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Metropole Orkest / John Scofield / Vince Mendoza: 54
by John Kelman
Metropole Orkest / John Scofield / Vince Mendoza 54 Emarcy 2010 Guitarist John Scofield's shared history with Vince Mendoza dates back to the composer/arranger/conductor's Start Here (World Pacific, 1990) and Instructions Inside (EMI/Manhattan, 1991)--two criminally out of print gems that provided early evidence of Mendoza's distinctive harmonic language, compositional perspicacity and ...
John Escreet: Don't Fight the Inevitable
by John Kelman
Since moving to New York in 2006, pianist John Escreet has positioned himself as one of the scene's most significant up-and-comers. In addition to performances with artists including Chris Potter and Seamus Blake, he's a member The Story, which released its self-titled debut independently in 2009. Escreet also gigs with David Binney, appearing on Aliso (Criss ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by John Kelman
They've played together in various permutations and combinations, but Five on One represents the first time they've joined together as a discrete unit. Reconvening the Second Look (Savoy, 1996) quartet--which comprises four-fifths of Contact-- pianist Marc Copland proved you can go back again with Another Place (Pirouet, 2009). The quartet's bassist, Drew Gress, has also been ...
Judith Berkson: Oylam
by John Kelman
As renowned as Manfred Eicher is for his ability to scout out new talent deserving wider recognition, ECM's other regular (albeit less prolific) producer, Steve Lake, is equally worthy of similar consideration. Few others could have imagined the remarkable synchronicity of folk traditionalism and unfettered free play that came about when, after recruiting Robin Wililiamson for ...
David Binney Quartet at L'Astral in Montreal, May 13, 2010
by John Kelman
David Binney QuartetL'Astral Montréal, Canada May 13, 2010 For one night, saxophonist David Binney brought a little taste of the 55 Bar to Montréal's L'Astral, courtesy of the Festival International de Jazz de Montréal. Mind you, as much as the well-known New York club acts as a regular performance space for ...
Joe Chambers: Horace to Max
by John Kelman
Though best known for his drum work on key 1960s Blue Note sessions with artists including vibraphonist Bobby Hutcherson, pianist Andrew Hill and saxophonist Wayne Shorter, Joe Chambers has gradually built a reputation as an equally distinctive composer and mallet player. Horace to Max is more heavily weighted towards cover material from Shorter, bassist Marcus Miller, ...
Keith Jarrett / Charlie Haden: Jasmine
by John Kelman
As close to a direct pipeline to the heart as anything, it's hard for music to be anything but intimate reflection of events transpiring in a musician's life. Pianist Keith Jarrett's last release--the stunning triple-disc Testament--Paris / London (ECM, 2009)--was, self-admittedly, impacted by the pianist's “incredibly vulnerable emotional state," but resulted in some of his deepest, ...
Arild Andersen: Green Into Blue - Early Quartets
by John Kelman
He's one of Norway's “Big Four"—a group of artists who, with the assistance of the emerging ECM label in the early 1970s, kick-started international focus on the music from a country that, despite its relatively small population, has become a truly vital force in the evolution of jazz over the past 40 years. Alongside saxophonist Jan ...
Chick Corea: Solo Piano
by John Kelman
It may be Keith Jarrett and Paul Bley who, with Facing You (1972) and Open, To Love (1973) respectively, put ECM on the map for what would become a lifelong focus on the art of solo piano, but it was Chick Corea's Piano Improvisations Vol. 1 (1971) and Vol. 2 (1972) that represented the label's first ...
Alex Machacek: 24 Tales
by John Kelman
It's not the first time guitarist Alex Machacek has composed around drum improvisation--he did that with three tracks on [sic], his 2006 breakout record and first for Abstract Logix--but he's taken the concept even farther on 24 Tales. It's also not the only release to use, as its basis, a 51-minute drum improvisation by Marco Minneman--Machacek's ...
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