I did want to use this CD as a springboard to engage with the question of how using material of a certain age tends to pre-select — and limit — listenership.
Despite the fact that clarinet (and occasional sax) player Pee Wee Russell was one of the most distinctive voices in jazz history, his name remains unknown outside of infra jazz circles.
This album does an excellent job of recapturing some of the glory of the original Miles Davis recordings.
Far more people would recognize Chet Baker’s name than Jack Sheldon’s — and that is unfortunate.
Rarely does a book leave me questioning the ways in which I understood, or thought I understood, the construction of some of the most formative solos in jazz history.
When it comes to jazz, you can be pretty confident that when you put excellent players together — whether they know each other or not — something very good will happen. And it did.
Whom can we thank at the Boston Symphony Orchestra for choosing James Carter to be the featured saxophone soloist in March 23’s concert at Symphony Hall?
The disc is manna for lovers of assertive electric guitar, played by one of today’s top practitioners, in an unadorned trio setting.
Trumpeter Jason Palmer’s mastery is of the unimposing kind, which this piano-less quartet seamlessly reflects.
Smartly, Vanessa Ruben has gathered a strong group of collaborators, a number of whom knew Tadd Dameron personally and all of whom knew his music well.