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Julian Pressley: From The Duke To Ornette In His Own Way
by Victor L. Schermer
Julian Pressley isn't exactly a household name, but it's a name every jazz aficionado should know. When he plays his alto saxophone, ears perk up because he's playing what they came to hear: music that embodies the legacy. Passionate, quick-witted, and full of new ideas, Pressley stands out in the crowd, a genuine original. Yet you ...
James Brandon Lewis and Chad Taylor: Radiant Imprints
by Mark Corroto
When saxophonist James Brandon Lewis released Divine Travels (Okeh, 2014) with bassist William Parker and drummer Gerald Cleaver, the jazz world went from “who is this guy?" to “make space at the table," because listeners had discovered a truly distinctive voice. After that came Days Of Freeman (Okeh, 2015) with Jamaaladeen Tacuma and Rudy Royston and ...
Oded Tzur: Translator's Note
by Neri Pollastri
Si dice un gran bene di questo giovane sassofonista israeliano di stanza a New York, qui giunto al secondo lavoro da leader alla testa di un quartetto che include i connazionali Shai Maestro e Ziv Ravitz e il greco Petros Klampanis. In programma sue musiche originali e il coltraneano «Lonnie's Lament». E in effetti ...
Keith Jarrett: After the Fall
by Mike Jurkovic
If, after thirty five years and dozens of standard bearing recordings you're not spoiled rotten, or decisively worse, indifferent to the mythic elegance and boundless creativity of the Standards Trio, then welcome gratefully the latest two-disc chronicle, After The Fall. Recorded on November 14, 1998 at the New Jersey Performing Arts Center, this was Keith Jarrett's ...
Coltrane Could Leave You Breathless
Research on yet another extracurricular project involving John Coltrane has led me into several byways that the great tenor saxophonist took in his pre-“Giant Steps” days of the 1950s. One of those paths branched off from the association with Miles Davis that formed a milieu in which Coltrane flowered. After he left Davis, he formed his ...
Wayne Escoffery: Vortex
by Luigi Sforza
Non vi sono dubbi sulla natura di quest'ultima fatica discografica del tenor sassofonista Wayne Escoffery (londinese di nascita e newyorkese di adozione): si tratta di un progetto che declina senza remore alcuni paradigmi sonori intrinseci alla musicalità di John Coltrane. Il suono muscolare, incisivo, quasi palpabile del sassofono di Escoffery funge da guida per ...
Formats – Solo Through Nonet
by C. Michael Bailey
One plus Two, equals three, and so on. What arbitrary combo size constitutes a big band? None of these. Solo: Jamie Saft Solo a Genova RareNoise Records 2018 That musical provocateur Jamie Saft, he is a prankster. After making all kinds of noise with the likes of Metallic Taste ...
February 2018: The Necks, Vienna Art Orchestra, Elliot Mason
by Patrick Burnette
After a January of unusual episodes, the boys are back in the groove for February. Episode 133 features a wide spread of entries, from Juli Wood's tribute to Finnish folk music Synkka Metsa to the Vienna Art Orchestra's energetic homage Duke Ellington's Sound of Love. Alex Sipiagin's Returning also gets a thorough look-in, along ...
Sons of Kemet: Your Queen Is A Reptile
by Chris May
It is appropriate that this, British-based Sons of Kemet's third album, should be released under the Impulse banner. During its heyday, Impulse was the home of John Coltrane, Alice Coltrane and Pharoah Sanders and as such was the chief platform for the cosmic/spiritual jazz movement of the 1960s and 1970s and that movement's demand for white-majority ...
Tender and Fierce Blessings: Malcolm, Coltrane and My Mentor Nat Hentoff
by Christine Passarella
Dear Nat, It has been awhile since I wrote. You are heavily on my mind. I must say I miss the ability to reach out to you when I had something magnificent to say about my Kids for Coltrane Project in Education. Sharing other positive news in education such as George Lucas's online magazine ...
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