Originally published on Thu December 12, 2013 12:39 pm
Many jazz musicians write music here and there, but it's still a leap for someone to go from "writing tunes" to taking pride in the art of composition. The alto saxophonist Patrick Cornelius, based in New York for a decade now, is headed that way. After releasing his fourth album, Infinite Blue, earlier this year, he's now set to premiere a new set of compositions for jazz octet. While We're Still Young is a suite based on the illustrated book of children's poems When We Were Very Young, by Winnie-The-Pooh creator A.A.
Originally published on Wed December 11, 2013 1:23 pm
A Brian Blade Fellowship concert feels a bit like a family reunion. Its core — drummer Blade, pianist Jon Cowherd and bassist Chris Thomas — has played together for more than 20 years, and its horn players have stayed loyal to the operation, too. Its repertoire feels rooted in a deep emotional well where sacred abuts secular and jazz meets its Southern folk cousins. Sparks always seem to fly when it gathers for an infrequent recording or string of tour dates.
Most music fans will recognize the title of Ben Allison's new album, The Stars Look Very Different Today, as a reference to the song "Space Oddity," itself a reference to the film 2001: A Space Odyssey.
Pianist Jonathan Batiste was born and raised in New Orleans as part of the Batiste jazz family dynasty there. He was playing with the family band by age 8. Eventually he took his talents to Julliard, and that's where he met the rest of Stay Human: Joe Saylor on the drums, Ibanda Ruhumbika on tuba and Eddie Barbash on alto sax.
Grammy Award-winning musician Esperanza Spalding has a problem with using the phrase "protest song" to describe her new recording, "We Are America." The song, along with its accompanying music video, demands congressional action to close the detention center at Guantanamo Bay.
" 'Protest' doesn't seem accurate to me," she tells NPR's Celeste Headlee. "We weren't thinking of a 'protest' song, we're thinking of a 'let's get together and do something pro-active, creative and productive' song."
Working as a jazz musician in the 21st century is difficult enough, but hardly anybody tries to make a go of it with a big band anymore. Yet that's exactly what Ted Nash does on his latest album, Chakra.
In 1963, the jazz pianist George Shearing, an enormously popular act in his day, made an album that was unusual for him. He asked his new, 20-year-old vibraphone player to write an album of contrapuntal, classical-music-inspired compositions, and recorded them with a woodwind quintet atop a jazz rhythm section. It's out of print now, but Out of the Woods received good reviews, and it remains an early career highlight for its young architect, Gary Burton.
If you love jazz and pop from the 1920s and '30s, you might already love the HBO series Boardwalk Empire, set in Atlantic City during Prohibition. The music played throughout the show is performed by Vince Giordano and the Nighthawks, and a second album of music from the series was recently released.
Originally published on Thu November 14, 2013 2:42 pm
When their busy schedules align, guitarist Peter Bernstein, keyboard player Larry Goldings and drummer Bill Stewart play together as a trio. Their format isn't earth-shatteringly new — largely standards, a few original pieces, classic sonorities in which Hammond B3 organ meets electric guitar — but after nearly 25 years as a band, their rapport is. Theirs isn't an organ trio of greasy funk, but their cleaner language is plenty tasteful, overlaying smart choices atop plenty of swing.