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 Tuesday, 31 March 2015
Interviews
Ringing Dave King: The drummer talks about his new album, “I’ve Been Ringing You” PDF Print
Written by Pamela Espeland   
Tuesday, 13 November 2012

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Dave King©John Whiting
 

Dave King played back-to-back CD release concerts at the Artists’ Quarter on Friday and Saturday (Oct. 19-20), had a tooth pulled on Sunday, and left Monday for London, the start of a nine-city European tour behind the new Bad Plus CD, Made Possible. Still, he found time on Sunday evening to talk by phone about I’ve Been Ringing You, his new album on Sunnyside.


King made Ringing You with pianist Bill Carrothers and bassist Billy Peterson. King and Carrothers have recorded together before (Shine Ball, 2007, and The Electric Bill, 2002), but King had never played a note with Peterson until the day they all convened at a Minneapolis church and laid down the new tracks.
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Bop's Boswell: Robin D.G Kelley's Thelonious Monk Biography PDF Print
Written by Maxwell Chandler   
Saturday, 31 July 2010
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Robin Kelley has written what, without any trace of hyperbole, can be called the definitive biography of Thelonious Monk (Thelonious Monk: The Life and Times of an American Original, 2009). Stripping bare the many apocryphal stories which surrounded this eccentric genius, the reader is left with a compelling and accurate account of an important original. The following interview with Kelley tells the story of the biographer as well as his subject. 

MC: When did the idea to write a book on Monk come about, and how long after you had the idea did you start? 

RK: I've loved Monk's music since my teenage years.  My step-father at the time was a jazz musician and I was pretty much a self-taught piano player.  He introduced me to Monk, and with that a life-long fascination with the man and his sound.  I never thought I'd actually write anything about him until 1995, when I came down with some mysterious virus and had to be hospitalized over a weekend.  The shock of that experience made me think about my own mortality and what I really want to do before I expire, as it were.  I had already written two books about social movements in the U.S., inspired by critical political questions I and perhaps my generation were concerned about.  But in my hospital bed I asked myself, if I had one more book to write, something for me, what would it be?  Thelonious Monk.  So the seeds of the actually book go back fifteen years. 

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Catching Up With Bill Berg, Drummer for Flim & the BB’s PDF Print
Written by Jeff Timbs   
Monday, 03 May 2010

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Bill Berg

Following is an interview conducted recently with Bill Berg, the original drummer for the Flim & the BB’s. The former bandmates (Flim Johnson, Dick Oatts, and Billy Barber) were not available for this interview. 
 

Hi Bill, so what are you working on these days? 

Bill Berg: We're all busy working musicians. I've just been so busy with my music career, actually working on both coasts, so not much free time. 

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Offering “Sounds With Love and Intention”: An Interview With Matt Wilson PDF Print
Written by Andrea Canter, Contributing Editor   
Friday, 26 March 2010

“It will swing, breath, align, collide, shout, whisper and will make you laugh, cry and be happy that you made it out to share the moment with us!” – Matt Wilson (on his upcoming gig at the Artists Quarter) 

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Matt Wilson©Andrea Canter

He is frequently at the top of critics and listener’s polls for his exploits at the trapset, and his ensembles are among the most highly regarded in modern jazz. Matt Wilson is still in his 40s but his resume and accolades read like those of a wizened jazz titan. In addition to appearances with such luminaries as Dewey Redman, Janis Siegal, Cecil McBee, Fred Hersch, Michael Brecker, Dave Liebman, Ravi Coltrane, Sheila Jordan, Lee Konitz, Rufus Reid, Joanne Brackeen, Denny Zeitlin, Myra Melford, Frank Kimbrough, Deana DeRose and Charlie Haden, Wilson’s leadership of his Quartet and Arts & Crafts ensemble have earned him many “rising star” and “drummer of the year” honors. A recent visit to the Artists’ Quarter in St. Paul with Arts & Crafts provided an opportunity to catch up with one the busiest and most prolific artists on the scene today. 
 

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Talking with Evan Christopher PDF Print
Written by Pamela Espeland   
Friday, 19 March 2010

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Evan Christopher©John Whiting

Think “clarinet” and “New Orleans” and a certain sound may come to mind: sweet, quavery, old-timey Dixieland. I once thought of the clarinet as an instrument that had seen its day in jazz, making rare appearances for color and nostalgia. And then I heard Evan Christopher play. 

During my first encounter with the Creole-style clarinetist, an impromptu set at the Dakota Jazz Club http://www.dakotacooks.com/ in Minneapolis in 2008, he stole the show from Irvin Mayfield, who usually keeps a pretty firm grasp on such things. I heard Christopher again at Chickie Wah Wah in New Orleans in March 2009, where he has a regular gig on Monday nights, and back at the Dakota in October, where he played for more than two hours to a packed house with no break. Each time I came away knowing I had heard something old and something new.  

