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Joe Chambers: Moving Pictures Orchestra: Live at Dizzy's Club Coca-Cola
by John Kelman
It's one thing to have an established `place in the jazz pantheon, another to continue redefining that position, long after others might be content to rest on their laurels. Joe Chambers' work behind the drum kit with artists including Andrew Hill, Bobby Hutcherson, Wayne Shorter, Freddie Hubbard, Charles Mingus, and McCoy Tyner has already ensured a ...
Wallace Roney: Understanding
by John Kelman
With the concept of mentoring an increasingly forgotten part of how young, up-and-coming musicians cut their teeth--learning from older, more experienced musicians before heading out into the world as leaders--the jazz world needs more people like Wallace Roney. One look at every record the trumpeter has made since signing with HighNote in 2004, with Prototype the ...
Tom Harrell: Number Five
by John Kelman
"If it ain't broke, don't fix it," they say, and since coming to HighNote in 2007, trumpeter Tom Harrell has lived by that old adage, utilizing the same quintet for its auspicious debut, Light On, and three subsequent recordings, culminating in 2011's outstanding Time of the Sun. Number Five continues Harrell's winning streak with the same ...
Brad Mehldau: Your Mother Should Know
by Brad Mehldau
In his book, The Western Canon: The Books and School of the Ages, the scholar Harold Bloom confronted the question of what makes particular books endure through the ages, long surpassing the time and place in which they were written: The answer, more often than not, has turned out to be strangeness, a mode ...
Jean-Luc Ponty: No Absolute Time
by Peter Rubie
When we talk about world music, we often use the phrase in quiet desperation to describe music that defies familiarity and our expectations but still appeals to us. Its very newness is often both slightly disturbing and refreshing at the same time. Two years before No Absolute Time was released in 1993, Jean-Luc Ponty ...
Jean-Luc Ponty: Individual Choice
by Peter Rubie
By 1982, jazz violinist Jean-Luc Ponty had established an enviable reputation as a pioneer in jazz-rock and jazz fusion. He began as a young bebop player in the late 1950s with little interest in becoming another swing or gypsy style violinist. It was the “sheets of sound" music of John Coltrane that spoke loudest to him. ...
Jean-Luc Ponty: Open Mind
by Peter Rubie
If Individual Choice was the sketchbook of Jean-Luc Ponty's (JLP) decision to take his music in a new direction, Open Mind (1984), released the following year, was a deeper exploration of the emerging world of synthesizers and sequencers and their impact on live (studio) performance. Here, complex rhythmic patterns shift in the background while new sounds ...
Andrew Cyrille, Elliot Sharp, Richard Teitelbaum: Evocation
by Howard Mandel
Evocation is what all writing about music must be about and may be the mission of music itself. To create an impression, to summon a memory or tender a suggestion of presence using materials that are not substantially those of the endeavor's subject--isn't that the fundamental purpose of any art? Not to be pretentious ...
Conrad Herwig: Obligation
by C. Andrew Hovan
Jazz fans tend to be fanatical about those artists that most directly speak to their own musical tastes. Over time, a sense of familiarity with the musical personalities of their iconic favorites becomes entrenched, followed by categorization based on style and genre. Those already familiar with Conrad Herwig's musical endeavors over the past 20 years are ...
Simone Zanchini: The Music Of Nino Rota
by Howard Mandel
"I'm a musician who plays accordeon, not an accordeonist who plays jazz," says Simone Zanchini, proud of a distinction that is substantiated by Nino--his 25th album in the 20 years since his recording debut. Using vast resources drawn from the panoply of music he's studied, discovered, invented and developed for his too often stereotyped and maligned ...
