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Mark Sherman: The Motive Series
by John Kelman
The vibraphone is surely the most difficult instrument to introduce to a jam session, if for no other reason than its sheer lack of portability. Sure, pianos and drums are tough to cart around, but many clubs have a house piano. And if a group is playing in a club, you can be fairly certain there'll ...
Elton Dean: Sea of Infinity
by John Kelman
Artists including John Abercrombie and Bill Evans have said that the best free music still requires a reference point. Whether it is a harmonic centre or rhythmic conceit, it needs something to provide a focus; after that, the players are free to expound as extravagantly and with as much abandon as they can muster. And that's ...
Three From Rhapsody Films featuring Bill Evans and Jim Hall
by John Kelman
With praise coming from sources as diverse as Dan Morgenstern, Clint Eastwood and Richard Pena, Bruce Rickert's Rhapsody Films is rapidly making a name for itself as an imprint devoted to reissuing some of the more important archival jazz, blues and world music releases, originally only available on video, on DVD format. While some of their ...
Donald Harrison: Free Style
by John Kelman
They say context is everything, and nobody knows that better than alto saxophonist Donald Harrison, who recorded Free Style literally back-to-back with his last Nagel Heyer release, Heroes , featuring bassist Ron Carter and drummer Billy Cobham. While both sessions are trio dates--with the exception of three tracks featuring pianist Glen Patscha--one couldn't find two more ...
Elton Dean's Ninesense: Live at the BBC
by John Kelman
Saxophonist Elton Dean is probably best known for his stint in the classic Soft Machine line-up of '69- '72, but had already established himself as a significant free player with pianist Keith Tippett on records including You Are Here...I Am There and Dedicated to You But You Weren't Listening , as well as with his own ...
Renaud Garcia-Fons: Entremundo
by John Kelman
Some records are instantly captivating, with an ambience that immediately draws the listener in. Others require more attention, revealing layers of reward with each successive listen. The best records do both. Bassist Renaud Garcia-Fons has managed with his latest disc, Entremundo , to create one of those rare recordings whose first spin compels the listener to ...
Leslie Pintchik: So Glad to Be Here
by John Kelman
Joining the ranks of the heavily-populated piano trio format is a risky proposition, especially within the mainstream because there are, quite simply, so many players out there mining the same space that unless one has something new to say or a radically new approach, one runs the very real risk of becoming just another one of ...
Robin Holcomb/Wayne Horvitz: Solos
by John Kelman
Albums putting two pianists together are rare but not unheard of. Chick Corea and Herbie Hancock did it in the '70s, and Geoffrey Keezer did it more recently with Kenny Barron, Chick Corea, Mulgrew Miller and Benny Green. But such albums typically find the two pianists playing together in a context that demonstrates the paired players' ...
Centipede: Septober Energy
by John Kelman
One look at the fifty-piece Centipede orchestra, organized and led by British free jazz pianist Keith Tippett over thirty years ago, and the mind boggles that such an unwieldy collection of musicians, from such a multitude of musical camps, could ever be brought together to create a remotely coherent musical statement. And, truth be told, when ...
Richie Hart: Blues in the Alley
by John Kelman
With a blues-soaked sensibility and strong rhythmic drive, guitarist Richie Hart's Blues in the Alley is aptly named, given his propensity for blues form and feel. But that doesn't mean that the record is anything approaching monotonous, as Hart and his trio companions, bassist Rick Petrone and percussionist Joe Corsello, explore everything from the swing blues ...
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