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Bill Frisell: Ghost Town
by Mark Corroto
Bill Frisell has settled into a sound he is comfortable with. The guitarist was known in the eighties for an eclectic mix of sounds. He thrashed with John Zorn's Naked City and Powertools, played bebop with Joe Lovano and Paul Motian, and generally mixed it up with New York's Downtown crowd. Since relocating to Seattle in ...
8 Bold Souls: Last IOption
by Mark Corroto
Maybe the time is right for creative music. I’m not going to say “jazz music” because I’ll scare a quarter of the readers and 98% of record buyers away. But with this release on Thrill Jockey, an alternative electronic/pop/rock/punk label, creative music may just find its audience. Today’s creative music listener might stack Hip-Hop next to ...
Steve Lacy/Roswell Rudd: Monk's Dream
by Mark Corroto
I ran a coffeehouse and performance space in the early nineties, the only requirement I had of the bands that performed is that they must play a Thelonious Monk tune. Most worked up a rendition of the blues-based “Straight, No Chaser” rather than tackle the difficult “Epistrophy.” For me, it was the test of their ability ...
The Vinny Golia Large Ensemble: Oakland 1999
by Mark Corroto
Vinny Golia is a busy man. In today’s lingo we call it ‘multi-tasking,’ the ability to perform various complicated assignments, seemingly at once. The artist, label chief, conductor, and musician has produced and performed in varying creative music situations. From solo work to improvised duo, trios, and post-bop quintets, he has taken his instruments, which by ...
Matthew Shipp: Pastoral Composure
by Mark Corroto
Creative and free jazz pianist Matthew Shipp knows how to draw traditional jazz and non-jazz listeners to his brand of music. This is his second release for Thirsty Ear, a label where you are more likely to find Henry Rollins than Sonny Rollins. Shipp utilizes the familiar as a device to attract attention, then holds it ...
Mark Shim: Turbulent Flow
by Mark Corroto
At 26, saxophonist Mark Shim is living a dream life. Born in Jamaica, he moved to the US at age five. As a young man he was ‘discovered’ by baritone saxophonist Hamiet Bluiett. He was soon a member of The David Murray Big Band, Betty Carter’s band, and the Mingus Big Band. His first recording, Mind ...
Rob Blakeslee: Waterloo Ice House
by Mark Corroto
Sometimes a jazz band will perform sans piano simply because the bar or hall doesn’t own one, or for a New Orleans funeral procession the reason is obvious. The choice not to record with an available piano is a conscious one. Take Ornette Coleman’s 1960 quartet, Sonny Rollins at The Village Vanguard 1957, or John Zorn’s ...
Tierney Sutton: Unsung Heroes
by Mark Corroto
Miles Davis never shouted. I’m not talking about his damaged vocal chords. He rarely raised his musical voice above a whisper. Singer Tierney Sutton, like Miles, doesn’t raise her voice to make a resounding statement. Unlike so many upper range vocal gymnasts working today, Sutton favors articulation and quiet beauty as her approach. Funny so did ...
Wayne Horvitz & Zony Mash: Upper Egypt
by Mark Corroto
Wayne Horvitz has his fingers in many musical pots. From his days in New York came John Zorn’s Naked City, the N.Y. Composers Orchestra, and work with Butch Morris, Bobby Previte and Elliot Sharp, to name just a few. Since his return to Seattle nearly a decade ago, his vision has flowered into a multi-colored garden. ...
Barre Phillips/Bertram Turetzky/Vinny Golia: Trignition
by Mark Corroto
Pure improvised music is sometimes hard to listen to and even harder to write about. But given notice, the experience of challenging music can be gratifying. Multi-instrumentalist Vinny Golia has produced several recordings with contrabassist Bertram Turetzky, the duo Intersections (1986), and 11 Reasons To Believe (1996), plus trio recordings Pratakis with Leo Smith (1997), Triangulation ...
![Full Moon [Feat. New York Voices, Mark Egan]](https://s3.amazonaws.com/allaboutjazz/coverart/large/a07a6f1d5edcd6c801f0e1c3b527da37.jpg)
