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Iva Bittova: Knowing, Feeling...
by Ian Patterson
[Note: This article was first published in Music & Literature, a North American magazine dedicated to promoting artists worthy of wider attention] Iva Bittová is a rare talent. She has developed a personal idiom and vocabulary that is almost entirely her own. Her sound, her very personal language, forged from the union of ...
Matthew Shipp: Piano Sutras
by John Sharpe
Wikipedia tells us that in ancient Indian literature, the term sutra denotes a distinct type of literary composition, based on short aphoristic statements. Similarly concise motifs lie at the heart of many of the selections on Matthew Shipp's eighth solo album Piano Sutras. It's a measure of the American's place in the pianistic pantheon that he ...
Tchicai - Kohlhase - Fewell - McBee - Hart: Tribal Ghost
by Glenn Astarita
Late saxophonist John Tchicai's roots and influences emanated with the 1960s innovative free-jazz ensemble, The New York Art Quartet. He became a significant global artist in all things considered to be cutting-edge within the ever-expansive jazz vernacular. This 2007 concert, recorded at the New York City venue Birdland, features compositions by guitarist Garrison Fewell and one ...
Etienne Charles and Creole Soul at SubCulture
by DanMichael Reyes
Etienne Charles and Creole Soul SubCulture New York, NY November 8, 2013 Fresh from his three-week residency at Doha's Jazz At Lincoln Center, Etienne Charles along with his band, Creole Soul, took to NYC's SubCulture on a chilly autumn evening. Charles and the band played to a packed audience at ...
Jon Cowherd: Mercy
by Ian Patterson
Pianist/keyboard player Jon Cowherd is best known for his association with drummer Brian Blade's Fellowship--a group he co-founded in 1998--but as a producer and arranger too, there are clearly other strings to his bow. Cowherd's keyboard collaborations with jazz, country and rock artists including singers Cassandra Wilson, Rosanne Cash and Iggy Pop, point to his versatility, ...
Harry Allen and the Physics of the Tenor Saxophone
by Nick Catalano
In Robert Altman's most underappreciated film Kansas City there is a memorable scene for music fans. In the 1930's at the Hey Hey club (one of the town's hotter venues) some of the more notable K.C. folk (politicians, society matrons, wealthy denizens) are having a good time. Everyone in town recognizes these eminent figures but ignores ...
Steven Lugerner: For We Have Heard
by John Sharpe
In something of a departure for the Lithuanian No Business label, young San Francisco-born, NYC-based reedman Steven Lugerner presents a LP of his thoughtfully arranged charts. To breathe life into the notation, Lugerner has assembled a talented crew, which he carefully deploys in varying combinations across the ten cuts. Not only that but he also overdubs ...
Rich Thompson: Less is More
by Hrayr Attarian
Drummer and educator Rich Thompson's third release as a leader Less is More, on the Seattle based Origin records, is a suave mix of quintessential hard bop standards; show tunes and a couple of originals that is full of delightful group dynamics and individual virtuosity. Thompson leads his quartet with a relaxed confidence and impeccable dexterity ...
Tim Berne's Snakeoil: Shadow Man
by Glenn Astarita
Alto saxophonist Tim Berne's Snakeoil is a group that bonds asymmetrical contours into the big picture, where many progressive jazz aficionados often expect the unexpected from this artist who radiates an antithesis to conventional norms. More of the gradual ascensions, tricky time signatures, fractured flows and odd-metered unison choruses come into play on Shadow Man. Berne's ...
Brian Landrus: The Low End Theory
by Daniel Lehner
Specialists don't usually have the luxury of controlling much of their destiny. For a low woodwind expert like Brian Landrus, it would be of little surprise to anyone to find that, though he'd have the freedom to experiment with sounds and timbres for his own records, he would be little more than a hired gun for ...
