It might be more concise to list what musical genres Marc Ribot hasn't explored than the ones he has, but his approach to the guitar has often reflected the freedom, reinvention, and elastic boundaries of jazz, no matter what the specific context. On this date, recorded in mid-2012 during a handful of shows at one of New York's most iconic venues, Ribot gives himself the luxury of stretching out with a pair of gifted accompanists, bassist Henry Grimes (who worked with Albert Ayler, one of Ribot's key influences) and drummer Chad Taylor (a veteran of the Chicago Underground Duo and Trio), and the result is one of Ribot's most explicitly jazz-focused dates in some time.
Yeah, All Rise: A Joyful Elegy for Fats Waller is a tribute to the great stride pianist, but in Jason Moran's hands, it's not what one would expect. This album isn't full of stride piano, but it is full of Fats Waller's larger persona as a performer. Waller mixed jokes and comic routines, and did whatever he could to connect with his audience in his act, and if his piano playing was the hinge, it sat on a door that opened straight to the dancefloor. This album had its beginnings when Moran was commissioned by the N.Y.C. performing arts venue Harlem Stage Gatehouse to create a tribute to Waller as part of its Harlem Jazz Shrines series.
Beginning with 2005's Identity, trumpeter Jeremy Pelt began exploring '70s and '80s funk and fusion sounds inspired by the works of such luminaries as Herbie Hancock and Miles Davis. He continued these funk and electronic explorations on such albums as 2007's Shock Value: Live at Smoke and 2013's Water and Earth. While Pelt has also split his time playing and recording more straight-ahead post-bop albums, his 2014 album, Face Forward, Jeremy, combines the best of his acoustic recordings with the electronic-jazz hybrid sound of Water and Earth. Here, Pelt is joined by his longtime ensemble featuring pianist/keyboardist David Bryant, saxophonist Roxy Coss, bassist Chris Smith, and drummer Dana Hawkins.
Steve Khan has never been a shy guitarist, but in the commercial world he appears a bit diffident. This is probably why he makes one album a year or maybe one album sometimes every two or three years. But judging by the work on each, he is perfectionist. Consider Subtext which features not only exquisite repertory, but magnificently craftsmanship on each of the songs. His playing is of a remarkable gliding kind. Notes seem to roll off his strings in phrases that form wide arcs that carve the air with magnificent motifs and incredibly beautiful melisma.
There’s something about the natural flow of a live recording, particularly when it just happens to be recorded rather than being a tense special event, and as here where punctuating applause is left out. Lovely, melodic, Finnish.
The Last Southern Gentlemen is a landmark recording for Delfeayo Marsalis, pairing father Ellis Marsalis, Jr. with son on a collaborative album for the first time. Marsalis' finest outing to date, the superb recording quality and meticulous production showcase his brilliant, classically trained tone as it swings effortlessly through standards and original compositions. The music is relaxed, thoughtful and provocative, acknowledging the love and respect of all people shared by Louis Armstrong and most early jazz entertainers. This sense of humanity and humility is at the center of the Southern lifestyle that birthed the original American music. Built on the intimacy of American ballads and the trombone's expressive mimicry of the human voice, The Last Southern Gentlemen is a firm acknowledgement of the existence and importance of these sweet, gentle sounds.
Phish recorded the album with legendary producer Bob Ezrin (Pink Floyd, Lou Reed, Peter Gabriel) last fall, as the band's 30th anniversary approached. The songs for Fuego took shape during a series of visits to Phish's longtime creative hub, The Barn, a rustic, reconstructed barn-turned-rehearsal/recording studio located outside Burlington, Vermont. There they explored dozens of ideas, which led to a notable shift in the band's songwriting approach. While Fuego includes tracks that individual members brought to the table in usual Phish fashion, the bulk of the material was written by all four, working together at The Barn.
They could have opted for the easy given its long history in common: 15 years of collaboration contemplate the singer Córdoba "The Kejío" and pianist Chano Dominguez , And to do that they do so well: flamenco jazz. But no. What they have done in this first album co-signed by the duo is going to Flamenco more serious and modern. They are not 'flamenquitos' or 'flamencólicos' are musicians who make flamenco here and now.
Lanie Lane - australian blues-jazz singer-songwriter and guitarist.