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Fill in the blank with your own ideas to continue the ongoing discussion for those who speculate on the present and the future climate of the music. But in the meantime listening to the Blueprint Project's new self-titled recording keeps this discussion relevant, and more importantly, interesting for the listener. The group's third release is not some new groundbreaking jazz derivative, but it does indicate that younger artists can have a respect for the rich heritage yet also formulate their own fertile ideas.
The styles on the recording cover a quilted patchwork from the swinging post bop of "The High Priest's Sermon" to the cool modality of "Dead Mouse Blues." The set includes variations of melodic pieces "Until We Have Names," free jazz expressions of "Bench Carvin,'" and even a klezmer tango on "The Old County."
But the true mark of the group is its slightly offbeat music with a bold and unified presence. The core of the group consists of saxophonist Jared Sims, pianist Tyson Rogers, and guitarist Eric Hofbauer, who met in 1997 at the New England Conservatory. They've since added bassist Cecil McBee and drummer Matt Wilson to channel their distinct voices into oneness. The more interesting selections, "Molecular Mischief" and "Monkey," are creative and unusual, but also melodic and balanced. The recording embodies intelligent compositions filled with strong musicianship and enough creative juice to give a small glimpse of the music it represents... in the here and now.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.