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Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by Troy Collins
Five on One features five of the most renowned artists in modern jazz working together as a cooperative ensemble under the name Contact. Saxophonist Dave Liebman, guitarist John Abercrombie, pianist Marc Copland, bassist Drew Gress and drummer Billy Hart transcend the aesthetic limitations of many similar all-star gatherings with their complementary sensibilities, garnered over the years ...
Domenic Landolf: New Brighton
by Dan Bilawsky
Thirteen musical episodes--simultaneously stressing individual paths, duo rapport and trio interplay--make up New Brighton. Multi-reedist Domenic Landolf shows that he knows how to go out on a limb, creating challenging music, but he always balances the adventurous with the accessible. Stability--whether dealing with rhythm or melody--is the key factor here. One musician will often provide a ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five On One
by Dan Bilawsky
The practice of forming super groups in jazz can be fraught with disaster. Festival promoters often try to draw audiences by lumping musicians together in all-star settings, but a lack of chemistry, familiarity, common ground or interest, often turns these events into yawn-inducing bores. All four of these boundaries, thankfully, don't come into play with Contact--the ...
Domenic Landolf: New Brighton
by Dan McClenaghan
The trio ensemble of reed instrument with a spare backing of just drums and bass was pioneered by Ornette Coleman, John Coltrane and Sonny Rollins. Ornette on alto sax, of course, with the occasional trumpet or violin, and Coltrane on tenor and soprano, Rollins on his always brawny tenor saxophone. It was groundbreaking stuff in the ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by Dan McClenaghan
The band called Contact is about as all-star an affair as can be found in modern jazz, and it's hard to imagine any serious listener not having a favorite among the players, whether it's saxophonist and renaissance man Dave Liebman, pianist Marc Copland--whose marvelous New York Trio Recordings pushed his profile up closer to where it ...
Contact: Dave Liebman / John Abercrombie / Marc Copland / Drew Gress / Billy Hart: Five on One
by John Kelman
They've played together in various permutations and combinations, but Five on One represents the first time they've joined together as a discrete unit. Reconvening the Second Look (Savoy, 1996) quartet--which comprises four-fifths of Contact-- pianist Marc Copland proved you can go back again with Another Place (Pirouet, 2009). The quartet's bassist, Drew Gress, has also been ...
Bill Carrothers: Joy Spring
by Dan Bilawsky
Tribute albums often come in the form of imitative musical gestures from musicians of a like-instrument--such as a saxophonist paying tribute to John Coltrane by trying to copy his style or specific mannerisms. But pianist Bill Carrothers has crafted a different type of homage with Joy Spring, using the piano trio format to flesh out some ...
Bill Carrothers: Joy Spring
by Dan McClenaghan
Pianist Bill Carrothers has narrowed his often expansive focus. Where the marvelous and career-defining Armistice 1918 (Sketch Records, 2004) concerned itself with the scope of World War I, and I Love Paris (Pirouet Records, 2005) explored popular songs from the twenties through the forties, Joy Spring zeros in on a smaller slice of a more recent ...
Pablo Held: Music
by Dan Bilawsky
Using the word “music" as an album title can be viewed as a bold and defining statement . . . or a simple word choice. Whether Held wanted to raise some eyebrows here or he was simply choosing an album title doesn't matter . . . but the music does! Held's original works defy easy description. ...
Pablo Held: Music
by Dan McClenaghan
German piano prodigy Pablo Held debuted as a leader with Forest of Oblivion (Pirouet Records, 2009), an album of surprising depth, suffused with a romantic European feeling. Subtle and smooth-flowing, it was full of nuance and smoldering interludes that would, at times, burst into roaring percussive flames. Held was only 21 years of age at the ...
