Steve Elman
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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This is a story about jazz that we only think we know: the book challenges our preconceptions with admirable restraint, and generously invites others to build on its work.
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It is something of a miracle that we can still hear Sheila Jordan and Ran Blake in live performance, and those experiences should be treasured by their audiences because those opportunities are so precious.
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Two upcoming releases of restored radio broadcasts offer so much good listening and so much deeply satisfying jazz that they deserve to share the spotlight. One of them is destined to be seen as a landmark document in jazz history.
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The late Robert Brustein’s shadow is long. But his legacy is problematic.
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Carla Bley was an original. We will never see her like again. It is a great blessing that she left so much music.
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These projects are more conventionally jazzish in their sounds than the four in the companion post, but that does not make their ambitions less worthwhile or less adventurous.
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Four recent releases illustrate what can happen when the only limits are the imagination of the composer and the passion of the performers.
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Here are some recommendations of concerts with hybrid works coming to the Boston area in the months ahead.
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Jazz Album Review: Abdullah Ibrahim’s “3” – Meditations on a Legacy
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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