Just when you think that minimalist music was reaching an artistic dead-end, a musical act comes along that opens up new vistas. This time, it’s the Dawn of Midi, a trio with far-flung heritages
How do you react when you hear or read the term “smooth jazz”? Does it conjure up visions of Kenny G flittering up and down scales as he’s swaying with his long, curly locks tousling about and holding his straight sax off to the side of his mouth?
A fresh new funky tune with a percolating groove, twisting sax/keyboard lines, and bubbling, tasty jazz guitar licks. That can only mean one thing: The Jeff Lorber Fusion is set to return
A couple of years ago I set out to shine a light on stellar fusion records in a decade where the genre started running out of ideas, passion and gumption.
Months before Miles Davis entered the studio with an impressive assemblage of jazz musicians to create his signature jazz-rock masterwork Bitches Brew, a fringe rock star and an little-known jazz violinist from France got together to make some proto-fusion
She’s one of the world’s most famous avant-garde performers of all time, not so much because of her works but because of who became her soulmate.
They have a mysterious (and humorous) name, and the Ghosts Of The Holy Ghost Spermic Brotherhood are a little mysterious themselves. However, they did make a self-titled record that should go on sale any day, now.
An authority no less than Pat Metheny once said of fellow guitarist Ben Monder, “Monder is a very evolved kind of musician — great chord voicing and just excellent playing.”
So yesterday I read Matthew Shipp’s review of Keith Jarrett’s latest album Somewhere, or least ostensibly, it was a review.
Edward Ricart and Nick Millevoi are guitarists who have staked their musical careers on the experimental fringes of metal and jazz