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Tomoko Omura: Post Bop Gypsies
by Dan Bilawsky
Think about your favorite jazz violinist. Now think about what style or sub-category of jazz that person would most easily fall into. Was your answer bebop? Probably not, I would venture to guess. It's not that I know your answer. This isn't a magic trick. For all I know it could've been Stéphane Grappelli, Jenny Scheinman, ...
Art Pepper: Presents “West Coast Sessions” Volumes 3 & 4
by C. Michael Bailey
Today is the day that I finally come clean about Art Pepper and me. In 1984, I was taking a year off between having finished Pharmacy School and beginning a graduate program in Medicinal Chemistry and Drug Design. During this time, I had my yearly eye appointment with my ophthalmologist, one Dr. A. Henry Thomas, with ...
Caroline Davis
by Vincenzo Roggero
After honing her skills on the Chicago scene, Caroline Davis has rapidly established herself as an in-demand musician and educator in New York, where she moved in 2013, and internationally. Her debut album, Live Work & Play, was featured on All About Jazz's best releases. The leader or co-leader of several interesting projects, ranging from her ...
Maryanne DeProphetis: Tell A Star
by Angelo Leonardi
La ricerca vocale minimalista e astratta di Maryanne de Prophetis è troppo sofisticata per ottenere l'attenzione del grande pubblico ma mantiene un'audience affezionata nei club di New York City. Dal 2002 guida il trio col pianista Frank Kimbrough e il trombettista Ron Horton con cui ha pubblicato due dischi, A Glance nel 2005 e Lilacs in ...
Warne Marsh: Oct. 1987
On Sunday, October 18, 1987, Warne Marsh was leading a quartet at a San Francisco concert. The performance was held just two months before the cool-jazz tenor saxophonist would collapse and die of a heart attack on stage at Donte's in North Hollywood at age 60. Backing Marsh in San Francisco was Larry Koonse (g), Seward ...
Lee Konitz: Frescalalto
by Luca Canini
Lo sfizio del primo disco su Impulse! se l'è tolto alla soglia dei novanta, ennesima tappa di una carriera che per raccontarla non basterebbero due Treccani con relative appendici. Una vita in jazz come poche ce ne sono state, e come mai più (forse) ce ne saranno, quella di Lee Konitz. Dagli esordi ...
Alexander Hawkins
by Paolo Peviani
Il tratto principale della mia musica È molto difficile rispondere ma spero che, in qualche modo, il tratto principale della mia musica corrisponda al tratto principale di me stesso. La qualità che desidero nei musicisti che suonano con me Gioia, apertura, generosità, e che non abbiano paure nel fare musica.
Michaël Attias Presents "Nerve Dance" Featuring Aruán Ortiz, John Hébert & Nasheet Waits
Available March 10, 2017 on Clean Feed Records Like a high-quality electronic product manufactured by the Panasonic Corporation, the career of alto saxophonist Michaël Attias has always involved being slightly ahead of his time...”—Ken Waxman, JazzWord Nerve Dance—saxophonist/composer/bandleader/conceptualist Michaël Attias’ sixth album (available on Clean Feed Records, March 10, 2017), which deals with the aesthetics of ...
The Brian Dickinson Quintet: The Rhythm Method
by Dan McClenaghan
Toronto-based pianist Brian Dickinson explores the quintet with a two sax front line" on The Rhythm Method. He takes his lead from the somewhat overlooked pianist/conceptualist Lennie Tristano, who broke the ground with his historic 1949 Capitol Sessions featuring Lee Konitz on alto sax and Warne Marsh on tenor sax; and with his 1956 recordings with ...
Rick Hannah / Erwin Siffer: 2-Man Jazz Band
by Budd Kopman
Piano and guitar is a relatively rare combination for a number of reasons including overlapping ranges and having the similar timbre of percussive string. Yes, players of both instruments spend a lot of time perfecting a singing or legato sound, but in the end they are what they are. Instead of fighting it, with ...


