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Ron Carter: All Blues
by John Kelman
In the 1960s and 1970s, few bassists were as ubiquitous as Ron Carter, from the experimental post/free bop of trumpeter Miles Davis's 1960s quintet to straight-ahead swing with guitarist Kenny Burrell and the greater extremes of saxophonist Archie Shepp. With the emergence of CTI Records, Carter became something of a house bassist for the label; on ...
CTI Masterworks: The Second Batch
by John Kelman
After a mighty kickoff near the end of 2010, CTI Masterworks is pushing ahead full-steam with another set of six remastered reissues, beautifully packaged in soft digipak editions. Its first batch of reissues included a tremendous, four-disc retrospective box set, CTI Records--The Cool Revolution, and an expanded, double-disc version of 1971's California Concert: The Hollywood Palladium, ...
Going Solo: One is NOT the Loneliest Number
by Mark Corroto
With the advent of new and affordable recording technologies capable of delivering exceptionally high quality sound, the market for idiosyncratic solo recordings is flourishing--in an era when so many are lamenting the death of jazz. Released mostly on small labels or as self-produced projects, the recordings are reminiscent of the cassette culture from the DIY 1980s ...
Gideon Van Gelder: Perpetual
by Mark F. Turner
By implementing diverse styles without being confined to any particular one, pianist Gideon Van Gelder provides stimulation for the mind and ear with Perpetual. Categorizations are meaningless yet intriguing, displaying swatches of Van Gelder's open concepts, Third Stream, and lessons probably garnered from New York's New School for Jazz and Contemporary Music, which Van Gelder attended ...
Mark Weinstein: Jazz Brasil
by Dan Bilawsky
Jazz Brasil continues flautist Mark Weinstein's odyssey through the world of Latin jazz. The former trombonist-turned-philosophy-professor-turned-flute-phenom has delivered a steady stream of Latin jazz releases that highlight material from well-known Latin American composers, deal with original material, and deliver Latin-ized takes on jazz classics. His previous release, Timbasa (Jazzheads Records, 2010), tackled Cuba with percussion-heavy gusto, ...
Daniel Humair in the Lions' Dens
by Jeff Dayton-Johnson
Drummer Paul Motian is well-known for his “melodic" percussion, in which he skits and dodges arrhythmically, letting the guitars and saxophones mark the pulse of the composition. But for all the praise breathlessly--and deservedly--heaped upon Motian for this approach, the number of drummers who follow his example somewhere on this side of the free-jazz frontier, is ...
Bill Charlap and Renee Rosnes: Double Portrait
by Dan Bilawsky
Many people believe that married couples have a telepathic connection. This recording puts that theory to the test, with two of the most important pianists in jazz today--who also happen to be husband and wife--sitting down for a duo piano recital. Charlap's own work with drummer Kenny Washington and bassist Peter Washington has ...
Various Artists: CTI Records - The Cool Revolution
by John Kelman
Various ArtistsCTI Records--The Cool RevolutionCTI Masterworks2010 The late 1960s was, in many ways, a time of reckoning for jazz. While the music had continued to evolve over the previous half century, it was coincident with the emergence of rock music as a serious force that jazz began to ...
Jordan Young: Jordan Young Group
by Dan Bilawsky
It's too early to tell if drummer Jordan Young's music will stand the test of time, but it's already evident that this isn't just a run-of-the-mill organ-based album. Rather than an all-too common blues-saturated affair, Young has made some wise choices, with repertoire selection topping the list. In fact, tenor saxophonist Joe Sucato's lone contribution, “JF ...
Jordan Young Group: Jordan Young Group
by Chris Mosey
At best, the Jordan Young Group cooks like one of those hard bop organ-led outfits of the 1960s. At worst it PiNGs. The “PiNGs" are short clips from a long improvisation, credited on the sleeve as a composition by its initiator, organist Brian Charette, who calls it “a song with no consequences." Young says, “I felt ...
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