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Satoko Fujii: Toward, "To West"
by Mark Corroto
Coming on the heels of the impressive big band record Double Take, Satoko Fujii’s trio record lofts her onto a creative pinnacle in modern music. The young female Japanese pianist was a former student of Paul Bley and also a former classical piano prodigy. Her rejection of the classical doctrine was not a rejection of a ...
Frank Carlberg: Variations On A Summer Day
by Mark Corroto
Adapting the poetry of Wallace Stevens to music is an almost natural task for Frank Carlberg. The ex-lawyer turned insurance executive (Stevens not Carlberg) wrote from pure imagination. His early associations had been with the New York intelligentsia, including William Carlos Williams and Marcel Duchamp. Carlberg, a Finnish born pianist and composer has been a frequent ...
H.I.M.: Our Point Of Departure
by Mark Corroto
The band known as HiM need not explain their name to us. Like Sting or Prince we wonder how to address their music. Is it Mr. HiM, those HiM guys? Or maybe they should have called themselves Teo, because the name Macero comes to mind every time I hear their discs. Point Of Departure follows up ...
John Zorn: The Big Gundown
by Mark Corroto
Part Holy Grail, part Rosetta stone, John Zorn’s 1985 release The Big Gundown was for the many the portent of the Downtown scene’s birth. For this listener, it was my introduction to John Zorn and many Downtown artists that I have listened to these past fifteen years, including: Arto Lindsay, Wayne Horvitz, Bobby Previte, Tim Berne, ...
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 ...
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