his Meets That is as guitarist John Scofield describes, “real jazz music,” and he’s not exaggerating. With so many albums being tagged with some variation of the jazz label (acid, free, smooth), it is refreshing to hear an album that recalls the classic jazz greats: Miles Davis, Charles Mingus, and Chet Baker.
On their third studio album, Mr. Patterson’s Hat (the title is a tribute to a local auto mechanic who haunts the local bars and music venues), Papa Grows Funk mostly does it right, displaying great respect for the musical traditions of the Crescent City, from funk to blues to R&B to jazz and beyond.
For No Place Like Soul, Soulive not only changed record companies, but the band’s approach to creating music went under complete renovation.
Jacob Fred are on top of their game, a group that just keeps developing into new, refreshing directions while always paying tribute to the jazz masters. Fittingly Hass reminded the audience near the end of the set to remember to, “listen to a little jazz everyday.”
The latest album from the now-quartet—soul/reggae vocalist Toussaint joins the trio of Eric Krasno (guitar), Alan Evans (drums) and Neal Evans (keys)—No Place Like Soul, the first recorded with a vocalist since, is a fitting launching pad for the new Stax. Over the course of 13 new tracks, Soulive delivers the goods with typical style and attitude, expanding on their vigorous instrumentals with deeper harmonies and tighter song structures.
Mago is not about MMW minus the W, it is a chance for two old friends to try on some different hats, as they provide a tasty treat until the next Medeski, Martin, & Wood album.
With the mixing of their new album set to begin in July, JFJO will play select U.S. East Coast dates in June including the Saratoga Freihofer’s and Burlington Discover jazz
Grammy Award-winning bassist Christian McBride returns to The Village Vanguard the week of Tuesday, June 26th through Sunday, July 1st for his first shows as a leader at the legendary New
Over two years in the making, Waiting Room serves as the end-piece to career of Addison Groove Project, who after years of uncertainness due to the death of bassist John Hall and the decision of guitarist/ singer Brendan McGinn to attend medical school, finally decided to part ways.
As always, Benevento ranged across the keys, exploring melodies, harmonies and healthy doses of dissonance with equal skill and abandon. In the middle, Mathis anchored the sound, keeping the pace as Benevento and Dillon jockeyed for position. A consummate bass player and musician, Mathis served as the glue for the shape-shifting drums and keys.
