Its very name speaks to the old ways, and keeping them as they always were. And for a long time, maybe too long, that’s the way it’s been with the Preservation Hall Jazz Band. Until now.
Abigail Riccards has decamped to Chicago, where she continues to ply her trade as an intimate and involving singer — not to mention a respected educator. But time spent in New York, which exposed her to the work of Artsrides, still resonates.
S. Victor Aaron’s Mid-Year Best of 2013 (Modern and Mainstream Jazz): Chris Potter, Rudresh Mahanthappa
For this middle-of-2013 version list of best modern and mainstream jazz records, I expanded the meaning of “modern and mainstream jazz” a little bit this year
Kim Kalman, whose grandfather was mid-century big band leader George Kindler, reconnects with the sounds and styles of that bygone era on At Last – and reanimates some shopworn classics along the way.
An intriguing mixture of old-school chanteuse and tough-minded modern woman, Hadiza Dockeray puts her foot down on “Somebody Better” — and then uses it to kick the ever-loving ass of some no-account.
Often in sizing up drummers who lead their own bands, I find that they either actively get out front or they get out of the way and let their band mates becomes the focal point.
There’s a lot of buzz around ace clarinetist Anat Cohen, but there’s another lady horn player from Israel who deserves a lot of attention, too. Reut Regev plays not reeds but brass, and her trombone knows no bounds in its spunk and personality;
Überjam was the most contemporary music John Scofield had made in a richly varied, artistically meaningful and just plain enjoyable career in jazz over these last forty years; only fellow guitarist Pat Metheny can point to a more impressive body of work over that time.
Cavity Fang sprung from the fertile mind of keyboardist and composer Michael Coleman.
Trombonists don’t typically have the audacity to be featured with no chordal help like a piano or guitar, but I can’t imagine Mike Vlatkovich performing any other way.