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Louis Sclavis: Lost On The Way
by Jeff Dayton-Johnson
Clash of the jazz titans! Miles Davis famously remarked that the late Eric Dolphy played “like someone was standing on his feet." An uncharacteristically bad bit of timing for Davis: his comments appeared in print just after the tragically early death of the great multi-reedsman in 1964. Many years later, it is possible both to find ...
Molde Jazz: Day 1, July 13, 2009
by John Kelman
Day 1 | Day 2 | Day 3 | Day 4 | Day 5 | Day 6 Arve Henriksen Cartography / Bugge Wesseltoft Molde Jazz Molde, Norway July 13, 2009 Descending by plane into Molde airport, it's difficult not to be in awe of the geography surrounding ...
Phosphor: II
by Mark Corroto
Phosphor, whose self-titled album came out in 2001, waited nearly five years to record its follow-up with Phosphor II. With editing, mixing and manufacturing, it has taken nearly eight years for the session to reach the marketplace. With all that time that has passed, it is interesting to hear that the original super group, minus Alessandro ...
Nick Catalano's "New York Nights"
Includes intriguing details about the hangouts of jazz legends Miles Davis, Lionel Hampton, Duke Ellington, and Max Roach Catalano shares his personal experiences, gossipy anecdotes and critical commentary as a television and concert producer who was once firmly entrenched in the unpredictable and exciting comedy and jazz scene coming out of New York City. It is ...
Jazz Eyes: Eyes and Ears Wide Open
by Jakob Baekgaard
In jazz, spontaneity is essential. It can also be useful when setting up a label. So it's no great coincidence that, once the Italian jazz enthusiasts Paolo Siculiana and Toti Cannistraro realized they both loved the production and distribution of records, their Jazz Eyes label rapidly became a reality. “The story starts on a dark night," ...
Modern Jazz Quartet: Bluesology: The Atlantic Years 1956-1988
by Chris May
Asked to name the most insurrectionary artists associated with the Atlantic label, most jazz fans would probably think first of saxophonists John Coltrane and Ornette Coleman. Pianist John Lewis' Modern Jazz Quartet would come much further down the list. Yet in its own, more velvet manner, the MJQ was as radical as Coltrane and Coleman. When ...
Montreal Jazz Festival: Days 7-9, July 7-9, 2009
by John Kelman
Days 1-3 | Days 4-6 | Days 7-9 Rocksteady: The Roots of Reggae Charlie Haden Family and Friends / Bill Frisell QuartetVan Der Graaf Generator / Ornette ColemanFestival International de Jazz de Montreal Montreal, Quebec, Canada July 7-9 2009 Every year the Festival ...
Bill Anschell / Brent Jensen: We Couldn't Agree More
by C. Michael Bailey
By definition, the classical or jazz duo is the most intimate performance format. Intimacy requires two parties sharing with a base empathy. An example is Eddie Daniels and Roger Kellaway's A Duet of One (2008, IPO), where the two principles shared a great love for the mainstream and its sensitive presentation. Enter west coasters, pianist Bill ...
Donald Malloy: Spirituality
by C. Michael Bailey
Jazz's most searing spiritual statement is not John Coltrane's A Love Supreme (1964, Impulse!); it was his recording, “Alabama," released a year earlier on Live at Birdland (1963, Impulse!). Written in the wake of the Ku Klux Klan's bombing of the 16th Street Baptist Church in Birmingham on September 15, 1963, “Alabama" was an improvisation on ...
Steve Kuhn: Mostly Coltrane
by Stuart Broomer
When John Coltrane left Miles Davis' band at the end of 1959, the first working quartet he formed had Steve Kuhn on piano for gigs at the Jazz Gallery over the first three months of 1960. Here Kuhn pays deeply affecting tribute to Coltrane and his music with Joe Lovano on tenor and tarogato and Kuhn's ...
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