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Brian Trainor: Monk & Me
by Mark Corroto
For a few years in the early 90s I ran a coffeehouse that weekly (some say weakly) presented local jazz acts. From fusion to solo piano, I had but one requirement of any musician. Play at least one Thelonious Monk tune per night and the gig was yours. Deviously simple, Monk’s music always separates the talented ...
Jay Azzolina: Past Tense
by Mark Corroto
Jay Azzolina proves there are second acts in American culture. The onetime guitarist for Sypro Gyra (read on it gets better), Jeff Beal, Herbie Mann, Chuck Mangione, and Fred Hersch cast-off his fusion demons for an acoustic-accompanied outing. Sure I had my doubts, but as soon as the opener, “Ben Hur, Ben Him,” begins he’s all ...
Patrick Zimmerli: Expansion
by Mark Corroto
It was a hot and humid summer day a few years ago as I asked the ticket seller which of the 10 movies showing was the longest. That was the lone criteria for me to catch director John Salles' Lone Star. You see, normally I go in for escapist science fiction, car chase, and suspense movies, ...
Phil Palombi: 80 East
by Mark Corroto
In an interview recorded as an afterthought to American Classic, a 1982 Dexter Gordon session, the then sixty-one year old tenor saxophonist was asked about the future of jazz. He replied, “Bebop is the music of the future.” His return to the US from a self imposed exile not only signaled the resurgence of bebop but ...
James Carter: Chasin' The Gypsy/Layin' In The Cut
by Mark Corroto
Saxophonist James Carter is the Derek Jeter of jazz. Like the New York Yankee shortstop, he is long on talent and even longer on attitude. For all of us Yankee-haters, we wait for a Jeter error and grudgingly recognize his physical genius. Similarly, Carter’s attitude has created many a jazz detractor, ready to leap upon any ...
Sam Rivers' RivBea All-Star Orchestra: Culmination
by Mark Corroto
Recorded at the same session as last year’s Inspiration, the follow up disc Culmination delivers more of the same goods. Sam Rivers, long exiled (by choice) to Orlando, FL, has been making music in semi-obscurity for the past few decades with many of the Disney-based musicians. In this environs Rivers has total control over composition and ...
Satoko Fujii Orchestra: Double Take
by Mark Corroto
Japanese pianist Satoko Fujii has grabbed plenty of attention in the cutting edge jazz community. After briefly studying classical music, she came to America and breezed through the Berklee College of Music and New England Conservatory. Her mentors have included Paul Bley and George Russell, and along with her Japanese heritage and classical background produced a ...
Andrew Hill: Dusk
by Mark Corroto
Alfred Lion, founder of Blue Note records, reaction to encountering pianist Andrew Hill's music said it was exactly like the experience he had the first time he heard Thelonious Monk and Herbie Nichols. Lion and Blue Note devoted most of the 1960s to recording sessions for Hill. His sixties sessions were unique post-Monk visions somewhere between ...
Ben Monder: Excavation
by Mark Corroto
Guitarist Ben Monder inhabits an ethereal world where jazz is created for deep space. Setting aside typical jazz meters and swing he plays with a detached consciousness. This recording, his second for Arabesque, follows up Monder’s trio recording Dust. Monder augments the trio of bassist Skuli Sverrisson (Pachora, Chris Speed, Human Feel), drummer Jim Black (Tiny ...
Roy Nathanson: Fire At Keaton's Bar & Grill
by Mark Corroto
Roy Nathanson has always been a storyteller. In the late 1980s, his band with Curtis Fowlkes, called the Jazz Passengers, echoed the voices he heard from his New York streets. Deranged and Decomposed and Broken Night/Red Light, both nearly impossible to find recordings, spoke of multi-ethnic ramblings, preachers, and strange drugs. Nathanson also wrote music for ...
![Full Moon [Feat. New York Voices, Mark Egan]](https://s3.amazonaws.com/allaboutjazz/coverart/large/a07a6f1d5edcd6c801f0e1c3b527da37.jpg)
