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Tatsu Aoki: Basser Live
by Mark Corroto
Until the digital revolution came, bass solos sounded a lot like the opening of Saving Private Ryan, the band would layout while the bassist plays, “boom, hiss, pop, strum, pop, crack”...etc. And since the woofer has found popularity with not only b-boys but serious jazz fans wishing to hear that bottom end. Enter the bass solo ...
Caravana Cubana: Late Night Sessions
by Mark Corroto
Face it, when it comes to authentic Cuban music, we are all just lurkers. Sure, you’re a fan of Dizzy Gillespie’s Cuban-jazz, but Dizzy and his import musicians, Chano Pozo and Mario Bauza, infused jazz with the feel of Cuba. It was, and is, glorious music, but it is a type of fusion. In recent times ...
Kurt Elling: Live In Chicago
by Mark Corroto
Singer Kurt Elling’s first three recordings for Blue Note records were quite ambitious, but being studio albums, they lost much of Elling’s spirit in the production. The jazz singer, like the poet, is best heard live. Elling, captured during a three-night gig at Chicago’s Green Mill, finally has realized (on record) his full potential. He’s a ...
Brooke Sofferman: Modesty's Odyssey
by Mark Corroto
I’ve always thought of jazz in terms of Major League Baseball. You have your major labels, Verve, Blue Note, Warner Bros., and Sony, that record the huge stars, usually late in their careers. Hard core fans scout the minor league, small independent labels that develop the talent of a jazz artist, the Black Saints, Riversides, and ...
Claude Williams: Swinging The Blues
by Mark Corroto
Author Michael Ondaatje wrote Coming Through Slaughter, a fictional account of the real New Orleans barber and perhaps the first jazz musician, Buddy Bolden. Bolden’s myth and infamy comes from the fact he was never recorded. Thus, his life makes for great story telling and his sound for much exaggeration. For violinist Claude “Fiddler” Williams, recording ...
McCoy Tyner: With Stanley Clarke And Al Foster
by Mark Corroto
One cannot think of McCoy Tyner and not recall John Coltrane’s classic quartet. Tyner’s massive expression on the ivories was the equivalent of John Coltrane’s efforts to blow the jazz world wide open. For the past forty years his playing has been the model for most modern jazz piano. Of late, he has worked in a ...
John Randall Pelosi: Plus Ultra
by Mark Corroto
I know people who have never heard a single song by a given musical artist, but love or hate them just the same. Read a few People Magazine articles, maybe skim a review in the Sunday New York Times and oops now you have an opinion about someone’s music. I do the same with movies, catch ...
Jeff Kaiser/Woody Aplanalp: Asphalt Buddhas
by Mark Corroto
Anyone who shares their house with a baby or a puppy understands noise and the tiptoe qualities of silence. Sounds that normally pass beneath our radar screens are picked up, even amplified when one is trying not to wake the baby/puppies. Like the cartoon dogs trying to hold a sneeze ‘til they are miles away from ...
Lee Konitz/Ted Brown: Dig-It
by Mark Corroto
Lee Konitz and Ted Brown have lived many lives since they played together as students and sidemen of pianist Lennie Tristano more than fifty years ago. Konitz started with Claude Thornhill’s Orchestra before working with Gil Evans and Miles Davis’ Birth of the Cool Nonet. His familiar alto saxophone was featured in what many say was ...
Beth Custer: In The Broken Fields Where I Lie
by Mark Corroto
Beth Custer is a musical chameleon. The San Francisco composer changes from musical genre to musical genre with effortless grace and unlike her colleagues from the New York Downtown Scene, she does it without pretension. Just glance at the list of musicians on this release to get a feel for its grand scale. But Beth Custer ...
