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Spaceways Incorporatd: Vandermark/Drake/McBride: Thirteen Cosmic Standards
by Mark Corroto
With the news and financial security from receiving the MacArthur Genius Grant behind him, all eyes turn to Ken Vandermark in anticipation of his next move. The one-time Hal Russell apprentice is equally at home in free jazz settings (Caffeine), rocked-out noise bands (Flying Luttenbachers), and inside composed groups (Vandermark 5). His last effort Design In ...
Peter Epstein: Almas/Solus
by Mark Corroto
My ‘what I did during summer vacation’ essay would begin simply enough. “I listened to jazz.” I guess you can call what I listen too, ‘jazz.’ But then again, when is jazz not jazz? And can a jazz artist make a non-jazz record? Certainly, ask Miles Davis (sorry), ask Keith Jarrett and Wynton Marsalis, both have ...
Mat Maneri Quartet: Blue Decco
by Mark Corroto
For the violinist and viola jazzman Mat Maneri, music is more about interaction than direct action. His music isn’t so much an act of contrivance as it is intercourse. His new quartet with William Parker at its creative center connects on many levels. First they refashion two standards; Duke Ellington’s “I Got It Bad” and the ...
Louis Armstrong: Complete Hot Five & Hot Seven Recordings
by Mark Corroto
Louis Armstrong’s Hot Five and Hot Seven recordings are jazz’s Holy Grail, a venerable guide for anyone with the desire to explore the roots of this now century old art. These recordings made between 1925 and 1929 ushered out the era of acoustic recording where the soloist played into a huge cone and ushered in the ...
Thelonious Monk: Complete Prestige Recordings
by Mark Corroto
Sometimes I scare myself. Just when I start believing that I haven’t progressed in my jazz record amassing to the designation a ‘collector,’ a box set like The Complete Prestige Recordings comes along and I deem it a ‘must have.’ Let me explain, in our household essential recordings by jazz artists are acquired without guilt (“we ...
George Coleman: Danger High Voltage
by Mark Corroto
George Coleman isn’t just the answer to the trivial pursuit question “Who were the tenor saxophonists in Miles Davis’ Band after John Coltrane and but before Wayne Shorter.” The correct answers; Hank Mobley, Sam Rivers, and George Coleman, if not achieving Miles Davis super-stardom all went on to significant careers. Miles suggested that Coleman left his ...
Andy Biskin: Dogmental
by Mark Corroto
Jazz history is chock full of stories of popular jazzmen who began on clarinet, later shedding the black stick for the much cooler, chick-magnet saxophone. But times change, and just as America’s richest man, a pocket-protector wearing nerd is somehow admired, the clarinet has shed its stigma. Like Don Byron, Marty Ehrlich, and Chris Speed, Andy ...
Living Daylights: Electric Rosary
by Mark Corroto
Like so much that is New York (insert your own NYC gripe here) the late 80s early 90s avant scene turned to arty, less accessible music once it gained popularity. The Downtown attitude was/is if the multitudes dig it, it’s time to change. The fun that was the Knitting Factory scene has devolved into serious music ...
Masada: Live In Sevilla 2000
by Mark Corroto
By my count, John Zorn's piano-less quartet Masada has amassed some 14 recordings. His concept for Masada, which began in 1993, was to write, write, and write some more. His book of over two hundred Masada songs are written as brief melodies of what he calls “Jewish Scales" for multiple groups. This concept has been recorded ...
Dave Brubeck: One Alone
by Mark Corroto
It seems these days older players go to Cleveland to conclude their careers. Bad news if you’re a baseball fan, but great tidings for jazz fans, because Telarc, a leader in sound engineering is based there. As New York labels seem to be searching for younger and prettier musicians, Telarc has documented the recent work of ...
![Full Moon [Feat. New York Voices, Mark Egan]](https://s3.amazonaws.com/allaboutjazz/coverart/large/a07a6f1d5edcd6c801f0e1c3b527da37.jpg)
