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Charles Pillow Ensemble: Chamber Jazz
by Jack Bowers
Chamber Jazz, alto saxophonist Charles Pillow's eighth recording as leader of his ensemble, is a generally sedate but remarkably engaging series of tone poems that combine contemporary jazz with elements of classical music to produce a hybrid that underlines what is most harmonious and charming in each genre. Chamber Jazz is what it says, and chamber ...
Blue Note Review 2: Spirit & Time and More
by Marc Cohn
Lots of cool features this week. First, Side 2 of the new-music LP from 2nd limited-edition Blue Note Review box with drummers Tony Allen and Chris Dave reimagining Tony Williams compositions. Then, a deep dive into the Savoy vaults from 1947 with recreations of 78s by Charlie Parker, Fats Navarro and Dexter Gordon. Celebrating Sonny Rollins ...
Jazz in the Time of Pandemic
by Karl Ackermann
The first week of April 2020: images crystalized the daily news reports; a dystopian Times Square; Piazza Navona in Rome, emptied of tourists, Barcelona's Basílica de la Sagrada Família standing like an abstract ruin, makeshift morgues in hospital parking lots. The jazz world is small but still a microcosm of society with interdependencies that run deep. ...
Jazzmeia, Newk, Bird, Dave & More
by Marc Cohn
Showtime, don't ya know? Jazzmeia Horn was scheduled to perform in Baton Rouge recently, but the gig got 'coronaed.' So, we do a mini-concert here, and hope she can reschedule when this plague dissipates. Shoot, they even cancelled the St. Patrick's Day parade here; so you know this is serious business. We also continue centennial celebrations ...
Sons of Miles – Shorter, Hancock, Williams (1964 - 1968)
by Russell Perry
During the five-year tenure of Miles Davis's Second Great Quintet (1963—1968), Wayne Shorter, Herbie Hancock and Tony Williams were very active on their own projects, many of which included Ron Carter. Several of the resulting releases are classics of the period and laid the foundation for their significant careers after the Quintet broke up in 1968. ...
Miles Davis and the Second Great Quintet (1963 - 1968)
by Russell Perry
Miles Davis, through his adoption of modal music, participated in the gradual liberation that resulted in the free music of the jazz avant-garde--liberation from chord changes, from rhythm, from harmony, from melody, from structure. Yet, although he continued to explore broadly, he was public in his discomfort with free jazz. Despite this reluctance, the new quintet ...
Jimmy Haslip: Amperes Beyond the BASSics, Part 2
by Jim Worsley
In case you missed it, Part One of my conversation with Jimmy Haslip covered a lot of ground and had a few good laughs along the way. Although we talked about the Yellowjackets, we delved more deeply into why and how he parted ways with the band some eight years ago. Haslip has been producing records ...
Pat Metheny: From This Place
by John Kelman
It's been a full six years since Pat Metheny last released a studio recording. This, despite the guitarist who has become, in a career now in the midst of its fifth decade, one of the most famous and influential jazz guitarists of his (or, some would argue, any) generation, reportedly having enough material in the can ...
Results for pages tagged "Tony Williams"...
Tony Williams
Born:
Born in Chicago and growing up in Boston, Williams began studies with master drummer Alan Dawson at an early age and began playing professionally at the age of 13 with saxophonist Sam Rivers. Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." His first album as a leader, 1964's Life Time (not to be confused with the name of his band "Lifetime," which he formed several years later) was recorded during his tenure with Davis. Williams was a vital element of the group, called by Davis in his autobiography "the center of the group's sound". [citation needed] His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures). But perhaps his overarching achievement was in demonstrating, through his playing, that the drummer need not be relegated to timekeeping and accompaniment in a jazz ensemble; that the drummer may be free to contribute to the performance as an equal partner in the improvisation. In 1969, he formed a trio, "The Tony Williams Lifetime," with John McLaughlin on guitar and Larry Young on organ
Winter 2020
by Doug Collette
Jazz Journal is a regular column consisting of pithy takes on recent jazz releases of note as well as spotlights on those titles in the genre that might otherwise go unnoticed under the cultural radar. Michael Blicher, Dan Hemmer, Steve Gadd Get That Motor Runnin' Proper Music 2019
