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John Scofield: One For Swallow
by Ian Patterson
From time to time in his storied career John Scofield will take a look over his shoulder and re-examine some of the music that has fed into his own, personal brand of jazz. The influences are many, for no matter the context that Scofield engineers, his distinctive sound always carries something of the blues, a little ...
Tamir Hendelman: The Many Colors and Cultures of Tamir
by Jim Worsley
With so many talented jazz pianists over the years, it can be a challenge to make your own mark or carve out your own identity. Many fine musicians have simply blended into the scene, seemingly unnoticed, due to a lack of singularity that sets them apart. Tamir Hendelman crashes that barrier with a signature sound that ...
20 Seattle Jazz Musicians You Should Know: Chuck Deardorf
by Paul Rauch
The city of Seattle has a jazz history that dates back to the very beginnings of the form. It was home to the first integrated club scene in America on Jackson St in the 1920's and '30s. It saw a young Ray Charles arrive as a teenager to escape the nightmare of Jim Crow in the ...
Piano
by C. Michael Bailey
Following his debut as a leader on, Wynton Kelly: New Faces -New Sounds (Blue Note, 1951), pianist Kelly surfaced again some seven years later, this time on Riverside Records, with the simply titled Piano. The length of time between leader recordings is a testament to the pianist's value in a supporting role for artists like Dinah ...
Jocelyn Gould: Elegant Traveler
by Dan McClenaghan
Guitarist Jocelyn Gould opens her debut album, Elegant Wanderer, with a cooker: Cole Porter's “It's All Right With Me." The tune is artfully arranged for quartet—piano and guitar with bass and drums—and Gould displays some serious chops. She has soaked up the influences of Wes Montgomery, Grant Green, Kenny Burrell and Joe Pass, and she wears ...
The Soul Jazz Guitar of Montgomery, Burrell and Green (1960 - 1965)
by Russell Perry
Hard bop created a comfortable setting for a suite of great blues-influenced guitar players who led the way toward soul jazz. Several of these players were from the mid-west -Wes Montgomery from Indianapolis, Grant Green from St. Louis and Detroit's Kenny Burrell. The next three hours of Jazz at 100 will present music from the 1960s ...
Larry Tamanini: Front & Center
by Chris M. Slawecki
Philadelphia leaves such deep and wide fingerprints on guitarist Larry Tamanini's Front and Center that he could list the city in its credits. Tamanini emerged on the Philadelphia jazz scene in the late 1990s, studying privately under Philly jazz guitar legends Dennis Sandole and Pat Martino, whose cerebral yet soulful sound sometimes echoes through ...
How to Play a Tin Whistle Like Michael Brecker
by Peter Rubie
I was talking to a musician friend of mine the other day, asking her how her move from Brooklyn to Forrest Hills was going. She said, “I love it! I love the neighborhood and best of all, musically, I'm not running any more jam sessions at the moment, just doing gigs—and practicing! It's great."
Tina Brooks Quintet: The Complete Recordings
by Chris May
Mosaic Records' spring 2020 release The Complete Hank Mobley Blue Note Sessions 1963-70, the second of the label's box sets devoted to the copiously recorded (and rightly so) Hank Mobley, prompts thoughts of another of Blue Note's singular hard-bop tenor saxophone stylists. Unlike Mobley, Tina Brooks was woefully under-recorded, making just four albums under his own ...
Frank Wess + Kenny Burrell
Some of the hippest small-group albums recorded in the mid-1950s were those by Frank Wess for Savoy. These include Flutes and Reeds (1955), Opus de Jazz (1955) led by Milt Jackson, North South East Wess (1956), Trombones & Flutes (1956), No Count led by Frank Foster, Jazz for Playboys (1957), Flute Suite and Jazz Is Busting ...
