by Nick DeRiso We know Charlie Haden as the bass-playing ground wire on scores of jazz’s more important works — not least of which was his late 1950s turn with the shape-shifting improvisational genius Ornette Coleman. Later, Haden was memorably featured alongside John Coltrane, Keith Jarrett, Pat Metheny, with his own Liberation Music Orchestra and then the hipster noir bandRead More
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Sometimes you know if a CD is going to be good even before you cue it up and start listening to it. The first thing I that caught my eye when I opened up Michael Bates’ Clockwise CD was the note that it was taped live on a two-track recorder. The second thing I noticed was that the sessions wereRead More
You know those finance articles you see on the internet that analyze a company’s prospects where the author has to disclose any positions he has in the companies securities? Well, here’s my disclaimer for this review: like the artist being covered here, I too grew up near Lafayette, Louisiana, so I’m naturally going to root for my Cajun homey toRead More
Lodged toward the end of a nostalgic song cycle that attempts (with varying degrees of success) to recreate the soaring pop music of his California youth, Brian Wilson offers a moment of naked, welcome honesty. On “Midnight’s Another Day,” away from the florid orchestrations and dense backing vocals associated with his lost superstar creation the Beach Boys, Wilson admits: “AllRead More
“The best post-punk jazz trio with vibraphone ever.” That’s the bold declaration you’ll find when you click on the link at the bottom of this article to purchase their CD. It’s also very hard to argue with that statement. James Westfall (vibes), Dan Loomis (acoustic bass) and Jared Schonig (drums) make up this intriguing combination of which to my knowledgeRead More
Photo: Susan J. Weiand by Pico With jazz fusion having been around for some forty years, now, it’s not so easy to be distinctive in that field anymore. Garaj Mahal manages to stick out, mainly due to massive chops by all four group members and a dizzying array of influences each group member brings to the table. Those influences getRead More
photo by Mamoru Kobayakawa Last August 19, jazz pianist Aaron Parks released the first major label album of his young solo career, Invisible Cinema. And who is this Aaron Parks, you ask? Seattle native Parks is something of a fast learner. He skipped high school to study math, computer science and music and the University of Washington. Before long, heRead More
Used to be that whenever the term “Scandinavian jazz” would come up, one could summarize it by pointing to the sterile, pristine folk-jazz popularized by Jan Garbarek and the ECM label from the seventies on. In recent times, it’s come to mean such a variety of styles and tendencies that the jazz scene there has become every bit as complexRead More
“Stone of Sisyphus,” the title track from a deleted album recorded just after Chicago’s heyday as a slick power-ballad act, gained grail-like mystery when the band’s label scrapped the project for being too adventurous. Well, back then, I guess.
NICK DERISO: Finding an impressive record by Lionel Hampton, known for both his harmonic and rhythmic sophistication, is easy. Finding one that delights as much as its intrigues anymore, however, is rare. His legacy, now more than ever, is secure: Born in Louisville, Ky., in 1908, Hamp would record hundreds of albums over six decades before his death at 94Read More