KENNY BURRELL – “TENDERLY” (Live solo recording by one of the greats).
I'm amazed that Kenny doesn't have some sort of bigger web presence. Or any press / information on this release out.
JazzDepot (HighNote Records): Beginning with his recording debut with Dizzy Gillespie on "Tin Tin Deo" and "Birk's Works" guitar master Kenny Burrell has recorded well over 100 records as a leader and countless more as a sideman with the likes of Oscar Peterson, John Coltrane, Frank Foster, Kenny Clarke and others. Recorded live in concert, "Tenderly" features Kenny alone on stage in a solo guitar recital with an array of instruments from which he selects to suit his concept of the music at hand. Whether he is swinging on a blues, caressing a ballad out of his six strings or stringing together garlands of songs into leisurely medleys, Kenny Burrell remains one of the most popular and respected guitarists in the history of jazz.
JAMES CARTER ORGAN TRIO – “AT THE CROSSROADS” (Saxophonist, in straight-ahead,
somewhat edgy groove, with some vocal tracks).
AllAboutJazz.com (Brent Black): these two mighty forces, Carter leaves the labeling of this release to the listener. After the groundbreaking fusion of European classical with jazz improvisation and Afro-Caribbean rhythms on Caribbean Rhapsody (EmArcy, 2011), Carter continues to defy standard categorization while focusing on a more roots-oriented release that may well be a look at his hybrid musical soul.
At The Crossroads finds
Carter organic and raw yet razor sharp, with a defined focus and passion
that not only makes it a noteworthy release, it may well raise the bar
for jazz overall.
- You can hear a preview of "40" on Joey's Home Page
originals from the saxophonist/vibes leaders).
SaxShed: Ken Fowser has entered a world of jazz riddled with well-trained, technically proficient and creative tenor saxophonists. Somehow his sweet sound is his own, never sounding like anyone but himself. He and Behn Gillece have surrounded themselves with a cohesive ensemble of like-minded musicians who can make their case within only a few, well constructed choruses.
DANNY FOX TRIO (FB)– “THE ONE CONSTANT” (Piano trio, with a lot of edgy moments.
Good, but not suitable for mornings).
JazzWrap (Vern): The One Constant is an excellent debut from an American trio with bold, expressive ideas. The Danny Fox Trio might be one of those under-the-radar groups that you better get to know quickly because we may be talking about them for a long time to come.
MARK HARRISON QUINTET (FB, – “JUST ADD WATER” (Keyboardist, leading a contemporary
session of originals).
Music Life: Mark’s goals for the Quintet and for their latest CD are very simple. “I want to chart our own territory in the jazz world, by creating substantive and interesting music that is accessible to the ear of the listener”, says Mark, “I’m thrilled when people come to our shows who are not diehard jazz fans, and yet they still feel our grooves and hum our tunes when they leave”.
GRACE KELLY (FB, @GraceKellyJazz)– “GRACE” (Saxophonist, doing Jazz versions of religious tunes).
MARY LOUISE KNUTSON – “IN THE BUBBLE” (Pianist, leading a trio, in straight-ahead
standards and originals).
Jazz Police (Andrea Canter): It all flows so easily that it is hard to imagine the sweat and frustration that challenged Mary Louise as she wrote the music for this project. “During the months I spent composing and arranging, there were times where my creative well seemed bone dry,” she admits. “I couldn’t come up with any satisfying ideas for tunes or even ideas that would develop or complete tunes. That was very frustrating and frankly, a bit depressing. I just had to show up everyday and try to compose something and trust that eventually the inspiration would be there...and luckily it was.”
ALAN LEATHERMAN (FB, @Alan_Leatherman)– “DETOUR AHEAD” (Male vocalist, doing Jazz tunes and the Great
American Songbook).
CURTIS MacDONALD – “COMMUNITY IMMUNITY” (Saxophonist, doing edgy originals).
AllAboutJazz.com (Dan Bilawsky): While Macdonald graciously shares space with his band mates and guests, it's his own unique voice that really defines his work. His saxophone can be a beacon of clarity ("Community Immunity") or a bird of prey ("Second Guessing"), depending on his mood, but his ideas are always intriguing. With Community Immunity, Curtis Macdonald establishes himself as one who stands apart from the rest but, with a such a unique musical statement, he just might be embraced by the jazz community at large...if such a thing exists.
DAVID MURRAY CUBAN ENSEMBLE – “NAT KING COLE EN ESPANOL” (Latin big band
grooves to Nat’s tunes, with 4 vocal tracks).
ANTHONY E. NELSON, JR. (FB)– “TENOR FOR TWO” (Saxophonist, leading a quartet, with a
straight-ahead mix of standards and originals).
