by Mark Saleski Never heard of pianist Marilyn Crispell? I was first exposed to her work via Anthony Braxton’s momumental Willisau quartet recordings. Crispell has a unique style of play, which I put on the shelf next to Cecil Taylor and Keith Jarrett. This was her first solo record on the ECM label, only the start of some great andRead More
Post Tagged with: "Jazz"
by Mark Saleski Anybody out there who has been paying attention to my writings may have noticed that the name Marc Ribot has appeared almost as many times as Pat Metheny. Though the two guitar players are nothing alike, they do take up a considerable amount of my shelf space. Ribot seems to specialize in confounding the listener with hisRead More
by Tom Johnson In many ways, I am still no closer to being able to put words to my feelings for this album. Instead, I find myself forcing words upon it, all of which are rendered meaningless because they really don’t describe this album, only things that have come before it.
by Tom Johnson I think there’s an annual requirement that Keith Jarrett must issue some kind of musical good. Going into this release, there had only been a handful of years in his career that have not resulted in some kind of album under his name — 1969, 1970, 1978, 1982, 1984, 1997, and 2002. The kicker is that inRead More
A sharper direction on this new release, not to mention an all-star backing cast, helps Stanley Jordon overcome many of the stereotypes that have dogged him since rising to fame in the early 1980s. Back then, Jordan was riding a wave of attention over his use of a eye-poppingly fast guitar string-tapping technique, but ultimately — save for a fewRead More
Steven Bernstein’s Millennial Territory Orchestra has worked well as a creative outlet for its slide trumpet-playing leader, who seems to come up with some off-the-wall ideas for a jazz orchestra.
by Mark Saleski There’s a single reason for me owning this disc: Kurt Elling’s cover of Pat Metheny’s “Minuano (Six Eight),” from Still Life (Talking).
In the winter of last year, Chick Corea and Stefano Bollani performed at the famed Umbria Jazz Festival in Bollani’s home country of Italy, with no other instrumentation beyond two pianos positioned facing each other
I skipped right to this album’s new edit of “Sun Goddess,” a timelessly accessible 1970s R&B fusion number — already singing the familiar wordless chorus from the original by Ramsey Lewis with Earth Wind and Fire
I like a good guitar solo as much as the next guy, but given a choice between a display of fretboard pyrotechnics vs. something with a little more soul, I’ll always gravitate to the latter.