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Monkadelphia at Chris' Jazz Cafe
by Victor L. Schermer
MonkadelphiaChris' Jazz CaféPhiladelphiaJanuary 2, 2010 This reviewer decided to kick off the New Year jazz season by going to hear Monkadelphia at Chris' Jazz Café. Recently, he has been immersed in Robin D.G. Kelley's excellent new biography, Thelonious Monk: The Life and Times of an American Original (Free Press, 2009); he ...
Dave Rempis / Frank Rosaly: Cyrillic
by Troy Collins
Since 2004, the duo of saxophonist Dave Rempis and drummer Frank Rosaly has committed to exploring the textural, tonal and rhythmic possibilities of spontaneous improvisation, drawing upon a rich legacy of similar pairings for its studio debut, Cyrillic. Chicago scene regulars whose congenial rapport has been honed in The Rempis Percussion Quartet and The Ingebrigt Haker ...
Eric Harland: Searching the Patterns in Life
by John Patten
Drummer Eric Harland is between gigs, just back from a dates and clinics in Japan and getting ready to head to Europe. He's got new recordings out with several bands-- including the Charles Lloyd Quartet, The Monterey Quartet with Dave Holland and Jason Moran--and a handful of compositions to get recorded with his own group.
Joey Berkley: More 'n Four
by Mark F. Turner
A single listen to the pop/jazz standard “Nature Boy" is proof that saxophonist Joey Berkley's tenor is as robust and accomplished as they come. Living in New York since the late 1970s, the Canadian expat has survived and thrived in the “City That Never Sleeps"--performing with top musicians, running his own music company and teaching, while ...
Tessa Souter: Obsession
by Victor L. Schermer
Tessa Souter is a consummate and dedicated vocalist who is deservedly on the rise in the New York jazz scene and elsewhere. A contralto who sings with both precision and emotion, her impressionist and minimalist interpretations bring out the meanings of her songs while remaining true to their melodic lines. Following Listen Love (Nara Music, 2004) ...
Timucin Sahin: Bafa
by Raul d'Gama Rose
It might have been easy to attribute it all to Ornette Coleman. Had he not recorded with quartets that did not include pianos the chances are not many musicians would have had the gumption to structure their quartets likewise. He then went and recorded Song X, one of his most progressive Harmolodic recordings that preceded his ...
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