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Christian McBride Big Band: The Good Feeling
by Larry Taylor
With all that Christian McBride has accomplished in his 30 year jazz career, The Good Feeling is his first recording fronting a big band. This formidable bassist has had a versatile career as leader, sideman, composer and arranger; he has appeared with a galaxy of star players from jazz, as well as rock ...
Christian McBride Big Band: The Good Feeling
by Dan Bilawsky
The Good Feeling marks the debut of the Christian McBride Big Band, but the seeds for this album were sown in the mid-'90s. Jazz at Lincoln Center commissioned McBride to write and arrange his first major big band work--"Bluesin' In Alphabet City"--in 1995, and that experience really sparked his interest in composing for large groups. Now, ...
Punt a del Este Jazz Festival, January 15-19, 2011
by Gerardo Stawsky
15th International Festival of Punta del EsteJanuary 5-9, 2011Punta del Este, Uruguay Over the last 15 years, dozens of today's top jazz musicians--the McCoy Tyner's and Joe Lovano's--have continued to return to the Punta del Este Jazz Festival, in Uruguay. The Festival is celebrated on a dairy farm in an ...
Joe Chambers: Horace to Max
by Larry Reni Thomas
Drummer/vibraphonist/composer/educator Joe Chambers' Horace to Max is an awesome display of versatility and master musicianship; that's impossible to put away, it gets better with each listen. The distinctive blue-and-black colored cover design is similar to those fine Blue Note records of the 1960s and 1970s. The disc possesses a subtle suggestive theme that can only be ...
Jimmy Greene: Mission Statement
by Elliott Simon
Possessing a concise pithy tone on his tenor sax that at times can be reverential, Jimmy Greene also surprises with an ability to translate that same depth to soprano, when making the switch for the odd tune. Greene's quartet consists of pianist Xavier Davis, bassist Reuben Rogers and drummer Eric Harland, and, while this ensemble fits ...
Joe Chambers: Horace To Max
by Edward Blanco
In this follow up to the critically-acclaimed The Outlaw (Savant 2006) recording, Joe Chambers tips his hat to colleagues Horace Silver and Max Roach with Horace To Max, paying tribute to mentor Roach and recognizing Silver as one of the most important composers of the post-bop era of jazz. A highly-regarded session drummer of the '60s ...
Joe Chambers: Horace to Max
by John Kelman
Though best known for his drum work on key 1960s Blue Note sessions with artists including vibraphonist Bobby Hutcherson, pianist Andrew Hill and saxophonist Wayne Shorter, Joe Chambers has gradually built a reputation as an equally distinctive composer and mallet player. Horace to Max is more heavily weighted towards cover material from Shorter, bassist Marcus Miller, ...
Craig Handy: The Busiest Man In Jazz
by Robert Dugan
Saxophonist Craig Handy is a musician's musician. Those “in the know" know about him, which is why he's been a first call player in New York for over two decades. He is a careful, thoughtful improviser—expansive and precise. His solos build on a rich knowledge of the tradition at the same time as they often set ...
The Jazz Tribe: Everlasting
by Chris Mosey
The vogue for Latin jazz began in the 1940s when Dizzy Gillespie hired Cuban percussionist Chano Pozo to play in his big band. At the time, most critics dismissed it as a passing fad. However, percussionist Ray Mantilla, part of a “goodwill ensemble" Gillespie took on a tour of Castro's Cuba in 1977, is today elder ...
Anne Drummond: Like Water
by Dan Bilawsky
Listening to vibraphonist Stefon Harris's outstanding African Tarantella (Blue Note, 2006), flautist Anne Drummond's work can often fly under the radar. Her importance on these recordings, however, can't be overstated: she often provides the textural glue that makes the group gel, and the only reason her fine flute work might not be more obvious is because ...
