Kartet plays a music that opens doors to the trance states where clarity and mists commingle. Silky Way is Kartet’s seventh CD since its 1991 formation, the tight core from day one being French musicians Guillaume Orti (alto and soprano saxophones), Benoit Delbecq (piano), and Hubert Dupont (bass). In this iteration Samuel . . . → Read More: Kartet: Silky Way CD Review
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“For reasons that my fate knows best” sings Sheila Jordon as the opening seven words on Comes Love. For reasons known only to the Fates, it took sixty-one years after the recording for those words to be heard. To anyone who knows the distinct articulations of the great vocalists of the . . . → Read More: Sheila Jordan: Comes Love Lost Session 1960 François Houle has always been an artist who works with a surgeon’s precision but equally with an expansive musical palate. Recoder consists of seven through-composed works by Houle, the co-musicians being Gerry Hemingway, Mark Helias, and Gordon Grdina, and a surprise organizational quirk in the form of eight completely improvised duets. The opening . . . → Read More: Recoder: the François Houle 4 ©Laurence@Svirchev.com Introduction Cloud Arrangers: Musical Photo Impressions is Žiga Koritnik‘s book of music photography, mainly but not exclusively jazz and improvising musicians. He comes from Ljubljana, Slovenia, an ancient cross-roads of Slavic, Germanic, and Romance languages, a small slice of it nested on the western shore of the Adriatic, . . . → Read More: Žiga Koritnik’s Cloud Arrangers: Musical Photo Impressions Aquarelle is a collaboration between the Big Band RTS of Belgrade Serbia and Samuel Blaser, Swiss trombonist and composer. Blaser composed all the titles, the majority of which were arranged by Serbian band members Vladimir Nikolov and Ivan Ilić. RTS stands for “Radio Television Serbia.” The band was formed in 1948 as a . . . → Read More: Essay: Aquarelle, a CD by Big Band RTS & Samuel Blaser Photo Courtesy of Arnaud Boubet On the evening of Monday July 27, 1959, Thelonious Sphere Monk took his working quartet (Charlie Rouse, Sam Jones, Art Taylor) and guest saxophonist Barney Wilen into the Nola Penthouse Sound Studios at 111 W. 57th St., New York City. There he taped eight compositions for . . . → Read More: Thelonious Monk: Les Liaisons Dangereuses 1960 CD and Movie Review “Folk songs transcended the immediate culture” -Bob Dylan ©Laurence@Ssvirchev.com Give or take a few hundred, two thousand seven hundred years ago there was a blind man who rambled through kingdoms, mountains, and plains, probably swayed to the rhythm of waves on the Mediterranean Sea. He earned his bread, vegetable, . . . → Read More: Bob Dylan & The Nobel Prize for Literature Moderne: Georg Graewe at the 2016 TD Vancouver International Jazz Festival Rimbaud: “il faut être absoluement moderne.” Richard Feynman: “Poets do not write to be understood” from Six Easy Pieces.
Georg Graewe’s invitation to the 2016 TD Vancouver International Jazz Festival was felicitous: he had not been seen . . . → Read More: Moderne: Georg Graewe at the 2016 TD Vancouver International Jazz Festival 
At the 2010 Vancouver Festival, Eric Boeren’s 4Tet of Michael Moore (reeds), Wilbert deJoode (bass), and Han Bennink (drums) glided through an early Ornette Coleman (1930-2015) repertoire segmented into six pieces. Each piece contained multiple compositions and interpretations that made the difficult music seem as easy to execute as understanding the elegant explanation . . . → Read More: Eric Boeren: All Ellington and 4Tet at the 30th TD Vancouver International Jazz Festival 
Special Notice: Sheila Jordan and Cameron Brown in Concert on Tuesday March 3 at the Ironworks, Vancouver, sponsored by the Coastal Jazz & Blues Society: http://www.coastaljazz.ca/sheila_jordan_and_cameron_brown On August 27, 1962 a thirty-four year old Sheila Jordan stepped into Riverside’s New York Studio for the recording session of composer/pianist George Russell’s . . . → Read More: Book Review: Jazz Child, A Portrait of Sheila Jordan by Ellen Johnson |
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