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Portland Jazz Festival Day 3: February 18, 2007
by John Kelman
Day 1 | Day 2 | Day 3 Roundtable Discussion: The Myth of the ECM Sound The final day of the Portland Jazz Festival's opening weekend also featured the last of three roundtable discussions about ECM Records. The subject was “The Myth of the ECM Sound"--with a large group of participants, ...
Portland Jazz Festival Day 2: February 17, 2007
by John Kelman
Day 1 | Day 2 | Day 3 Day two of the Portland Jazz Festival (PDX Jazz) was a bit of a rarity, with the sun burning away a thick layer of early morning fog, and temperatures rising to the mid-60s. But the majority of the heat was generated indoors, with a number of ...
Vandermark 5, Ottawa, Canada February 10, 2007
by John Kelman
Vandermark 5 Zaphod Beeblebrox Ottawa, Canada February 10, 2007 It's an unorthodox club where jazz is rarely--if ever--heard. And the show was promoted by a local team who are more in touch with the punk/indie scene. But sometimes things come together in the most unexpected ways. The Vandermark 5's first ...
Portland Jazz Festival, Day 1: February 16, 2007
by John Kelman
Day 1 | Day 2 | Day 3 February may seem like an odd time to have a jazz festival in the Pacific Northwest, but in many ways the Portland Jazz Festival is held at the perfect time. The weather may be damp, but compared to the Northeast, it's a relatively balmy 50-60 degrees. ...
John Surman: How Many Clouds Can You See?
by John Kelman
While woodwind multi-instrumentalist John Surman's eponymous debut was a strange mixture of everything from free improvisation to calypso, his second date, 1970's How Many Clouds Can You See?, is a much more focused affair. Surman clearly references one of his roots, John Coltrane, albeit on an instrument that the legendary saxophonist never played. Surman plays bass ...
Joe Zawinul: Brown Street
by John Kelman
The fusion supergroup Weather Report's hit “Birdland" may have been covered by big bands before, but the majority of the extensive repertoire created during its 1971-86 run has remained largely untouched. Given founding member Joe Zawinul's innovative orchestrations on primitive analogue synthesizers, it's surprising more large ensembles haven't taken advantage of his ready-made arrangements.
Times 4: Relations
by John Kelman
It's a fine line between the contemporary jazz groups like the Yellowjackets make and the more programmatic smooth variety. Approachable grooves can define both spaces, but one expects greater emphasis on interaction and performance from bands that distance themselves from smooth jazz, where it seems to be all about avoiding confrontation and serving best as background ...
Prophetz of Time and Space: String Theory
by John Kelman
Steve Vasconcellos sure knows how to pick them. With a core group including legendary Mahavishnu Orchestra violinist Jerry Goodman, Weather Report drummer Leon “Ndugu Chancler, in-demand LA saxophone ace Brandon Fields and Miles Davis percussionist Munyungo Jackson, the bassist's five year-old Prophetz of Time and Space has plenty of potential as an approachable but uncompromising contemporary ...
Hugh Hopper: Hopper Tunity Box
by John Kelman
Why re-review an album covered less than eighteen months ago? In the case of bassist Hugh Hopper's second solo album (and his first after leaving seminal British jazz-rock group Soft Machine), it's because this reissue comes very close to sounding like an entirely new record. According to Hopper, during the mastering process of Hopper Tunity Box, ...
King Crimson: The Condensed 21st Century Guide to King Crimson 1969-2003
by John Kelman
Few groups have been anthologized as often as progressive/art rock band King Crimson. Perhaps it's the group's ever-changing lineup, or that guitarist/co-founder Robert Fripp has the habit of disbanding successive groups when they've fulfilled their purpose, with long gaps between the reincarnations. Since 2004 there have been two Discipline Global Mobile box sets ...
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