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John Scofield: Meant To Be
by John Ephland
When John Scofield and I met, in his Vancouver hotel room in June, 1990 on the occasion of the fifth annual du Maurier Ltd., International Jazz Festival, the conversation started with talk of his then-current band and his Blue Note debut, Time On My Hands (Blue Note Records, 1990). By this point, ...
Charlie Haden: Anatomy of a Jazz Classic
by John Ephland
It was a phoner from the suburban Chicago offices of DownBeat to bassist Charlie Haden in L.A. Our talk, which was held on September 15, 1991, was periodically interrupted by his needing to say, “Hold on one second." The occasion? The 30th anniversary of the release of saxophonist Ornette Coleman's groundbreaking LP Free Jazz: A Collective ...
And His Name Was Max
by John Ephland
This interview was conducted during the Chicago Jazz Festival on August 31, 1990. A favorite topic: musicians who dedicate their artistic lives to the spirit of collaborations. When I was writing about Max Roach in the late 1980s, I was astounded by how many projects he seemed to be simultaneously engaged in. A giant ...
Sylvie Courvoisier and Mary Halvorson: Bone Bells
by John Ephland
Tonally, these two artists offer what feels and sounds like an ideal fit. Pianist Sylvie Courvoisier and guitarist Mary Halvorson are in no hurry with , their third collaboration as a duo, the title coming from a passage in the novel Trust, by Herman Diaz. There is gentleness mixed with a kind of dreaminess, interspersed with ...
Gilmore Piano Festival 2024
by John Ephland
Irving S. Gilmore International Piano FestivalKalamazoo, MIApril 24 to May 12, 2024 Thelonious Monk ends his 1967 album Straight, No Chaser with the song “We See." This Monk classic quartet remake from the 1950s was also the last piece of jazz music performed at this year's Irving S. Gilmore International Piano Festival. ...
Henry Threadgill: The Other One
by John Ephland
Listening to Henry Threadgill's music, the bobbing and weaving doesn't maintain a continuity but can jump from one strand to another, one scene to another, as in a dream. It is tonal and not, just as dreams are, perhaps, rhapsodic or unkempt, the story or plot being as tangible, fungible as a summer breeze.
Leo Genovese, Demian Cabaud, Marcos Cavaleiro: Estrellero
by John Ephland
Leo Genovese's piano can sound like an orchestra. It does as much amidst his voluminous solo work on bassist Demian Cabaud's “Arbol Negro," his thick chords, the density of his playing full and ripe. From their new trio recording, Estrellero, which also features the light, sympathetic stylings of Marcos Cavaleiro on drums, are five ...
Mata Atlantica: Retiro e Ritmo
by John Ephland
The coastal rainforest of Brazil, otherwise known as Mata Atlantica, and “its beauty and vivacity" are the inspiration for Retiro e Ritmo. It is an album frontloaded with a varied cast of characters from hither and yon. Maybe that casting is behind a project seeking to draw worldwide attention to the ongoing shit-storm that includes not ...
Sue Foley: A Witness to Certainty in a World Gone Mad
by John Ephland
Sue Foley Old Dog Tavern Blues Bash Live 2022 Kalamazoo, MI July 16, 2022 It was a variation on what one might see at a contemporary classical music concert. Lots of grey heads, lawn chairs, not much movement. But there were numbers, lots of them, out to see and ...
Ran Blake: Gray Moon, When Soft Rains Fall and Northern Noir
by John Ephland
I'm a sucker for musical duets. Duets that make me feel like I'm in the same room with the two of them. Here we have three recent releases with the iconoclastic, legendary Ran Blake, now 83, in what is his most typical setting. Yes, to hear Blake paired up like this is to hear ...
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