CDBaby: Nelson’s sound is distinctive, developed, pure and soulful. At his age of thirty-three this is a real achievement. Though he plays other saxophones, when asked, why he chose to play tenor only he explained, “tenor saxophone is my main instrument, the one I feel the most comfortable with.”
SEAN NOWELL (@NowellSounds)– “STOCKHOLM SWINGIN’” (Saxophonist, leading a quintet, doing a mix of
jazz tunes and originals).
JazzWrap: With Stockholm Swingin' you get the feeling if you've been listening to Sean Nowell for awhile and that he really let the wheels off the wagon and just went for it this time. This is a live session that works on many levels. It's perfect for many traditionalists and a nice opening for new fans. This is the sound of modern standard jazz. It is good for all. Enjoy...
PILC-MOUTIN-HOENIG – “THREEDOM” (Edgy piano trio, doing a mix of standards and
improvisations).
@CriticalJazz: This is not jazz that you embrace. This is jazz that embraces you. If you listen.
JEN SHYU (FB) & MARK DRESSER – “SYNASTRY” (Progressive vocal/bass duo recording).
PopMatters (John Garratt): As for the remainder of the album, it’s not really fair to say these two
are disconnected. In fact, it’s hard to make that call at all since
these lighter-than-air vignettes don’t convey any special telepathy. And
it doesn’t help that Jen Shyu is constructing her songs while her head
is in academic la-la land. So many of her texts come from obscure
origins, ones that destroy any chance you would have for diving into and
surrendering unto the music.
AllAboutJAzz.com (Tim Niland): the real focus of the music is the blending of their particular voices, weaving and blending the hues and colors of sound and occasionally dancing around each other in a hypnotic and unique arrangement that is uniquely improvisatory but calling forth other music from around the world and across time. While this album can be quite a challenging listen, the two musicians represented here are truly trying to break new ground, and ask people to re-think the nature of jazz and improvised music in general.
JEREMY UDDEN’S PLAINVILLE – “IF THE PAST SEEMS SO BRIGHT” (Very eclectic and
edgy mix of sounds from this saxophonist).
AllAboutJazz.com (Troy Collins): Overblown jazz fusion clichés are largely a thing of the past among younger performers like Udden, who have come of age exposed to a diverse array of genres and aesthetic approaches; Plainville is a prime example of how once seemingly disparate styles can inspire subtly tasteful new hybrids. If the Past Seems So Bright enhances sophisticated jazz structures with the emotional candor of contemporary roots music, expanding the possibilities of both traditions in the process.
WELLSTONE CONSPIRACY – “HUMBLE ORIGINS” (Great quartet recording, with all band
originals except for one Beatles’ tune).
Origin Records: Now in their 6th year of performing together, the collective of saxophonist Brent Jensen, pianist Bill Anschell, bassist Jeff Johnson, and drummer John Bishop continue to display their richly empathetic approach to melody and rhythm as they explore a new set of originals on their third recording together. From Jensen's swinging tribute to mentor, Lee Konitz, "All of Lee," to Bill Anschell's completely original take of the Beatle's "Fixing a Hole," the group allows the music to flow, unhurried and displaying a patient rapport that reveals moments worthy of many repeated listens.
YOTAM – “BRASIL” (Guitarist, leading a variety of band configurations, doing great Jazz
versions of the Great Brazilian Songbook).
JEREMY UDDEN’S PLAINVILLE – “IF THE PAST SEEMS SO BRIGHT” (Very eclectic and
edgy mix of sounds from this saxophonist).
AllAboutJazz.com (Troy Collins): Overblown jazz fusion clichés are largely a thing of the past among younger performers like Udden, who have come of age exposed to a diverse array of genres and aesthetic approaches; Plainville is a prime example of how once seemingly disparate styles can inspire subtly tasteful new hybrids. If the Past Seems So Bright enhances sophisticated jazz structures with the emotional candor of contemporary roots music, expanding the possibilities of both traditions in the process.
WELLSTONE CONSPIRACY – “HUMBLE ORIGINS” (Great quartet recording, with all band
originals except for one Beatles’ tune).
Origin Records: Now in their 6th year of performing together, the collective of saxophonist Brent Jensen, pianist Bill Anschell, bassist Jeff Johnson, and drummer John Bishop continue to display their richly empathetic approach to melody and rhythm as they explore a new set of originals on their third recording together. From Jensen's swinging tribute to mentor, Lee Konitz, "All of Lee," to Bill Anschell's completely original take of the Beatle's "Fixing a Hole," the group allows the music to flow, unhurried and displaying a patient rapport that reveals moments worthy of many repeated listens.
YOTAM – “BRASIL” (Guitarist, leading a variety of band configurations, doing great Jazz
versions of the Great Brazilian Songbook).
