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
Post Tagged with: "Jazz"
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.
There is often a West Coast cool this recording, thanks largely to the smoothly energetic phrasings of vibraphonist Dave Shank. That’s not to say, however, that Soundproof doesn’t have its moments of fiery interplay
by Tom Johnson Jazz has been in a kind of holding pattern since the mid-1970s, when even Miles Davis declared the genre dead.
by Mark Saleski Reviewers sometimes get too caught up playing the label game: jazz, pop, world (ah, the ambiguous catch-all label), rock, ambient. Whenever a writer struggles with material that lacks a definite musical anchor, I am reminded of the transformation seen through Miles Davis’ electric years.
by Mark Saleski Digital. It’s just got to be digital — ones ‘n zeros. Forget that old-fashioned analog stuff. That’s for old fogies. If you want to be with it, current, where it’s at, up to date, in the know, down with it … your activity must be presented in bits
L.A. pianist and composer Josh Nelson has been busy making records (while not backing up Natalie Cole) since his 2006 semi-finalist finish in the Thelonious Monk competition.
Rock fans know him for his work with David Bowie and the Average White Band, jazz fans from moments alongside Miles Davis and Sonny Rollins (they’re on tour now), soul and pop fans from turns with Chaka Khan and Mariah Carey.
A straight-ahead jazz quartet with instrumentation as atypical as their sensibilities, the Reese Project’s Evening in Vermont is perhaps best summed up in the track “All Wood,” a nifty combination of Miles Davis’ “All Blues” and the Beatles “Norwegian Wood.” That it’s performed on flute (Tom Reese), cello (Laurie Haines Reese), piano (Kirk Reese) and drums (Dave Young) only addsRead More
Last year we investigated a strong post-bop excursion by the potent, up-and-coming partnership of tenor saxophonist Ken Fowser and vibraphonist Behn Gillece. Little Echo (2010) swung like mad and put into sharp focus the tight rapport of Fowser and Gillece