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Marc Copland Trio: Haunted Heart
by AAJ Italy Staff
Piano-trio niente male per essere il disco di un sassofonista. Scherzi a parte, Marc Copland mosse i suoi primi passi da professionista registrando alcuni dischi al sax contralto e suonando nella band di Chico Hamilton. Solo a metà degli Anni Settanta, trasferitosi a New York, abbandona lo strumento degli esordi per dedicarsi completamente al pianoforte. Forse ...
The Jazz Session #185: Marc Copland
Pianist Marc Copland joins Dave Liebman, Billy Hart, Drew Gress and John Abercrombie in the band Contact. Their new album is Five On One (Pirouet Records, 2010). In this interview, Copland talks about the formation of the band and his relationships with the individual members; his years in D.C. and his switch from saxophone to piano; ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by Troy Collins
Five on One features five of the most renowned artists in modern jazz working together as a cooperative ensemble under the name Contact. Saxophonist Dave Liebman, guitarist John Abercrombie, pianist Marc Copland, bassist Drew Gress and drummer Billy Hart transcend the aesthetic limitations of many similar all-star gatherings with their complementary sensibilities, garnered over the years ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five On One
by Dan Bilawsky
The practice of forming super groups in jazz can be fraught with disaster. Festival promoters often try to draw audiences by lumping musicians together in all-star settings, but a lack of chemistry, familiarity, common ground or interest, often turns these events into yawn-inducing bores. All four of these boundaries, thankfully, don't come into play with Contact--the ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by Dan McClenaghan
The band called Contact is about as all-star an affair as can be found in modern jazz, and it's hard to imagine any serious listener not having a favorite among the players, whether it's saxophonist and renaissance man Dave Liebman, pianist Marc Copland--whose marvelous New York Trio Recordings pushed his profile up closer to where it ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by John Kelman
They've played together in various permutations and combinations, but Five on One represents the first time they've joined together as a discrete unit. Reconvening the Second Look (Savoy, 1996) quartet--which comprises four-fifths of Contact-- pianist Marc Copland proved you can go back again with Another Place (Pirouet, 2009). The quartet's bassist, Drew Gress, has also been ...
Bill Carrothers: See the Piano, Play the Piano
by Dan McClenaghan
"I want to keep my fingers in a state of chaos...I try to keep my fingers stupid."----Bill Carrothers, jazz pianist. The quest for chaotic and stupid finger seems an unusual one for a jazz pianist. But then, a conversation with Bill Carrothers reveals an unusual man; one who is to-the-point and forthright ...
The State of The Piano Trio 2010 (Pt.1): Helge Lien Trio and Trichotomy
by C. Michael Bailey
The piano trio is a durable and fertile format for musical expression. It is the jazz equivalent of classical chamber music--that is, music produced by a small number of instruments, small enough to be accommodated in close confines. While the piano trio can come in many flavors, the typical one is piano, bass and drums (aka ...
Bill Carrothers: Joy Spring
by Dan McClenaghan
Pianist Bill Carrothers has narrowed his often expansive focus. Where the marvelous and career-defining Armistice 1918 (Sketch Records, 2004) concerned itself with the scope of World War I, and I Love Paris (Pirouet Records, 2005) explored popular songs from the twenties through the forties, Joy Spring zeros in on a smaller slice of a more recent ...
Daniel Kelly, Gary Peacock & Marc Copland, Allison Miller: Solo, Duo, Trio
by J Hunter
It can be argued that a quartet offers jazz listeners maximum effect with minimal personnel. It allows for two solo voices without compromising the rhythm section, and gives a composer access to a wider range of colors than could be provided by a smaller group. Then again, there are players doing much more with much less. ...
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