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Sam Bardfeld: Periodic Trespasses (The Saul Cycle)
by John Kelman
Ask most artists and they'll tell you their albums tell a story. The idea of musical narrative is nothing new--listen to any ECM disc, where emotional arcs often transcend any collection of discrete pieces. Rare, however, are the recordings where there's an all-encompassing theme. Rarer still are those that tell a specific and self-contained story. Percussionist ...
Ray Russell: Goodbye Svengali
by John Kelman
If you haven't been closely following the British jazz scene, you likely won't have heard of guitarist Ray Russell. In some ways he's simply been in the wrong place at the wrong time. All too briefly replacing Chris Spedding in trumpeter Ian Carr's Nucleus, his more forward-thinking playing with that seminal jazz/rock outfit has only come ...
Univers Zero: Live
by John Kelman
While it's often lumped in with Rock in Opposition (RIO) groups like Henry Cow, there really are more differences than similarities between Belgium's Univers Zero and its British counterparts. Both share roots in chamber music--especially the 20th Century variety--and a disposition towards idiosyncratic compositions. But Henry Cow also explored free improvisation and, especially when teamed up ...
Bob Mintzer Big Band: Old School: New Lessons
by John Kelman
He may be best known these days as one quarter of the contemporary jazz group Yellowjackets' best lineup in 25 years, but woodwind multi-instrumentalist Bob Mintzer first cut his teeth in the big bands of Buddy Rich and Mel Lewis, along with the late bassist Jaco Pastorius' groundbreaking Word of Mouth Big Band. And so, while ...
Tom Scott: Bebop United
by John Kelman
He's had a multifaceted career in almost every imaginable area of jazz--not to mention working as a gun for hire on albums by singer/songwriters like Joni Mitchell and Carole King. It's easy to forget that saxophonist Tom Scott actually started out as a jazz traditionalist. While his own albums have leaned more towards fusion and contemporary ...
Andrew Hill: Time Lines
by John Kelman
Sadly, art is often not recognized until the artist is gone. That certainly appeared like it was going to be the fate for pianist Andrew Hill. Despite releasing a spate of innovative records for Blue Note in the 1960s, he seemed perennially overshadowed by the artists he worked with, including vibraphonist Bobby Hutcherson and saxophonist Joe ...
Carol Robbins: Jazz Play
by John Kelman
In the second Dirty Harry movie, Magnum Force, the catchphrase of Clint Eastwood's Inspector Callahan is “A man's got to know his limitations. Over the past decade, harpist Carol Robbins has attempted to defy the preconceived limitations of her instrument. She's employed the harp--surely one of the most unwieldy of instruments--in a jazz setting, despite inherent ...
A Trio of Pat Metheny Group Reissues
by John Kelman
Why artists and/or record labels choose to release remastered versions of pre-existing material can range from the purely artistic to the shamelessly monetary. Sometimes it's a case of getting material, previously out-of-print, back into the marketplace for people who, for whatever reason, didn't pick the material up the first time around. Sometimes the target audience is ...
Michael White: Voices
by John Kelman
Though the violin is a relatively rare instrument in jazz, it's still a wonder that Michael White isn't better known. First coming to prominence with the early fusion group The Fourth Way--also featuring the equally underrated pianist Mike Nock--White recorded a handful of records for Impulse! in the early 1970s, including one bona fide classic, The ...
Pierre Moerlen's Gong: Pentanine
by John Kelman
French percussionist Pierre Moerlen, who passed away at the all-too-young age of 52, may never have garnered the attention he deserved, but amongst fans of the British Canterbury movement he was a renowned presence. If he'd done nothing more than play on the psychedelic jamband Gong's Radio Gnome Invisible trilogy, he'd have been assured a place ...
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