Even the most noble of tribute efforts can be sunk by a maudlin sense of care, the feeling that the great works being presented are sacrosanct — rather than living, malleable pieces of art. This album deftly avoids those mistakes.
Maybe it’s just me but I’m getting sort of tired of the steady stream of articles and books that attempt to apply scientific analysis to our perception of music.
The concept sounds like a bit of a nightmare: an in-depth excursion into the discarded mastertapes of a band known for lengthy, sometimes mind-boggling sound journeys.
If you happened to peruse the Half-Year List of Top Albums for 2012 for Modern and Mainstream Jazz before this list and you’ve been keeping up with the latest jazz releases, you might have wondered, “Where’s that new Matthew Shipp?”
It’s not like Trevor Rabin has disappeared since leaving Yes, not with dozens of movie scores to his name in the intervening years. Still, Rabin hadn’t released a solo project under his own name since 1989
You know the proposition: Marooned with only a handful of musical choices, which would you make?
Here we are only halfway done with 2012 and it’s already been a bangin’ year for modern and mainstream jazz, whether you prefer a celebration of the tradition or an expansion of the frontiers.
The year was 1985; the scene, Mr. Tantillo’s eighth-grade chorus class. On Fridays, students were allowed to bring in their own music so we could “experience” diverse tastes.
Pushing play on Blackberry Smoke’s “Six Ways to Sunday” is like cracking open a time capsule buried about 35 years or so ago in the neighborhood of Jacksonville , Fla.