Blues records used to routinely sound like this: Loose and fun, almost anarchic in their pursuit of nothing more than good-time joy and real-time emotion. You May Also Like: How Pee Wee Ellis Finally Stepped Into the Spotlight With ‘Blues Mission’
Occasionally I’ll come across a record that sounds very pleasing to me and then realize that the music falls outside my usual areas of interest. Like, for instance, this new one by Florencia Ruiz that I’ve been listening to a lot in the last few days. You May Also Like:Read More
Alyssa Graham’s “High Time,” this melancholy remake, transforms a familiar Grateful Dead song from 1970 into a scorching tale of hope replaced by regret. You May Also Like: ‘Burning Questions’ Found Graham Parker Still Angry, If No Longer Young
Asked to describe this new album, Canadian guitarist Tim Vaughn said: “It’s like Prince, Led Zeppelin, Stevie Ray Vaughan, Jimi Hendrix and Radiohead all met Los Lobos at a bar in “From Dusk Til’ Dawn,” and Jack White was playing there with Elvis Costello.” Thing is, as knee-slappingly over-the-top asRead More
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. You May Also Like: Matt Nelson, Tim Dahl, Nick Podgurski – GRID (2017)
Listen in as Paul McCartney makes his initial foray into the world of dance with the forthcoming release Ocean’s Kingdom, commissioned for the New York City Ballet and performed by the London Classical Orchestra. You May Also Like: Paul McCartney Found Collaborative, First-Take Genius Again With ‘Electric Arguments’ Paul McCartney’sRead More
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. You May Also Like: ‘All That’s Jazz,’ by SammyRead More
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 HainesRead More
Even as Thomas Dolby got set to release A Map of the Floating City, his first album of new music in almost 20 years, his sound somehow remained both associated with the MTV era, and almost completely unbound by it. “If you’re right,” Dolby tells us, “it’s because everything isRead 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 You May Also Like: Ken Fowser – ‘Right On Time’Read More
