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Results for "Thelonious Monk"
Edward 'Kidd' Jordan, Joel Futterman, William Parker, Hamid Drake: A Tribute to Alvin Fielder - Live at Vision Festival XXIV
by Troy Dostert
When the free jazz world lost drummer Alvin Fielder in 2019, it lamented the passing of someone who had in many ways worked to expand the reach of avant-garde jazz, to widen its accessibility to fans and students alike. His well-known status as a founding member of the Association for the Advancement of Creative Musicians (AACM) ...
Kurt Rosenwinkel Trio: Angels Around
by Geno Thackara
However much Kurt Rosenwinkel has audaciously wandered away from familiar tracks in his career, the spirit of jazz has always stayed central to his roots and his playing. For every surprising exploration such as the electronic Heartcore (Verve, 2003) or the richly dense Caipi (Heartcore, 2017), there's been a relatively straightforward jam or standards date for ...
Rava/Herbert/Guidi- Flusso Sonoro Senza Fine
by Paolo Marra
A Settembre del 2015 nell'ambito del Nylon Festival a Vercelli si esibiva per la prima volta il trio composto dal trombettista Enrico Rava, il pioniere della musica elettronica e compositore Matthew Herbert e il pianista Giovanni Guidi. A seguito del positivo riscontro di pubblico e critica i tre musicisti decisero di tenere nell'arco dell'anno successivo un ...
George DeLancey: Paradise
by Mark Corroto
Is it acceptable to label a musical recording as “delicious"? If so, it describes bassist George DeLancey's sophomore release Paradise. He presents eight compositions, half from his pen and the remaining from Oscar Pettiford, John Lewis, Thelonious Monk, and Jerome Kern/Oscar Hammerstein. The eight tracks, none of which tops five minutes, are well balanced with solos ...
Peter Hansen - Peeter Uuskyla: JULY 1, 1979
by Mark Corroto
The year was 1979. Sid Vicious of the Sex Pistols died, so did jazz legend Charles Mingus. While punk rock was in a duel with disco, jazz as commercial music was dying the death of a thousand cuts. Miles Davis was in hiding, as jazz fusion (the disco equivalent in jazz) was forcing the retirement of ...
Kenny Drew and His Progressive Piano
by C. Michael Bailey
As a commercial release, the 12-inch LP Kenny Drew and His Progressive Piano has a curious history. It was also released under the title The Modernity of Kenny Drew and contained music from two recording sessions, one held in New York City In 1953 and the second in Los Angeles in 1954. Some of the sides ...
Prestige Records: An Alternative Top 20 Albums
by Chris May
Along with Alfred Lion's Blue Note and Orrin Keepnews' Riverside, Bob Weinstock's Prestige was at the top table of independent New York City-based jazz labels from the early 1950s until the mid 1960s. Like those other two labels, Prestige built up a profuse catalogue packed with enduring treasures. Originally a record retailer, Weinstock ...
Jason Moran: Promoting the Freedom Principles
by Leo Sidran
Pianist, composer, conceptual artist Jason Moran on truth versus passion, promoting the “Freedom Principles," America's unfortunate way of forgetting the past, when innovation becomes rhetoric, what it means for African American musicians to move freely “from the stage to the table," the power dynamic in choosing repertoire, coming up in Houston among a generation of jazz ...
Josh Nelson Trio: The Discovery Project: Live In Japan
by Dan Bilawsky
When pianist Josh Nelson's name surfaces in conversation, the art of the trio isn't typically a topic that comes up. A first-call accompanist and collaborator for the vocal elite, and a conceptualist who's crafted smartly arranged musical love letters to everything from steampunk sci-fi to the City of Los Angeles as part of his ongoing Discovery ...
Geoff Mason: GMQ
by Jack Bowers
Geoff Mason, one of the UK's leading jazz trombonists, mans the front line by himself on the slyly named GMQ, an eloquent quartet session from which Mason's longtime colleague, the outstanding saxophonist Simon Spillett, is regrettably missing. As nothing can be done to set that right, best to focus on the music at hand, which binds ...
