The jazzy “Take A Chance (Gotta Get Happy)” sways to the atmospheric cadence of Grace Marino’s affecting vocals and cool-cat instrumentation.
There were technical things that made Ornette Coleman’s work great. But stressing that gives away the one thing that really mattered: Its freedom.
Here is a review of a uniquely experimental set of electro-acoustic improvisations between Denny Zeitlin and George March, ‘Riding The Moment.’
Renato D’Aiello’s ‘Satori’ surprised me in all the best ways good music can, and I warmed more to it with each play – and there have been many.
Ivo Perelman ha s meeting of the minds with drummer Whit Dickey in exploring what is possible on a tenor saxophone thanks to the innovations of his forebears.
Here’s a review of the last song from Nick Hempton’s ‘Catch and Release’ series. “Change For A Dollar” features his base quartet plus tenorman Jerry Weldon.
When Pat Metheny and Lyle Mays’ ‘As Falls Wichita, So Falls Wichita Falls’ arrived in May 1981, it sounded like nothing else in my record collection.
The tenor ace Tallitsch delivers another mainstream jazz outing with a stellar supporting cast that’s dynamic, majestic and yes, a boatload of fun.
Working in mysterious ways with his Zooid quintet, Henry Threadgill offers another installment of ingenuity on ‘In For a Penny, In For a Pound.’
As one of the final artistic statements by the multi-talented Bob Belden, Animation’s ‘Transparent Heart’ stands as a fitting coda to a rich career.