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22

Article: Album Review

Marc Copland: And I Love Her

Read "And I Love Her" reviewed by John Kelman


There was a time when Marc Copland was releasing multiple albums every year, sometimes as many as three or four, like in 2009, when the veteran pianist (who began his musical life as a saxophonist) released his second solo piano album, Alone (Pirouet); an intimate duo date with veteran bassist Gary Peacock, Insight (Sketch); and the ...

3

Article: Live Review

Jochen Rückert Quartet at Hong Kong Arts Centre

Read "Jochen Rückert Quartet at Hong Kong Arts Centre" reviewed by Rob Garratt


Jochen Rückert Quartet with Lage Lund, Mark Turner and Matt Penman Hong Kong Arts Centre Jazz World Live Series Hong Kong June 17, 2019 Jochen Rückert's career has clearly shifted up a gear. “I recently joined the class of professional artists that always travels with a permanent marker," the ...

2

Article: Live Review

We Jazz Festival 2017

Read "We Jazz Festival 2017" reviewed by Anthony Shaw


We Jazz Festival Helsinki, Finland December 2-9, 2017 Being a party animal at latitudes above 60 degrees takes some doing in the winter months, in Anchorage as in Archangel. Helsinki is south of both cities, just, but is host to one of Scandinavia's hottest and yet coldest modern jazz festivals in ...

Album

Charm Offensive

Label: Pirouet Records
Released: 2016
Track listing: Stretch Mark; 5-Hydroxytryptamine; Aussenposition; Parasitosis; Eunice Park; The Alarmists; Purring Excellence; Charm Offensive.

14

Article: Album Review

Seamus Blake / Chris Cheek: Let's Call the Whole Thing Off

Read "Let's Call the Whole Thing Off" reviewed by Edward Blanco


Friends and musical collaborators for more than two decades, New York tenor saxophonists Seamus Blake and Chris Cheek have been leaders, sidemen and big band soloist throughout their distinguished careers and seem to cherish their roles as co-leaders on joint projects such as their critically-acclaimed Reeds Ramble (Criss Cross Jazz, 2014). Let's Call the Whole Thing ...

14

Article: Album Review

Melissa Aldana: Back Home

Read "Back Home" reviewed by Mark F. Turner


Saxophonist Melissa Aldana leaves an indelible impression of her musicality in Back Home, her fourth release as a leader. She was the first female instrumentalist and first South American to win the Thelonious Monk International Jazz Competition in 2013. One listen to her tenor's flowing birdsong and the symbiotic connection with longtime trio mates bassist Pablo ...

3

Article: Multiple Reviews

Marc Copland: Zenith and Haunted Heart

Read "Marc Copland: Zenith and Haunted Heart" reviewed by John Ephland


Zenith InnerVoice Jazz 2016 There's some shared, ongoing history here. Between drummer Joey Baron and bassist Drew Gress, pianist Marc Copland has logged some pretty decent music time. Add trumpeter Ralph Alessi and there's a new element, one not found in the rhythm section's work with guitarist John Abercrombie or in the ...

6

Article: Album Review

Jon Davis: Changes Over Time

Read "Changes Over Time" reviewed by Blaine Fallis


Jon Davis plays with a richness of soul, exhibiting a well versed jazz character that can go from Jaco (whom he worked with for several years), New Orleans swamp, and freedom jazz dance, to Stevie Wonder, and back. Although he doesn't try to sound like Bill Evans, he did pen a tune called Waltz for U, ...

4

Article: Album Review

Jon Davis: Changes Over Time

Read "Changes Over Time" reviewed by Dan Bilawsky


While there are no liner notes to accompany pianist Jon Davis' third date for the Posi-Tone imprint, there's a quote inside the package, attributed to author Anne Rice, that gets to the heart of the matter: “None of us really changes over time. We only become more fully what we are." So is personal evolution and ...

27

News: Festival

8th Annual Red Hook Jazz Festival Takes Place June 14 & 21 In The Urban Meadow

8th Annual Red Hook Jazz Festival Takes Place June 14 & 21 In The Urban Meadow

“The Red Hook Jazz Festival exists contentedly on the margins, like its namesake neighborhood and much of the music on its bill... The mood in the audience was neighborly, with a higher ratio of small children to youngish adults than I’ve seen at any musical event not expressly pitched as a kids’ show.” —Nate Chinen, New ...


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