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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.
I love jazz because it’s what sounds
I was first exposed to jazz in my
parents household and in school
I appreciate many styles of jazz
and shy away from really outside
stuff. I enjoy relating to the
One of the best shows I ever
attended was 1975 Chick Corea’s
Return To Forever tour at an
intimate venue in downtown
The first jazz record I bought was
Herbie Hancock’s Chameleon.
My advice to new listeners is try
several styles before you decide
what jazz is all about!
Listen to music daily and stay open