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In the Country: Losing Stones, Collecting Bones
by John Kelman
Leaving behind the staid piano trio tradition, In the Country broke new ground in 2005 with its Rune Grammofon debut, This Was the Pace of My Heartbeat. Unlike the more assertive Bad Plus and the generally more refined EST, this Norwegian trio managed to create a new paradigm for Grammofon's first self-described “jazz" record, one that ...
Samo Salamon New Quartet: Kei's Secret
by John Kelman
Since emerging from Slovenia four years ago, Samo Salamon has been stepping up the pace with increased vigor. The result is palpable growth, which is at its clearest on Kei's Secret. The guitarist's playing has never been more assured, nor his voice more unequivocally his own, than on this live recording re-teaming him with reedman Achille ...
Richard Pinhas: Metatron
by John Kelman
Amongst the multitude of guitarists developing individual voices through recognizable guitar sounds exists a smaller group of players who view the instrument as means to a different end. King Crimson co-founder Robert Fripp, one of the first to explore transforming the sound of a guitar beyond recognition, has been a major influence on more than one ...
Miles Okazaki: Mirror
by John Kelman
Sometimes artists' most obvious credentials say little about who they really are. Guitarist Miles Okazaki has been singer Jane Monheit's guitarist since 2002, but anyone who expects Mirror to reflect a similarly standards-heavy inclination will be seriously surprised. Whether or not in a good way depends on one's own predilections, but for those wanting greater breadth ...
James Muller: Kaboom
by John Kelman
Geography is the only reason that James Muller isn't as well-known as he should be. Having spent most of his life in his native Australia, the guitarist, now in his early thirties, has racked up a significant number of releases including Sonic Fiction's Changing With the Times, pianist Mark Isaac's Closer and the recent JazzGroove Mothership ...
Big Satan: Livein Cognito
by John Kelman
Some bands are best experienced live. There's simply no denying the energy and element of surprise that occurs when playing in front of an audience. In recent years, advances in technology and a corresponding reduction in costs have closed the gap between studio and concert recordings to the point where an increasing number of artists now ...
J.A. Granelli and Mr. Lucky: Homing
by John Kelman
Bassist J.A. Granelli's Mr. Lucky may be a totally revamped lineup from the group that released Gigantic (Love Slave, 2004), but its philosophy remains the same. Homing lives in a place somewhere between Ry Cooder's loose, pre-Buena Vista Social Club work and Bill Frisell's Good Dog, Happy Man, a collection of roots-oriented material that's about groove ...
Mike Mainieri: Northern Lights
by John Kelman
Vibraphonist Mike Mainieri has never garnered the same attention as Gary Burton, five years his junior, despite being equally cutting edge. Mainieri was one of fusion's early progenitors: Journey Through an Electric Tube (Solid State, 1968) and White Elephant (Solid State, 1969) explored new ways to incorporate a rock aesthetic with jazz. But while Burton has ...
Edward Simon: Unicity
by John Kelman
Artistic evolution is an interesting phenomenon. Emerging musicians, filled with the brashness of youth, are often more focused on chops, energy and complexity. But as many mature they evolve into players more concerned with space and profound simplicity. Edward Simon is a strong case in point: the pianist's earlier albums are filled with detailed compositions and ...
Nguyen Le Duos: Homescape
by John Kelman
There's no substitute for a convincing musical concept and language, but if an artist doesn't pay equal attention to tone, then that musical message can become easily diluted. The two are, in fact, inextricably linked--in particular with guitarists, who are often as well-known for the texture of their sound as the notes they play. Guitarist Nguyên ...
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