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Paul Bley / Gary Peacock / Paul Motian: When Will The Blues Leave
by Karl Ackermann
Had Paul Bley, Gary Peacock and Paul Motian recorded together more consistently, they would have been considered among the best piano trios in modern jazz history. The three first recorded on the ECM collection Paul Bley with Gary Peacock (1970), a compilation from the 1960s where three of the eight tracks had Billy Elgart on drums. ...
Raphael Malfliet Large Ensemble: LE10 18-05
by Karl Ackermann
On his debut album, Noumenon (Ruweh Records, 2016), Belgian-born bassist Raphael Malfliet incorporated his influences of modern classical, avant-garde, and improvised music, without deference to any particular genre. In that trio setting, Malfliet mixed textures and loose, fluctuating melodies that played as a surprisingly full sound and served to emphasize the opposing uses of silence. The ...
Johnathan Blake: Trion
by Karl Ackermann
A journeyman drummer with over fifty album credits, Johnathan Blake has long associations with Tom Harrell and Kenny Barron and has appeared with Oliver Lake, Roy Hargrove, Alex Sipiagin, Donny McCaslin, Avishai Cohen, Omer Avital and many other well-known artists. His previous outings as leader were The Eleventh Hour (Sunnyside, 2012) and Gone, But Not Forgotten ...
The Art Ensemble of Chicago: We Are On The Edge: A 50th Anniversary Celebration
by Karl Ackermann
Bassist Malachi Favors, trumpeter Lester Bowie and saxophonist Joseph Jarman have all passed on, leaving the Art Ensemble of Chicago's remaining original members, saxophonist Roscoe Mitchell and drummer Famoudou Don Moye, to rebuild. We Are on the Edge is a double-CD package; it is a fifty-year celebration of the group, and a dedication to the departed ...
Invisible Man: Willis Conover and The Jazz Hour
by Karl Ackermann
Willis Conover stood with a cordoned off pool of reporters and photographers, being kept at arms-length from celebrities and dignitaries on the White House lawn. There was no table assigned to him at Bill Clinton's 1993 celebration of the fortieth anniversary of the Newport Jazz Festival though Conover had been involved with George Wein's project from ...
Jay Anderson: Deepscape
by Karl Ackermann
Jay Anderson took up the acoustic bass as a pre-teen, earned a Bachelor's Degree in Performance from CSU and cut his teeth playing with the Woody Herman Orchestra, right out of school. His deep resume includes classical performance with the Australian Chamber Orchestra, alternative music with Frank Zappa and Tom Waits, and pop with David Bowie. ...
Club d'Elf: Night Sparkles
by Karl Ackermann
For the Boston, Massachusetts-based Club d'Elf, the boundaries are long gone; they may never have been there to start with. Almost twenty years ago, the group debuted with Live at The Lizard Lounge (Grapeshot Media, 2000), an amalgam of jazz, electronica, hip hop, and funk. At times, the group (always a fluid entity) has included accordion, ...
Michael Attias: échos la nuit
by Karl Ackermann
In the early days of Rahsaan Roland Kirk's career, there were critics who viewed the blind man with three instruments hanging from his neck--two to be played simultaneously--as posturing. Then they heard him play. Forty years later, and filtered through the influence of four continents, Michaël Attias takes up the task of improvising on two different ...
The Ballpeen Monks: Incident in Oniontown
by Karl Ackermann
Incident in Oniontown finds The Ballpeen Monks re-emerging as the most musically wide-ranging collective of their generation. Despite the quintet undergoing massive changes--only one member remains from the original quintet--the group displays a consistency that has been their hallmark since their debut album A Meeting in Daisyfuentesville (Self-produced, 1994). The infighting that resulted from that moderately ...
Women in Jazz, Pt. 2: The Girls From Piney Woods
by Karl Ackermann
In Part 1 of Women in Jazz we looked at the historical position of women in early jazz. Despite their influence in shaping the art, their talent as composers, arrangers, instrumentalists, and band leaders, women have often been token additions; marginalized window dressing in a male-dominated world. One hundred years after Lil Hardin held ...
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