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Article: Album Review

Lauren Sevian: Bliss

Read "Bliss" reviewed by Paul Rauch


Since joining the Mingus Big Band in 2003, baritone saxophonist Lauren Sevian has been opening eyes in the saxophone world, especially in the exclusive club that includes those dedicated primarily to the bari. Her style more resembles that of modern tenor players such as Donny McCaslin and Mark Turner, while retaining the pure sound and articulation ...

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Article: Album Review

Nick Finzer: No Arrival

Read "No Arrival" reviewed by Dan Bilawsky


To say a musician has arrived is to create the ultimate paradox. For in that notion is the suggestion of reaching the upper echelon in the art form, but also an indication of the end of a journey and the start of stagnation. With the true seeker and master musician, there is no arrival; there's merely ...

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Article: Album Review

Josh Lawrence: Contrast

Read "Contrast" reviewed by Thad Aerts


On Contrast, Josh Lawrence and Color Theory's second recording for Posi-Tone, the group executes a classic framework held together with tight chemistry. Lawrence may be the leader, but the gist of the end product is a very democratic arrangement where no one musician or group of musicians takes precedence. Each shine at various times throughout Contrast. ...

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Article: Album Review

David Ake: Humanities

Read "Humanities" reviewed by David A. Orthmann


The group that pianist/composer David Ake assembles for Humanities thrives on change and doesn't care all that much for boundaries, familiar stylistic references, or decorum. Distinctions between written material and improvisation, soloists and accompaniment, are subject to transformation, collapse, consolidation and mutation. Nothing stays on exactly the same course for very long. Featuring Ake, Ralph Alessi's ...

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Article: Album Review

Josh Lawrence & Color Theory: Contrast

Read "Contrast" reviewed by David A. Orthmann


Josh Lawrence & Color Theory's Contrast features a host of varied, sturdy and invigorating compositions by the leader, an ensemble that plays them with élan, a number of arresting soloists, and a rhythm section that rapidly moves between sly and rambunctious. While all of these factors are important, they don't adequately capture the record's essence. Perhaps ...

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Article: Album Review

David Ake: Humanities

Read "Humanities" reviewed by Dan Bilawsky


Pianist David Ake is a tough man to pin down. With Bridges (Posi-Tone, 2013) he took on the form of label outlier and pathfinder, breaking away from Posi-Tone's radio-friendly album format with a series of outward bound excursions; on Lake Effect (Posi-Tone, 2015) he offered a cooler alternative that proved ruminative in many of its pursuits; ...

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Article: Album Review

Roxy Coss: The Future is Female

Read "The Future is Female" reviewed by Paul Rauch


Saxophonist/composer Roxy Coss migrated east ten years ago from her native Seattle, seeking a life and career in jazz in New York City. That time has seen her develop a strong and focused voice both as a musician and as an advocate and activist for female artists in America's quintessential art form. Coss gained ...

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Article: Album Review

New Faces: Straight Forward

Read "Straight Forward" reviewed by David A. Orthmann


New Faces is the brainchild of producer Marc Free, who comingles the talents of six young jazzers, each of whom has led at least one session for Posi-Tone. With the exception of a Herbie Hancock composition, the material is comprised of attractive, catchy themes of varying degrees of complexity, penned by a number of the label's ...

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Article: Album Review

Josh Lawrence & Color Theory: Contrast

Read "Contrast" reviewed by Paul Rauch


Trumpeter Josh Lawrence has had a long and diverse trek to where he is now. Beginning in his native New Jersey, he has embraced jazz culture in Philadelphia, Europe, and finally New York City, where he has gained a solid reputation as a musician, bandleader, and composer. On his second release for the Posi-Tone ...

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Article: Album Review

Ken Fowser: Don't Look Down

Read "Don't Look Down" reviewed by Paul Rauch


Ken Fowser arrived in New York City in 2005 after being raised in the rhythmic legacy of the Philly sound. Playing with a deep harmonic sensibility, often sidestepping traditional harmony, Fowser has since created a sound that bears the pure physicality of the Philadelphia tradition refined by his experience in Gotham. His sound conjures audible images ...


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