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Michel Donato: Michel Donato et Ses Amis Europ
by Paul Olson
The mid-'60s Blue Note sound permeates Michel Donato et ses Amis européens, the veteran Québec bassist's new CD. True to the album's title, Donato's teamed with Polish trumpeter Piotr Wojtasik and three non-native Parisians (guitarist Michael Felberbaum, drummer Karl Jannuska and tenor saxman François Théberge). Every musician contributes at least one composition (there are three by ...
Jean-Christophe B: Polychromy
by Paul Olson
French tenorist Jean-Christophe Béney plays with invention, verve and deep confidence on Polychromy, his first release since 2002's Cassiopée. Béney's got a penchant for long, measure-spanning phrases of considerable complexity--not unlike Chris Potter, and there's some Lovano in his tone and style as well. He's also a songwriter of real quality and it is the strength ...
Avishai Cohen: At Home
by Paul Olson
Israeli bassist/composer Avishai Cohen is perhaps best known for playing with Chick Corea, but he was never destined to be a sideman; his songwriting and arranging skills are too developed. On At Home--his first release since 2003's Lyla--Cohen demonstrates that his writing and arranging are as imaginative and wide-ranging as his bass playing is virtuosic.
Pete Carney: Orange Alert
by Paul Olson
Chicago saxophonist Pete Carney tackles some weighty subject matter--9/11 and its aftermath in Iraq, contemporary American life and its constant background of fear and clamor--on Orange Alert. On the tune “Night Vision Carney layers multitracked tenors over shimmering electric piano and a hypnotic, trebley cymbal loop, and the result's an edgy, melancholy gem of acid jazz.
Andrew Rathbun-Owen Howard Quintet: Days Before and After
by Paul Olson
Jazz is about more than soloing. The real meat of the music is in the collective interplay of the ensemble, the responses of one musician to what another has just done, all in real time: this is happening right now. You're not going to find a more fascinating demonstration of unique musical communication than Days Before ...
Jim Hobbs & the Fully Celebrated Orchestra: Lapis Exilis
by Paul Olson
Boston-based altoist Jim Hobbs and his Fully Celebrated Orchestra combine vast musical prowess and playful, irreverent intelligence on Lapis Exilis. No one today is playing the alto better than Hobbs--the vast range of tones he summons from the small horn is altogether remarkable--and Orchestra members cornetist Taylor Ho Bynum, bassist Timo Shanko, and drummer Django Carranza ...
Friends of Gravity: Thankful
by Paul Olson
Friends of Gravity Thankful Self Published 2005 The Louisiana groove trio known as Friends of Gravity aims its sound directly at Jamband Nation on its debut CD, Thankful. The group--consisting of Andy Bourgeois on a multitude of keyboards (and on the leadoff track “Horeshackin', tenor sax), Tommy Sciple on electric ...
John Hollenbeck: Exploring the Boundaries, Part 2-2
by Paul Olson
Part 1 | Part 2 Composer/percussionist/bandleader John Hollenbeck doesn't so much cross musical boundaries as ignore them. Combining elements of jazz, classical, post rock, chamber music--although he is openly indifferent to musical category--his music manages to be challenging and experimental; at the same time, it is utterly unintimidating and accessible. Hollenbeck's sidework with a plethora of ...
Jim Pearce: Washington Square Park
by Paul Olson
Jim Pearce Washington Square Park Self Published 2005 Atlanta-based pianist Jim Pearce is such a busy working musician (he averages over four hundred gigs per year ) that one wonders how he even found the time to record his new CD Washington Square Park --his first since 2003's Thirty Year ...
John Hollenbeck: Exploring the Boundaries, Part 1-2
by Paul Olson
Part 1 | Part 2 Composer/percussionist/bandleader John Hollenbeck doesn't so much cross musical boundaries as ignore them. Combining elements of jazz, classical, post rock, chamber music--although he is openly indifferent to musical category--his music manages to be challenging and experimental; at the same time, it is utterly unintimidating and accessible. Hollenbeck's sidework with a plethora of ...
