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From the opening notes of Yet Can Spring, it's clear that Myra Melford and Marty Ehrlich occupy common ground. It's not common in any other sense of the word, though. These two players each have a unique perspective on the intersection of straight-ahead improvisation with its freer forms, and both dwell eagerly at the interface. At times lyrical and introspective, at other times crashing down from the hilltops like a banshee, Melford can be like a wolf in sheep's clothing (but crafty, not vicious). She's a great foil for Ehrlich, who possesses a similar range of expression.
All but one of the compositions on Yet Can Spring are originals. After the crash-and-roll of the title track, they tend toward emotional middle groundgenerally preferring to stay mellow and pensive. Ehrlich's tone mostly exudes a smooth fluidity with a self-conscious firmness, as if he knows the limits and chooses carefully when to test them. Yet Can Spring represents the first duo meeting of these two musicians, and hopefully not the last. At times a bit understated for this listener, this disc is certain to satisfy those with a liking for spare, careful improvisationand an open ear for the notes that lurk beyond.
Track Listing: Yet Can Spring; Duiloquy; Here Is Only Moment; The Open Return; March Fantastique; The Natural World; Yellow Are Crowds of Flowers, I; Don't You Know.
Jazz is a creative explosion of individual freedom and communication.
I was first exposed to jazz when I was a kid. My father had a music store.
The best live performance I ever attended was Kenny Garrett in Harlem, New York.
The first jazz record I bought was Saxophone Colossus by Sonny Rollins.
My advice to new listeners is keep listening!