A: My father chose for me to play classical upright bass; he was a clarinetist in symphony orchestra. I went to conservatory for six years and then four years at university. After finishing my studies, I started playing in the Slovak Philharmonic Orchestra and have been playing ...
