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John Scofield: Works For Me
by David Adler
Since 1997’s A Go Go, which featured the backing of Medeski, Martin & Wood, John Scofield has been increasingly pigeonholed as a sage of the burgeoning “jam band" movement. But the guitarist has been blending post-bop and a more rock/funk-oriented style even since his earliest recordings, and he’s always had the uncanny ability to sound like ...
Bud Powell: Jazz Giant
by David Rickert
If Oscar Peterson's piano style is like a painter creating a landscape out of swirls and dabs of colorful paint, Bud Powell's approach is more like a sculptor working with a slab of black marble. Powell too is influenced by Tatum, but only as filtered through Monk; whereas Peterson always seemed driven to create perfect renditions ...
Billy Bauer: Plectrist
by David Adler
Billy Bauer never gained much prominence following his stint with Lennie Tristano, Lee Konitz, and Warne Marsh in the late 40s and early 50s. In the ensuing decades the guitarist made his living as a studio player and teacher. His studio career ended long ago, but he still teaches to this day. Plectrist, released ...
Nat Adderley: Introducing Nat Adderley
by David Rickert
The Adderley brothers were key players in the birth of hard bop, a style which grew out of the advancements of Bud Powell and other pioneers who formed a sound that many artists took to the bank for years. At this point in time Cannonball had formed his first quintet with Nat as a sideman; facing ...
Lambert, Hendricks, and Ross: Sing A Song of Basie
by David Rickert
Lambert, Hendricks, and Ross are pioneers of a unique singing style called vocalese, which involves replacing instrumental jazz with sung lines and invented lyrics. The method was first used by artists such as King Pleasure, who with a rhythm section backing him added lyrics to a Charlie Parker solo in a version that Parker hated. Lambert, ...
Kurt Rosenwinkel: The Next Step
by C. Andrew Hovan
When you stop to think about it, there are relatively few guitarists on the current jazz scene working to go beyond the boundaries of a mainstream manifesto. Sure, you've got talented youngsters such as Russell Malone, Peter Bernstein, and many others functioning within the tradition. But even as endowed as these guys are, they have not ...
Kurt Rosenwinkel: The Next Step
by Glenn Astarita
Electric guitarist/composer Kurt Rosenwinkel extends his wares while attaining or perhaps advancing to loftier heights on his second release for “Verve” records, titled The Next Step. Here, the guitarist and long time band-mate, tenor saxophonist Mark Turner share the bulk of the soloing in conjunction with bassist Ben Street and drummer Jeff Ballard who provide the ...
Ruth Cameron: Roadhouse
by Dave Nathan
A follow on to Ruth Cameron's first album for Verve, First Songs, her latest album also features a class standard play list with some differences. The most significant one is playing time. Her first album didn't even hit the 26-minute mark, while this one offers more than an hour of music. The theme of this album ...
Roland Kirk: Domino
by David Adler
When Roland Kirk (pre-Rahsaan) issued Domino in 1962, the album contained 10 tracks, which amounted to just over half an hour of music. On this reissue there are 25 tracks and nearly 80 minutes of music. What’s more, the 15 bonus tracks feature a 22-year-old Herbie Hancock, who did not appear on the original Domino at ...
Kurt Rosenwinkel: The Next Step
by Glenn Astarita
Electric guitarist/composer Kurt Rosenwinkel extends his wares while attaining or perhaps advancing to loftier heights on his second release for “Verve” records, titled The Next Step. Here, the guitarist and long time band-mate, tenor saxophonist Mark Turner share the bulk of the soloing in conjunction with bassist Ben Street and drummer Jeff Ballard who provide the ...
