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Medeski, Martin & Wood: Sound Sculpting
by Thomas Carroll
Progressive keyboard trio Medeski, Martin & Wood has helped redefine the boarder where musical genres meet since the group's inception over 20 years ago. MMW has experimented with everything from song structure to acoustic-electric instrumental blends, all while appealing to both jazz-specific and mainstream audiences. Free Magic (Indirecto, 2012) is a fine example of MMW's exploratory ...
John Zorn: Nosferatu
by Thomas Carroll
The idea of saxophonist/composer John Zorn writing music to accompany a production about vampires has exciting implications. After all, it would seem logical that a man who has, over the past 40 years, helped expand the scope of sounds that can be considered music should be able to craft something truly mind-bending when dealing with such ...
Chris Madsen: Pop Art
by Thomas Carroll
Freedom of musical form is one of the many beauties of jazz. Jazz musicians express themselves through improvisation over musical structures that they can alter at any moment, shifting through different meters, timbres and harmonic landscapes. However, musicians run the risk of becoming too self-invested when they engage in long-form improvisation. In those unfortunate instances when ...
Arturo Sandoval Live in Evanston with the Chicago Jazz Orchestra
by Thomas Carroll
Arturo Sandoval with the Chicago Jazz OrchestraPick-Staiger Concert HallNorthwestern University Soundings Spring FestivalEvanston, ILApril 7, 2012Trumpeter Arturo Sandoval says he's happy some people still listen to music made by musicians playing instruments. In an age when people can download songs for 99 cents without knowing who arranged the songs ...
Hugh Masekela: Jabulani
by Thomas Carroll
At the age of 72, South African vocalist and multi-instrumentalist Hugh Masekela is still making music with as much energy and passion as he did in the days of “Grazin' in the Grass" at the height of his international fame in the 1960s and 1970s. Historically, Masekela has used his music as a form of social ...
Roy Eldridge: In Paris
by Thomas Carroll
Roy EldridgeIn ParisVogue1951Trumpeter Roy Eldridge left the United States for Paris in 1950 fearing that the emergence of bebop, which he had strongly influenced, would make his more traditional style of playing obsolete and lose him his formerly adoring audiences. Eldridge did not stay in Paris for as ...
Badbadnotgood: BBNGLIVE 2
by Thomas Carroll
Hip-hop grooves and electronics are not new to the jazz world. In the 1970s, forward-thinking jazz giants such as trumpeter Miles Davis and keyboardists Herbie Hancock and Chick Corea popularized the sound of electrified keyboards and horns supported by rhythm sections of slapping bass players, superhuman fusion drummers and funky electric guitarists. Since at least 2003, ...
Ella and Basie!
by Thomas Carroll
In July 1963, singer Ella Fitzgerald and pianist Count Basie's orchestra entered the studio for their first full-length recording session as a collective. They produced a gem for both veteran jazz fans and novices. The album features both artists in top swinging form and it is concise enough to serve as an introduction to those just ...
The Bad Plus: Never Stop
by Thomas Carroll
For the past decade, The Bad Plus has received both praise and criticism for its idiosyncratic approach to jazz-rock. Liberal jazz fans and those who are inclined towards the mainstream but want to dabble in jazz have enthusiastically received the band's modern piano trio reworking of rock standards such as Nirvana's “Smells Like Teen Spirit" and ...
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