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Acoustic Triangle: Resonance
by John Kelman
In a 2003 interview, drummer Peter Erskine spoke about playing in concert halls with such inherently good acoustics that PA systems were unnecessary. “audiences love it, they absolutely love it. The world has gotten so noisy, and things have gotten so dense and assaultive, that people are grateful for a chance to rest their ...
John Kelman's Best of 2005
by John Kelman
Selected picks representing the top recorded events in jazz and beyond for 2005.... Jazz New Releases Tim Garland If the Sea Replied (Sirocco) Marc Johnson Shades of Jade (ECM) The Vandermark 5 The Color of Memory ...
Jim Hall / Geoffrey Keezer: Free Association
by John Kelman
To the committed artist, music is something that represents a calling rather than a job that provides income from which one ultimately retires. Looking at the number of jazz musicians who continue to work into their 70s and 80s and are constantly moving forward, it's clear that it's more dedication than occupation. Jim Hall's reputation may ...
Alain Caron: 5
by John Kelman
Ever since Jaco Pastorius, Stanley Clarke and Jeff Berlin redefined the role of electric bass in the 1970s, there's been a multitude of players aiming to expand its reach. But despite its potential as a melodic equal, it's still important for bassists to create a rhythmic foundation--even if this sometimes seems a contradiction in purpose. Few ...
Evan Ziporyn: Typical Music
by John Kelman
Best-known for his association with genre-defying contemporary chamber group Bang on a Can, Evan Ziporyn as been gradually amassing a body of written work that is evidence of an equally boundary-averse compositional mind. ShadowBang (Cantaloupe, 2004) found him mixing diverse interests in Balinese gamelan and contemporary minimalists like Steve Reich and Terry Riley on a score ...
Jeanette Lindstrom: In the Middle of This Riddle
by John Kelman
She may not be considered jazz by most (including herself), but singer/songwriter Norah Jones' widespread acclaim--normally afforded artists in the pop mainstream--isn't necessarily a bad thing. If her smoky and understated delivery encourages fans to investigate other singers more clearly associated with jazz there's hope that a certain percentage might actually choose to stick around. If ...
Loren Stillman: It Could Be Anything
by John Kelman
Jazz fans seem to be constantly debating when the best period for jazz was. That some believe that now is unequivocally the worst time for a genre now in its second century is puzzling. The arguments most often heard have to do with there being no “significant innovations, and the predominance of high profile artists like ...
Various Artists: Soupsongs Live: The Music of Robert Wyatt
by John Kelman
Canterbury-associated singer/songwriter Robert Wyatt's recorded output, since an accident that left him paralysed from the waist down in the mid-1970s shut down his ability to play the conventional drum kit, is hardly what anyone would call jazz by any standard definition. But it's important to recognize that, while he was always the more song-oriented member of ...
Gilfema: Gilfema
by John Kelman
You only have to look at Gilfema to realize just how small a place the world has become. Comprised of a young multinational group of players--Benin-born guitarist/vocalist Lionel Loueke, Italian/Swedish bassist Massimo Biolcati and Hungarian drummer Ferenc Nemeth--Gilfema's self-titled debut is clear proof of contemporary jazz's cosmopolitanism. Loueke is the best known--an integral part of trumpeter ...
Jean-Sebastien Simonoviez: Vents & Mar
by John Kelman
Possibly one of the most difficult challenges that any aspiring musician faces is coming to terms with translating technique into musicality. Students practice scales, physical technique, rhythm and harmony--trying to make their hands as fluid as possible and their minds so aware that these concepts become second nature. But when it comes time to play, all ...
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