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Tony Kadleck Big Band: Around the Horn
by Jack Bowers
Tony Kadleck, who has done almost everything one can do on a trumpet, adds the designation big-band leader to his resume with Around the Horn, an impressive debut CD for which he has written all the charts and enlisted a group of the New York area's A-list musicians to interpret them. If leadership is best imparted ...
Pete Mills: Sweet Shadow
by Dan McClenaghan
A lot of words have clicked out of the keyboards concerning the possible demise of the compact disc. Maybe CDs will suffer the extinction, maybe not. But one thing is sure: saxophonist Pete Mills' Sweet Shadow is an excellent argument for the survival of the species. On his fourth release as a leader, Mills ...
Pete Mills: The Anatomy Of A Jazz Release
by Mark Corroto
I'm here to tell you that everything you thought about the making of a modern jazz records is wrong. The notion that there are talent agents selling concepts to record companies—wrong. That bands work on tunes, perfecting them for months before entering the studio—wrong. That jazz musicians make money from records—again, wrong. I had ...
Dan Willis and Velvet Gentlemen: The Satie Project II
by Dave Wayne
The music of Eric Satie may well be some of the most malleable and adaptable works ever composed. This could be partly due to the fact that Satie himself stood well outside of the musical mainstream of his time, thus his compositions are comparatively unencumbered by the stylistic baggage of his era. Satie was avant-garde before ...
John O'Gallagher: The Anton Webern Project
by C. Michael Bailey
Here's to avant-garde jazz. Unruly and ill-behaved, the seeds planted by saxophonists Ornette Coleman and John Coltrane, and carried forward by reed multi-instrumentalist Anthony Braxton and melded with trumpeter Miles Davis's Post-bop, gave rise to a brand of jazz that, while not the complete chaos of free jazz, nevertheless possessed such an inventive spirit that begged ...
John O'Gallagher and Jeff Williams: In a Whirlwind
by C. Michael Bailey
Here's to avant-garde jazz. Unruly and ill-behaved, the seeds planted by saxophonists Ornette Coleman and John Coltrane, and carried forward by reed multi-instrumentalist Anthony Braxton and melded with trumpeter Miles Davis' post bop, gave rise to a brand of jazz that, while not the complete chaos of free jazz, nevertheless possessed such an inventive spirit that ...
In Tune or Not in Tune... That Is the Question
by Jack Bowers
Suppose a month goes by, you have a column to publish, but nothing has happened that's worth writing about. What do you do then? Read on, as the question is about to be answered. A while back there was a discussion at a Stan Kenton web site (Kentonia) about musicians or groups of ...
Meet Mark Corroto
by AAJ Staff
I currently live in: Delaware, Ohio. I joined All About Jazz in: 1999 What made you decide to contribute to All About Jazz? AAJ has a “No-Snobs" approach to jazz that tolerates both the Wynton neo-moldy figs, my free jazz and avant leanings, fusion, and even some rock. How do ...
Buddy Rich: In a Zone of His Own
by Jack Bowers
One of the channels that came with my Dish Network package is Classic Arts Showcase, which is a treasure trove of film clips documenting classical, ballet, folk, pop and other forms of music that one is unlikely to see anywhere else (although some footage is presumably available on YouTube, which more and more seems to encompass ...
Asuka Kakitani Jazz Orchestra: Bloom
by Dan Bilawsky
The difference between a “big band" and an “orchestra" in jazz is usually more than nominal in nature. On the surface, they may seem the same, but their intent, musical scope and arranging/compositional methodology are usually very different. While it can be seen as a bit of a generalization, the “band" tag often refers to groups ...
