The opening number in 7, for example, was an insistent, subtly volcanic one one, Abdissa "Mamba" Assefa's quick-cut percussive touches, the sampled basslines from Heikki Iso-Ahola, and steady guitar chords from the leader ripe for the dancing, partying crowd. Perhaps paradoxically, it was a music that was easy to follow in a complex way. And, as with everything else that was played and heard (including, no doubt, the few shows this reviewer missed), Tampere Jazz Happening was once again in the ears, hearts and minds of everyone on hand to help complete the circle and make it all come alive. And that they did.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.