Is there time to explore and reflect on musical beauty in the frenetic pace of modern life? It’s a question vocalist Anne Walsh asks on her latest CD “Go,” which was released September 27th on AtoZink Music. “The title sums up my wish to move forward as an artist, and strike out into areas of the musical art-form that I haven’t had the opportunity to explore in the past.” Walsh and husband Tom Zink created this memorable musical journey as the follow up to their previous project “Pretty World,” which earned a Grammy nomination for the arrangement of “In The Still Of The Night.”
Rick Stone's Fractals is an excellent hard bop recording. For this release, the guitarist is joined by his live band featuring Marco Panascia on bass and Tom Pollard on drums. The warm sensitivity these players show each other, undoubtedly perfected through countless hours of playing together, provides the perfect context for Stone's fluid solos. The guitarist's tone is truly gorgeous. It is rich, full and despite its well-rounded low end, always clear. Stone's tone and articulation are so inviting that even the most complex harmonic ideas never alienate the listener. The phrasing is sometimes reminiscent of Jim Hall (a compliment for any guitarist), but Rick Stone has his own sound as well.
Nice Talk is the title of the intriguing debut from the jazz trio that goes by the moniker of The Hot @ Nights. Three piece jazz combos are not highly unusual, but the curious instrumental combination utilized by The Hot @ Nights is an unusual blend.
Dear jazzreview music community - Just this August my debut, 'Cycles Of Fusion' was released. The music style blends elements of jazz, rock, blues, and funk into groove-based compositions featuring retro/vintage keyboards & atmospheric soundscapes over loop/sample-based rhythm section arrangements. I have made the track "Eternal Boundaries" available here for free download. Hope you'll enjoy it.
Although she didn’t play Newport or London, multiplatinum chanteuse Basia delighted American audiences from coast to coast during a successful 20-city concert tour that concluded in Seattle last week (October 5) with a sold-out show in support of her newly released From Newport to London: Greatest Hits Live…And More album. The month-long trek that visited major U.S. cities also registered sell-outs in New York City, Chicago, San Francisco, Atlanta, Las Vegas, Minneapolis, Sacramento and San Juan Capistrano.
A contemporary jazz giant whose power and passion have made the soulful saxophonist into one of the genre’s most consistent chart-toppers in the 25 years since he released his solo debut, Richard Elliot salutes the instrumental jazz-funk legends from his formative years in the 1970s & 80s that influenced his brand of music on In The Zone, which was released today by Artistry Music (Mack Avenue Records). Elliot wrote and produced his 16th solo album with fusion pioneer Jeff Lorber.
John Colianni is a gifted pianist with a strong interest in swing and early bebop. Jazz is a very historically conscious genre, even as it is always moving forward. Still, even among the most historically minded contingent of modern jazz, Colianni sounds positively old-fashioned. The pianist keeps one foot squarely in a 1940s swing aesthetic, and, by the sheer joy of his playing, he obviously deeply loves the music he is drawing from. That said, one is not likely to confuse this recording with a swing recording from the 1940s. Colianni has a modern flair that is apparent both in his harmonically complex solos and his occasionally involved compositions. Even at its most complicated though, this music is always swinging, and swinging easy at that.
Rick Braun, in October 2011 issue of JazzTimes magazine, admitted what those who are in the smooth jazz business end have known for a while, notably the demise of commercial radio and its commercial music business. He admits the good side of this is that, “there’s no pressure on the artists to come up with radio-play hits anymore.” With both of the above facts now in play, there has been a mad scramble going on among record companies and artists.
Firmly rooted in the sort of challenging post-bop, pre-free modern jazz epitomized by the pre-electric Miles Davis Quintet of the mid-1960s, and – perhaps – the early 70s ECM sound, the music of Nordic Connect is nonetheless quite un-stodgy and rich in interesting 21st Century influences and flavors. The compositions largely, written by pianist Maggi Olin (though Ingrid Jensen, Christine Jensen and Jon Wikan each chip in some), at times, recall some of the mid-to-late 60s and early 70s Blue Note recordings by Wayne Shorter and Herbie Hancock, as they branched out from Miles' musical orbit. As in Miles' and Shorter's music, a key feature of “Spirals” is the blurring of lines between the front line and the rhythm section. There's also a playfully relaxed, experimental spirit here that you won't hear on a lot of today's modern jazz recordings. A cooperative project involving musicians who are either from Scandinavia, or have Scandinavian ancestry, Nordic Connect also adds ethnic flavors from entirely different settings to create sophisticated, intriguing music that is completely contemporary.