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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 ...
New Faces - New Sounds
by C. Michael Bailey
In the early 1950s, Blue Note Records introduced new artists in the label's series New Faces -New Sounds. It highlighted such young artists as Horace Silver (1952); Lou Donaldson (1952); Elmo Hope (1953); and Frank Foster (1954). All of these recordings were released as part of Blue Note Record's 5000 Modern Jazz Series, all on 10-inch ...
Frank Tiberi: The Thundering is Still Heard
by Jim Worsley
The term “ninety-two years young" is a bit cliché, but if the shoe fits (oops, another cliché). Saxophonist Frank Tiberi (pictured above playing with saxophonist and long time friend George Garzone to the left) spoke with the verve and energy of a much younger man. He got excited, as if being back in the moment, when ...
MY IRIS: MY IRIS Live!
by Ian Patterson
Unable to undertake its scheduled April tour due to COVID 19, MY IRIS, the quartet led by saxophonist Trish Clowes, releases this live recording culled from gigs in Belfast and Galway in October 2019. Captured on Zoom recorder, Clewes has done an admirable job in producing a presentable sound on this digital-download, Bandcamp release. More importantly, ...
Lee Konitz: Il Ricordo di D'Andrea, Fasoli, Giuliani, Pieranunzi, Rava e Tommaso.
by Paolo Marra
Il sassofonista Lee Konitz è stato una delle figure più influenti del jazz moderno non solo per il suono unico al contralto e un senso dell'improvvisazione senza eguali, ma anche per essere rimasto nell'arco della sua lunga carriera sempre fedele a sé stesso ponendo la musica come protagonista assoluta della sua espressività, senza inutili esibizionismi.
Jeff Rupert/George Garzone: The Ripple
by Jim Worsley
The Ripple refers to the infectious, warm, intimate, yet big sound developed by the great Lester Young, starting in the late 1930s. While Young pioneered improvisational creativity, Stan Getz later took the baton (well, it was actually a saxophone) and further expanded his idol's stylish approach with new and creatively open-ended visions. Young and Getz collectively ...
Field Trip To The Vault!
by Marc Cohn
After a dose of 21st century music from Dave Allen, Pat Metheny and Aziza, we continue to celebrate the life of Sonny Rollins with tracks from his last session for Prestige in 1956. Then it's deep into the vault for two 78rpm recreations from Charlie Parker (on tenor) with Miles & Erroll Garner's trio from the ...
David Sanborn: Night Music and Beyond with Hal Willner
by Ludovico Granvassu
Could you imagine tuning in to national network TV today and finding a 60-minute weekly music show focusing on forward-looking musicians driven by a desire to push the envelope rather than to “entertain?" A music show sponsored by a beer company, on top of that? It's hard to believe today. But for two seasons at the ...
George Garzone: Sax In The City
by Jim Worsley
George Garzone is not the mayor of the city of Boston. If he was appointed to a position it would more likely be king. He is, at the very least, the toast of the town. This isn't news. King George has reigned with a firm grasp of his mighty tenor saxophone for close to half a ...
The Archive of Contemporary Music
by Karl Ackermann
In Lower Manhattan, sits a musical gold mine. It's the motherlode of recorded music though the small, brightly colored sign above a grey steel door provides only a cryptic clue. The dusty window display of rare 78 RPM records, broken into erratic pie charts serves as a vestige of the past and a cautionary tale about ...
