Post Tagged with: "S. Victor Aaron"

Yes’ ‘South Side of the Sky,’ ‘Sound Chaser,’ ‘It Can Happen’ + others: Gimme Five

Yes’ ‘South Side of the Sky,’ ‘Sound Chaser,’ ‘It Can Happen’ + others: Gimme Five

Yes has taken more twists and turns than the fantastical lettering created for its album covers by Roger Dean.

Half Notes: Stephen Haynes – Parrhesia (2010)

Half Notes: Stephen Haynes – Parrhesia (2010)

by S. Victor Aaron After all the whack jazz winners I’ve heard from Engine Studios, I’ve come to expect nothing but excellence whenever I pop in a CD from that label for the first time, and I’ve yet to be disappointed. Label head and producer Steven Walcott signs up creative, free thinking musicians new or old, overlooked or established, putsRead More

Half Notes: Jeff King – Catalyst (2010)

by S. Victor Aaron “Catalyst” is not just the name of the album, it’s also the name of the band sax/flute player King leads, and this is their debut album. This band which features King, Luis Deniz (saxes), David Braid (piano and keyboards), Rich Brown (bass), Joel Haynes (drums), have Juno Award (Canadian Grammies) and National Jazz Award winners amongstRead More

Half Notes: The Ray Anderson-Marty Ehrlich Quartet – Hear You Say: Live In Willisau (2010)

by S. Victor Aaron Even on an ode to a fallen friend (“Portrait Of Leroy Jenkins”) and the chromatic ballad (“My Wish”) they pour on the intensity, but get downright giddy on harder tunes like “Hot Crab Pot,” a song that boils over with as much intensity as the title suggests. “Alligatory Rhumba” is a delightful Cuban party song builtRead More

Half Notes: Eugene Marlow's Heritage Ensemble – Celebrations (2010)

by S. Victor Aaron So often in recent years we’ve heard jazz played in a traditional Jewish style, aka “Klezmer” jazz. Arranger/composer and keyboardist Eugene Marlow puts this idea in reverse: taking traditional Jewish songs and playing them in mainstream, Afro-Cuban, Brazilian and even contemporary jazz styles. The second Heritage Ensemble CD (the first one came out in 2006) isRead More

Half Notes: Ken Thomson And Slow/Fast – It Would Be Easier If (2010)

by S. Victor Aaron Like Jason Stein, Gutbucket co-founder Ken Thomson is a bass clarinetist — he’s an alto saxophonist, too — and both like to play along the margins of jazz, but Thomson’s conception of music freely spills over into other styles as well. His latest project, Ken Thomson And the Slow/Fast, is a quintet with him and RussRead More

Half Notes: Holly Hofmann and Bill Cunliffe – Three's Company (2010)

by S. Victor Aaron Although she’s made bop-oriented records for over twenty years, Holly Hoffmann is not as well known as she probably should be. A flautist of the first order, she’s the logical heir to Frank Wess’ legacy. Bill Cunliffe is accomplished in the jazz world himself, having won the Monk piano competition in 1989, recorded with some heavyRead More

Half Notes: Mario Romano Quartet – Valentino (2010)

by S. Victor Aaron Here’s the setup: a successful real estate tycoon suddenly decides to revisit his original passion, music, and pulls in three of Canada’s most prestigious jazz musicians and a top-notch producer to make his first record, one full of done-to-death standards. And you’re thinking, this is probably going to be a very competent but very boring, vanityRead More

Half Notes: The Britton Brothers Band – Uncertain Living (2010)

by S. Victor Aaron Bands led by horn players tend to work well if there’s a lot of rapport between the horn players. That’s not an issue for The Britton Brothers Band, whose trumpet player (John) and saxophonist (Ben) have the same parents. For this debut, these young cats built a band of other young up and comers, like BrooklynRead More

Half Notes: Fred Fried And Core – Core 3.0 (2010)

by S. Victor Aaron Fred Fried comes from the George Van Eps school of guitarists, having been taught by the late guitar great himself. That’s readily apparent from his harmonically intricate style that leads with full chordal lines while simultaneously playing the enhancing bass lines. In other words, Fred Fried fingerpicking style, like Eps, has more in common with theRead More

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