It turns out that it was more than just a rumor that saxophonist Charles Lloyd spent some of the ’70s playing with The Beach Boys.
No one would say that Terri Lyne Carrington’s versions of Ellington’s pieces are definitive, but they extend the legendary composer’s legacy in a personal and significant way.
Vocalist Dee Dee Bridgewater’s exuberance proved contagious in this performance featuring a remarkable group of jazz all-stars under the genial direction of bassist Christian McBride.
We should look forward, eagerly, to hearing more lost, or previously issued music, from Jazzhaus. And be grateful to the European public for supporting these concerts and broadcasts.
Chucho Valdés moved almost seamlessly from African-Cuban rhythms and chants in Yoruba or Spanish to a hip modern jazz style. The latter, paradoxically, owes much to the brilliant runs and glissandi of Art Tatum, the bluesiness of Horace Silver, and the power of the left hand chords of McCoy Tyner.
In any piece, the remarkable pianist Jason Moran might go to the very edges of the harmonic movement, until he on the verge of free jazz.
Jazz musician Don Byron is nothing if not eclectic, but his own playing is always penetrating, challenging, energizing, and his compositions vehicles for both intense exploration and tenderness.
Chick Corea and Gary Burton were celebrating their recent disc, “Hot House,” which they said was meant to recall the sixties, when the two were starting their careers. But the sixties were never quite like this.
Intimacy has been the key note of bossa nova performance ever since the initial murmurings of Joao and Astrud Gilberto, and singer Eliane Elias can whisper with the best of them.
Ralph Peterson is interested in furthering a complex, post-bop legacy. His music can be hard to count: it’s also rip-roaring fun.