Music Reviews: Jazz

Maria Schneider is the preeminent big-band composer and leader of our time. She’s been at it for a little over 30 years, recorded nine albums in that span, and this, her 10th, Decades—a lavishly packaged, limited-edition three-LP boxed set, on the Artist Share label—is a celebration, a sort of best-of anthology tracing her evolution. It also marks the first time any of her work has been pressed on vinyl, in this case 180-gram vinyl, the lacquers cut by Chris Bellman... Read More

Why didn’t “The House That ‘Trane Built” release this Alice Coltrane record when it was originally recorded in Carnegie Hall February21st, 1971? It couldn’t have been because the musicians accompanying her weren’t worthy: Pharoah Sanders, Archie Shepp, Jimmy Garrison, Cecil McBee, Ed Blackwell, Clifford Jarvis and two lesser knowns. It wasn’t because it was poorly recorded. The engineer was David Jones, best known for recording the two classic Bill Evans Trio’s... Read More

Yes, was a clickbait headline. Guitarist Anthony Wilson did not "meet" the rhythm section when last year they stepped into Kevin Gray's Cohearent Recording studio A/K/A "Hackensack West" to record this album live to two track tape, mixed "on the fly" as Rudy did. Wilson has been playing in Diana Krall's band for years with drummer Jeff Hamilton and bassist John Clayton, Jr.. Following this session, they were immediately back on... Read More

Ethan Iverson may be best known as the original pianist for The Bad Plus, a trio that made an improbably huge splash in the early 2000s by grafting jazz rhythms onto such pop and punk tunes as Nirvana’s “Smells Like Teen Spirit,” Blondie’s “Heart of Glass,” Aphex Twin’s “Flim,” and Abba’s “Knowing Me Knowing You”—and doing it with energy, wit, virtuosity, and genuine cross-genre feel for idiom: no nudge-wink po-mo irony. The group’s drummer and bassist, Dave King and... Read More

Afric Pepperbird by the Jan Garbarek Quartet with Terje Rypdal, Arild Andersen and Jon Christensen was an early ECM touchstone, and the beginning of five decades of cooperation between producer Manfred Eicher, engineer Jan Erik Kongshaug and the four Norwegian players. It gets its first vinyl reissue since 1976 in ECM's Luminessence series.

Have you seen the 2022 movie “Armaggedon Time”? It’s a coming of age movie set in 1980 Queens, New York about a creative, dreamer of a young man who wants to become an artist but his traditional Jewish parents are of course against it, preferring he become a “professional”. His musical tastes are rock’n’roll but after befriending a Black classmate, he’s introduced to Hip-Hop.Not that the movie is about music, but music represents the cultural crosswind at the time in... Read More

Herbie Nichols, who died of leukemia in 1963 at the age of 44, was a jazz composer-pianist of vast talent, wit, and virtuosity, but little luck. He recorded just four albums (three for Blue Note, one for Bethlehem), none of which sold well; his music may have been at once too formalistic and too quirky for its time. He had a playful style, not unlike Thelonious Monk's, who was a friend and contemporary, though Nichols' sense of structure and harmony was... Read More

The obi says the Adderley/Evans "reunion" was "Cannonball"'s idea, something I didn't know when I picked up a Japanese repress for $3.98 at Record Surplus back in the mid-80s during the era of the great "vinyl record replacement dump"—and what a great time it was for those who recognized the CD folly for what it was!The cover shot doesn't have Julian appearing all that happy posing with his horn in front of some art that... Read More

If the task is to compare five releases of an album, which it is here, at least it should be an album worth repeated listenings, and of course Ballads is, though it's not up there with Coltrane's greatest recorded achievements. It can't be beat as a Coltrane intro record for non-jazz fans who need the melody. For the rest of us, while Coltrane's playing is straight ahead and wonderfully lyrical, McCoy Tyner center stage wraps his fingers around the... Read More

Trio Fascination: Edition One—a 1997 piano-less trio session, newly mastered on two LPs as part of Blue Note’s Tone Poet series—is a magical album. First, the trio itself—Joe Lovano on various reeds, Dave Holland on bass, Elvin Jones on drums—was a one-time-only combo, the likes of which remains nearly unparalleled. Second, the music (all but one track composed by Lovano) is original, almost inexplainable, yet very accessible. Finally, the fact that this reissue... Read More

In his annotation for this 1969 Milestone release, Down Beat writer Alan Heineman makes a good case for why back then (and perhaps even now), the late Joe Henderson, whose sound, both sweet and gruff is instantly recognizable, was an underrated tenor saxophonist. No matter the reasons then, today he's far better appreciated as a leader and sideman on Blue Note albums (leader on five including Inner Urge, sideman on more than two dozen including Larry Young's... Read More

The story behind this "forgotten" release and re-release is interesting, but not nearly as interesting as the music, which is a refreshing turn in a world of "undiscovered gems" that often turn out to be undiscovered for good reasons and not gems at all. Downbeat critic Ira Gitler gave Matador a well-deserved very positive review when it was first released in 1963 (Dorham was also for a time late in his life a Downbeat critic). Two things... Read More

In a recently published New York Times piece titled "The Worst Masterpiece: 'Rhapsody In Blue at 100" the pianist/composer Ethan Iverson pilloried the popular Gershwin piece as "naïve and corny"—and those were among the nicer things he wrote about it. The online comments are worth reading but one published letter is wroth quoting here: "By calling the work 'the best cheesecake,' Mr. Iverson aligns himself with a long line of... Read More

Andrew Hill was one of the most remarkable jazz pianist-composers, a rare true original. His music is ripe with strange intervals, dissonant harmonies, and off-centered rhythms, yet the resulting sounds are riveting, often gorgeous. Imagine the lush tonal colors of Gil Evans, combined with the fierce cadences of Mingus and the jagged precision of Monk, and you get some idea of his music’s odd pleasures. Hill led a dozen recording sessions for Blue Note in the... Read More

While Rhino's "High Fidelity" series lacks a clearly identifiable direction or purpose—it seems to meander around the catalog without regard to time, place or purpose—there's one consistent strategy: each two record release has a rock title and a jazz title. Credit Rhino with chance-taking guts this round. Marquee Moon isn't exactly mainstream rock (though the reissue gives it that sound), and Ornette Coleman's music scares a lot of... Read More