Baritone sax savant Charles Evans is really good at taming this brash, acerbic horn and transforming it into a conduit of emotion and musical purpose.
“Sitting on the beach for a week is my idea of hell.”
Peter Calandra doesn’t just invite you along for a keenly felt rumination on the Catskills with Ashokan Memories, he takes you into his personal, deeply emotional feelings about this special place.
Carla Bley returns to her long running drum-less threesome featuring electric bassist Steve Swallow and tenor saxman Andy Sheppard with an album by this ensemble next week.
A standout thing I’ve come to realize in sizing up Ralph Alessi’s ECM debut Baida is not just the record itself but the realization that this is the first Alessi-led album I’ve had the occasion to cover.
Keyboardist and composer Jim Beard has long been a “behind the scenes” kind of guy, contributing his skills to music by better-known acts, such as Wayne Shorter, Chuck Loeb, Eliane Elias
Though he’s leading a group of fellow veterans from James Taylor’s touring band, Steve Gadd’s 10th solo album couldn’t have less to do with that easy-going singer-songwriter vibe — or any of Gadd’s countless other rock and pop dates.
Fred Hersch has done plenty of duet albums and plenty of live albums, so perhaps it’s inevitable that the brilliant, reflective pianist would make a live, duet album with a guitarist.
In the press release for Gina Kronstadt’s Come Over, it’s revealed that she’s worked with “everyone in the records, TV and film industry.” A scan through her credits reveals that’s the case
Kind Of Blue has long been touted as the best jazz album ever made, and I remain on that big bandwagon. But what’s the second best?