Named ninth-best on Rolling Stone magazine’s drummers poll, and part of the magazine’s 100 Greatest Artists list as a member Cream too boot, Ginger Baker curtly dismisses the idea.
George Benson’s chart successes in the 1970s and ’80s as a breezy R&B crooner have largely obscured his initial promise as a boss jazz guitarist with a intelligent, liquid tone — an heir to Wes Montgomery’s throne.
The combined talents of Jarrett, Peacock, and DeJohnette extend far beyond technical facility. They’ve played together for so long now that to look for their line between improvisation and straight play is to miss the point.
Amazon.com Widgets Kansas City, home of Count Basie, is famous for its jazz, the one of the hard swinging variety. Even those jazz cats who migrate to New York from KC will retain that swing with them.
In making Magnetic such a collaborative, free-flowing effort, Terence Blanchard has fashioned one of his most layered studio efforts ever.
If there’s any question as to how off-the-cuff, how gloriously in the moment, this ultra-rare one-off concert collaboration in fact was, one need only hear the lead tune — a fizzy, improv-filled take on “Lullaby of Birdland.”
The wonder is how much Eliane Elias, the Brazalian-born pianist and singer, has in common with the doomed American romantic Chet Baker.
Yesterday was about Satoko Fujii looking forward with her next small combo project, today is about one last glance back on her previous one.
It’s often said, when one door is closed, another one is opened. That’s how Satoko Fujii viewed the end of her ma-do quartet brought on by the sudden death of the bassist, Norikatsu Koreyasu.
When Pascal Le Boeuf set out to make a record with his young, dynamic trio Pascal’s Triangle, the intention was to produce an electronic-styled crossover jazz album, involving a layered recording process, programmed beats and the like.