Steve Elman
Each of these four projects requires deep attention from a listener. Only two of them repay that attention with the musical rewards that bring a listener (this listener, at least) back for rehearings.
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A belated appreciation of one of 2023’s most interesting releases – this Grammy-winning “compendium” may not be a strongly unified work, but its individual parts are eloquent residents of the Place Between classical and jazz.
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Here is music of depth, music to hear and to think about in a Time of Troubles. But who will play it again? Who will listen? And who will buy?
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How well or how poorly are we paying homage to our jazz ancestors? Some graves are worthy places of pilgrimage. Others are neglected . . . or unknown.
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Zev Feldman is becoming one of the great sleuth-producers of our time, and his name is becoming a marker of quality.
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These four sets are among five new collections of previously-unreleased music that provide crisp snapshots of renowned jazz performers in the second half of the twentieth century and precious documents of great originals in their prime.
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Moppa Elliott is an important jazz composer and a dynamic leader. When he brings a group to our area (which happens only rarely), do not miss the gig. When he issues a new recording, pay attention.
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Moppa Elliott makes eminently approachable music at a very high standard, with great ingenuity and sophistication. He has proven himself to be one of the most inventive and creative composers for small jazz ensemble since Charles Mingus.
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A new release from Abdullah Ibrahim adds almost 100 minutes to a legacy of paramount importance to jazz, to world music, and to our understanding of a life lived in art.
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Jazz Remembrance: David Sanborn, Way Beyond Smooth
He was lucky to be so well-rewarded for doing what he loved to do, and we were always lucky to hear him.
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