http://www.mosaicrecords.com/prodinfo.asp?number=247-MD-CD Talk to Henry Threadgill about the influences in his music, and he is drawn to talk about food. Or patterns of light in the sky. Or a building across the street from a rehearsal studio. Talking about an instrument's role in a composition, he is likely to mention not the rhythm of the drums, but the tuning, and a discussion about harmony becomes a question of how much white and red to add to the painting. He is not trying to be pretentious or profound. He is telling you how his mind works to create the things he hears. Henry Threadgill was a founding member of the now legendary Association for the Advancement of Creative Music (AACM) of Chicago, but before and since he has been a founding member of the Henry Threadgill college of making music that matters. And to Threadgill, all music matters - Charlie Parker and street marching bands and Poulenc and Balinese dance. Now, this first big collection of his music provides an opportunity to hear how those ideas collided, entwined, and rainbowed across an almost uninterrupted span of nearly 20 years.
To purchase: http://www.mosaicrecords.com/prodinfo.asp?number=249-MD-CD That sound. One group conceived it. Defined it. Perfected it. The Modern Jazz Quartet was certainly one of the most distinctive voices in the history of jazz, thanks to the unique qualities of personal expression and collective vision of its members Milt Jackson, John Lewis, Percy Heath and Connie Kay (who had replaced original drummer Kenny Clarke by the time the band started recording this music). They were also exceptionally prolific during their tenure at Atlantic Records, producing 14 albums in eight years. And now, that MJQ sound gets the complete respect it deserves, thanks to our new box, The Complete 1956-1964 Modern Jazz Quartet Atlantic Studio Recordings. For each of the 14 albums included on this set, our audio expert Ron McMaster worked from original tapes in order to draw out the best sonic properties possible, and achieved his goal of revealing subtle nuances that matched MJQ's own attention to detail. Finally, recorded sound worthy of the music it's reproducing. Category:
http://www.billytaylorjazz.com presents Jazz and Violin Part 1, John Blake, violin; Billy Taylor, piano; Chip Jackson, bass; Winard Harper, drums. From January 10, 2001
Jeff Coffin is best known for his work with the Flecktones and the Dave Matthews Band, as well his own group, The Mu'Tet. For more on Jeff, please visit: http://www.jeffcoffin.co
To purchase: http://www.mosaicrecords.com/prodinfo.asp?number=246-MD-CD The mid fifties was a fertile time for jazz; fresh, original ensembles were taking shape all over the country. The Modern Jazz Quartet, the Dave Brubeck Quartet, The Jazz Messengers and the Ahmad Jamal Trio immediately come to mind. Among musicians, each group had its imitators and its creative disciples who took its innovations one step further. But no group in this era was as pervasive in the 1957 incarnation of Jamal’s trio with bassist Israel Crosby and drummer Vernel Fournier. Like the Nat King Cole Trio of the previous decade, its influence penetrated so many different aspects of music. Jamal is first and foremost a pianist with a natural gift for the instrument. His technique, dynamics and control are something to behold, but the mind that manipulates what comes out of the piano is extraordinary. Like only the greatest of improvising artists, Jamal is a master architect, realizing what his mind conceives with seeming ease. He certainly exercised a profound influence on pianists and his trio set a new standard for what the piano trio in jazz would aim for and achieve. His knack for finding obscure but viable material which lent itself to a jazz treatment was equal to that of Sonny Rollins and Jimmy Rowles. But when Ahmad put an overlooked tune into circulation, it often stayed in the jazz repertoire forever thereafter. And with songs like “Poinciana” and “Billy Boy,” it was Jamal’s unique and imaginative re-arrangement of the tune which would become the standard form with which to play the piece. Much like Miles Davis (who incidentally was greatly influenced by him), his influence is felt in music that attempts to replicate his and in great music that sounds nothing like his. But unlike musicians of similar or even lesser impact, the music of the 1957-62 Ahmad Jamal Trio has been mysteriously and distressingly hard to come by, even in the “reissue everything” era of the Compact Disc.
http://www.sonnyrollins.com presents "Getting It Together," episode three of the series, "Sonny Speaks." In this episode Sonny talks about his return to Jazz in 1955, when he joined Max Roach and Clifford Brown.
Pianist Denny Zeitlin explores the inside of the piano. His new Solo Piano recording is Precipice: http://www.tinyurl.com/zeitlin For more Denny, please visit: http://www.dennyzeitlin.com
Denny Zeitlin's new solo piano recording is "Precipice" on Sunnyside Records: http://tinyurl.com/zeitlin For more Denny, please visit: http://www.dennyzeitlin.com
http://www.beacontheatre.com for tickets to the concert of the decade, Sonny Rollins @80, Friday, September 10, 2010 at 8pm.
"E Pluribus Unum," is the Hal Galper Trio's Origin Records recording: http://tinyurl.com/uniquepianotrio This performance, featuring Hal Galper on piano, Jeff Johnson on bass and John Bishop on drums, was videotaped on April 2, 2010 by Bret Primack at the University of Colorado in Boulder. For more Hal Galper: http://www.halgalper.com