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Triptych Myth: The Beautiful
by Kurt Gottschalk
With the formation of his Triptych Myth trio several years ago, Cooper-Moore announced his intention to return to the days of a working group, as opposed to the one-off meetings that dominate the jazz scene. He has also lamented the fact that his handmade string and percussion instruments have left him considered a novelty, rather than ...
Hilary Noble & Rebecca Cline: Enclave
by Tom Greenland
Ever since the arrival of Machito and Mario Bauza in Spanish Harlem in the '30s, New York has been a hotbed of Latin jazz activism, a vital corner of an artistic triangle cross-pollinated by African and Cuban cultures. Saxophonist/conguero Hilary Noble and pianist Rebecca Cline might not be the original mambo king and queen, but with ...
Benoit Delbecq: Phonetics
by Francis Lo Kee
Benoît Delbecq is a unique and diligent musical explorer who deserves your listening attention. Phonetics and some recent performances provide a helpful introduction to two very developed aspects of his musical being. In his solo piano playing (heard at the Jazz Gallery last month) Delbecq used a prepared piano technique that turned his ...
Autumn Potpourri
by Nick Catalano
Gotham lays claim to dozens of top notch Brazilian musicians who have transplanted themselves and staked out permanent jazz roots here. The music that results is a mélange of sounds resulting from combining their South American traditions with newly acquired New York inspirations. Many of these artists are constantly busy recording and gigging with fellow latinos ...
Free Music Ensemble: Cuts
by A. Henkin
Ken Vandermark is not one to limit himself to easy, comfortable situations. As successful as the Vandermark 5 is, it presents only one side to his composing and playing. With the Free Music Ensemble, a cooperative trio with bassist Nate McBride and drummer Paal Nilssen-Love, listeners, whether on their second disc Cuts or live at Tonic ...
Brad Mehldau Trio: Day Is Done
by Andrew Velez
Since the early '90s, Brad Mehldau's considerable output has most consistently been in the trio format. Especially notable were the five volumes of The Art of the Trio. Making his debut here with the new unit is drummer Jeff Ballard, who replaces Jorge Rossy; Larry Grenadier holds down his accustomed spot on bass. This is “friendly ...
Wallace Roney: Mystikal
by Ernest Barteldes
This amazing trumpet player blends the bebop tendencies of the Parker/Dizzy era with the more contemporary Miles Davis jazz-fusion sound, and he's one of few leaders to include a turntable player in his band. In fact, it was the work of turntablist Val Jeanty that most impressed at Roney's recent appearance at Joe's ...
Eric Reed
by Greg Thomas
The Eric Reed Trio is one of the most compatible and snug groups in jazz today. From October 20-22, 2005, their appropriately billed “Singers Over Manhattan gig in the warm Allen Room at Jazz at Lincoln Center put a spotlight on two young vocalists and one well-established singer. This writer witnessed the show on the 22nd. ...
Eric Dolphy: The Complete Uppsala Concert
by A. Henkin
One of my pet theories is that one of the kickstarts for creative indigenous jazz in Europe was the tours undertaken there by Eric Dolphy as a leader (late summer 1961, summer 1964) and with John Coltrane (winter 1961) and Charles Mingus (summer 1964). The passage through the region of such an iconoclastic figure as Dolphy, ...
Eric Revis: Tales of the Stuttering Mime
by Celeste Sunderland
Best known as Branford Marsalis' bassist, Eric Revis' first solo project mixes straight-ahead jazz with intense funk fusion and employs a gaggle of special guests. The vast array of sounds and ensembles showcases the bass as an incredibly multifaceted instrument that easily finds its place among a diverse smattering of situations. The album ...
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