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Bobby Sanabria & : Bobby Sanabria & Quarteto Ache
by John Kelman
One of the most obvious things about watching Dizzy Gillespie, in particular when pursuing his Afro-Cuban muse, was how much fun he was having. All too often musicians become so entrenched in the seriousness of their work that they forget music is also meant to be passionate and pleasurable, as much fun to hear as it ...
Dave Liebman Group: In a Mellow Tone
by John Kelman
Don't let the title of Dave Liebman's latest disc, In a Mellow Tone, fool you. While the ambience is generally more relaxed than his usual fare, this is no easy-going collection of standards; instead what we have is an album that, for all its mellifluous aspirations, has a subtle intensity, and a certain feeling that all ...
Chris Potter: Lift: Live at the Village Vanguard
by John Kelman
Utilizing the same core group from his two Verve releases, 2001's Gratitude and 2002's Traveling Mercies, saxophonist Chris Potter recorded a couple days worth of gigs at the legendary Village Vanguard in December of 2002, the modus operandi being to provide only the barest of sketches, leaving plenty of space for interplay and improvisation. The result, ...
Rabih Abou-Khalil: Morton's Foot
by John Kelman
The definition of jazz is often a hotly contested topic. A more parochial view has it rooted in black American folk music, with somewhat narrow criteria that revolve around certain harmonies and rhythms. A broader view has it based in an improvisational spirit that can be rooted in the folk music of any country. Whether it ...
Larry Coryell: Tricycles
by John Kelman
Why guitarist Larry Coryell isn’t a bigger name is a mystery. Emerging in the ‘60s around the same time as John McLaughlin, Coryell’s forays into fusion actually predate McLaughlin’s, first fusing jazz with rock and country sensibilities in Gary Burton’s quartet, most notably on ‘67’s Duster and Lofty Fake Anagram. McLaughlin and Coryell even duked it ...
Rick Peckham: Left End
by John Kelman
For the first album by the assistant chair to the guitar department at the Berklee School of Music, one might expect a heavily jazz-centric affair and, given Rick Peckham’s vintage, one that would be heavily informed by alumni like John Scofield, Pat Metheny and Bill Frisell. And, to be sure, there’s a certain outward edge a ...
Steve Nelson: Fuller Nelson
by John Kelman
You have to have roots. Talk to almost any modern player and they'll stress that in order to get where they are today, they had to walk a road paved in tradition. Few understand or articulate that as well as vibraphonist Steve Nelson. Given that he came to wider attention through his forward-thinking work with Dave ...
George Schuller: JigSaw
by John Kelman
As an extension of his Schulldogs project, JigSaw finds drummer/composer George Schuller following somewhat in the third stream path of his father Gunther. With a group of players who double on so many instruments in order to provide a broad complexion of textures, Schuller comfortably blends free improvisation, new music and a surprising sense of swing ...
Mark Isaacs: Keeping the Standards
by John Kelman
Following up his 2000 release, Closer , Australian pianist Mark Isaacs turns away from original composition and instead examines the Great American Songbook in a programme of standards featuring bassist Jay Anderson and drummer Adam Nussbaum. The result is a marked reinvention of pieces including Hoagy Carmichael's “Skylark" and the Bernstein/Sondheim classic, “Somewhere." A true multidisciplinary ...
Louis Sclavis' Napoli's Walls: Victoriaville, Canada May 23, 2004
by John Kelman
Sunday, May 23, 2004 was the day for débuts at the Festival International Musique Actuelle in Victoriaville, Canada. First there was the less-than-successful performance of Tim Berne’s Expanded Science Friction Band . Later that evening French clarinettist/saxophonist Louis Sclavis introduced his current Napoli’s Walls project to a North American audience, and the result was nothing short ...
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