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Jean-Paul Bourelly: Boom Bop
by Mark Corroto
Jazz has always been about the fusion the different music. And at one time way back, so was rock, country and classical. Now they become what is called ‘cross-over’ music, usually a watered down sound, that neither genre finds acceptable. Guitarist Jean-Paul Bourelly probably doesn’t consider himself a jazz musician, with all the limitations the definition ...
George Benson: Breezin'
by Mark Corroto
Thanks to George Benson sometime in 1977 I became a jazz fan. I'm not sure how I stumbled upon his release Breezin', maybe it was its triple-platinum sales or maybe its three Grammy awards. Nonetheless, this Bruce Springsteen rock fan fell for Benson's bluesy guitar sound and wordless vocals. I was also listening to Chuck Mangione ...
Martial Solal: Martial Solal Dodecaband Plays Ellington
by Mark Corroto
There are only two things missing from Martial Solal's Duke Ellington tribute, Ellington's arrangements and Solal's voice. Solal, born in French Algiers in 1927, has been a staple of the Paris jazz scene since the 1950s. His piano has accompanied Don Byas, Lucky Thompson, Sidney Bechet, and Lee Konitz. He was recently nominated for a Grammy ...
Joao Paulo & Peter Epstein: Esquina
by Mark Corroto
The two-microphone approach MA Records utilizes in this recording by Portuguese pianist Joao Paulo and American Peter Epstein is reminiscent of the large, lush “ECM sound.” Recorded in the Saint George British Anglican Church in Lisbon, Portugal, this richly acoustical, rather large sound environment is a treat for audiophiles. Where the “ECM sound” sometimes comes under ...
Kenny Millions: Humanplexity/Mixed Nuts/Those Were The Days
by Mark Corroto
Imagine John Zorn with a sense of humor, or a least imagine him telling a joke not at your expense and you have an idea where Keshavan Maslak a.k.a. Kenny Millions is coming from. His outsider status in the avant community (probably self-imposed) comes from his utter lack of musical sobriety. Born of Ukranian ancestry, Keshavan ...
Rob Blakeslee Quartet: Last Minute Gifts
by Mark Corroto
There is a conversation going on in jazz these days, and I’m not referring to the debate as to whether Ken Burns is the anti-Christ. I also am not referring to apparent contention raised by the PBS wonderboy that jazz, although dead (since 1962), makes a nice museum piece. The conversation I am refering to is ...
Mike Jones: Live At Steinway Hall
by Mark Corroto
Pianist Mike Jones is throwback musician. His music is a vestige of a time when stride and swing piano co-existed in jazz. This record made at Steinway Hall in 1997 is about a man, just one solitary man working through some classic tunes. Played any other way, making this a duo, trio, or quartet record would ...
Ben Allison: Riding The Nuclear Tiger
by Mark Corroto
Like Charles Mingus, the bassist Allison has taken an aggressive approach to his music. Allison formed the Jazz Composers Collective, a musician-run, nonprofit with a mission to foster creative artists and new music. Not waiting for the jazz establishment to pick up on what he is laying down, he performs and writes for small ensembles and ...
Orrin Evans and Seed: Seed
by Mark Corroto
The sound of Orrin Evans’ piano is restless. His latest trio, Seed, features original compositions that have an unsettled quality. Like Horace Tapscott’s explorations of the 1970’s or Andrew Hill in the 1960’s, this band pushes an expansive enthusiasm for new jazz. Evans keyboard work reminds me of a very propulsive Thelonious Monk mixed with the ...
Mario Pavone: Sharpeville
by Mark Corroto
This reissue of bassist Mario Pavone’s self-produced 1985 session is an opportunity to hear creative music just as it was breaking into what we now call the ‘Downtown’ scene. Both Thomas Chapin and Marty Ehrlich were in their early thirties and had yet to make a name for themselves as leaders. As it appears that the ...
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