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Craig Taborn: Back Home With “Golden Valley Is Now” PDF Print
Written by Andrea Canter, Contributing Editor   
Saturday, 13 March 2010

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Craig Taborn©Andrea Canter
The Dave King for Two Days weekend at the Walker Art Center (March 12-13) presents the percussion titan with seven projects, ranging from his decade-long associations with the Bad Plus and Happy Apple (which will combine briefly as The Bad Apple) to free improv ensemble Buffalo Collision, rock-ish band Gang Font, and two new bands, Golden Valley is Now and Dave King Trucking Company. It’s a reunion for Dave and cohorts, particularly an opportunity to play again with his Golden Valley childhood pals, Reid Anderson and Craig Taborn. Of course every time the Bad Plus comes to town, Dave and Reid are together on the band stand. More rare is the reunion with Taborn, whose infrequently active Junk Magic ensemble includes King. A veteran of tours with James Carter, Roscoe Mitchell and Tim Berne early in his career, now engaged in projects with Chris Potter’s Underground, William Parker and Gerald Cleaver, and an upcoming piano duo with Vijay Iyer, Craig returns “home” hot off a solo piano tour in Europe. It’s a welcome opportunity to catch up with one of the world’s leading voices in keyboard wizardry, and Downbeat Magazine’s 2009 Critics’ Poll top “Rising Star” on electric keyboards.

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"Slant Signature": Benny Sharoni Featuring Jim Rotondi
Written by Glenn A. Mitchell, LA Jazz Scene   

ImageWith his second CD, Slant Signature (2015, Papaya Records), saxophonist Benny Sharoni has moved the bar up a notch from his previously released Eternal Elixir (2010, Papaya), which garnered rave reviews.  Sharoni’s longtime quartet appears on the new release, with pianist Joe Barbato, bassist Todd Baker, and drummer Steve Langone, plus special guests, trumpeter Jim Rotondi and guitarist Mike Mele.  Mele also played on Sharoni’s Eternal Elixir.  Although this was Rotondi’s first time performing with the Sharoni ensemble, he sounded as if he'd been with the band for a long time.  Sharoni mentions that the bottom line is that the music moves and inspires people.  He says, “This record is 99% heart.  The band is full of heart and joy and intensity and everybody’s mission was to make the most beautiful music they could.”  

Sharoni’s home for many years has been Boston, MA, where he has spent time not only performing but also composing. Five of his original tunes are on his new CD, along with three famous classy jazz tunes -- Freddie Hubbard’s “Down Under,” Lee Morgan’s “Ceora,” and Ray Bryant’s “Tonk.”  They are all done with lots of favorable flavor. The musicians support each other to the max and everyone plays an important part in every tune. The front line, Sharoni, Rotondi, and Mele, are perfect and backed 1000% by the rhythm team of Barbato, Baker, and Langone.  


One of several jazz influences for Sharoni has always been Sonny Rollins.  His powerful tone is reminiscent of Rollins on his original "Minor City Blues." You can hear just how tight this band is by listening to Sharoni’s compositions “Subterranean Samba” and “The Bodega."  Another Sharoni original, “Bitter Drops,” has relaxed blues lines and gives way to outstanding solos from Sharoni, Mele, and Barbato.  On the title track, Sharoni's “Slant Signature,” the group performs immaculately.  It is an up-tempo and hard-driving piece.  


Slant Signature will be released on March 17, 2015. This CD will be wonderful to play and play many more times.  See Benny Sharoni’s website: http://www.bennysharoni.com

                                                                       

Reprinted with permission from L.A. Jazz Scene, March 2015       

 
George Cables, "Icons and Influences" (High Note, 2014)
Written by Glenn A. Mitchell, LA Jazz Scene   
ImagePianist George Cables has long been regarded as one of the best pianists in the Jazz world.  He has his own sound and, for me, it is easy to identify him with any of his playing.  I first heard Cables’ stellar piano playing with the late, great Dexter Gordon after Gordon’s return to USA from Europe in the 1980s.  His newest CD, Icons and Influences,  is another superb work.  Cables has picked out nine favorite jazz and standard tunes and put his own spin on them for this recording with Dezron Douglas (bass) and longtime associate, Victor Lewis (drums). Cables includes three original compositions at the beginning of this CD.  Two of the three are dedicated to the late pianists, Cedar Walton ("Cedar Walton") and Mulgrew Miller ("Farewell Mulgrew").  

The Cables’ trio makes all numbers sound very full and riveting.  There are twelve gems for excellent listening.  Some tunes include  “Little B’s Poem,” “The Very Thought of You,” “Very Early,” “The Duke,” “Isotope,” “Come Sunday,” and a Latinized number, “Mo’ Pan.”


Be sure to visit George Cables' excellent website at www.georgecables.com to see all of his amazing musical accomplishments, including this CD at www.jazzdepot.com.  I recommended this work for enjoyable listening.



Reprinted with permission from L.A. Jazz Scene, February 2015

 

 
 

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