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 Monday, 03 August 2015
Interviews
Interview With Candy Dulfer PDF Print
Written by Joe Montague   
Monday, 03 September 2007
Candy Dulfer © Carin Verbruggen
Many labels have been applied to the music performed by Dutch alto saxophonist Candy Dulfer, including smooth jazz and funk, but it is perhaps the superlatives that her fans use to describe her music that is most accurate, words like unbelievable, wonderful, incredible and awesome.

 

Speaking to me on the phone from the Montreux Jazz Festival in Switzerland, where she was performing, Dulfer said, “I just make albums that I like, and if smooth [jazz] radio picks it up, then it is a great thing. I never want it to be the other way around, making music that hopefully radio will pick up. I don’t think that is being true to myself. A lot of people seem to like the relaxed stuff that I do.”

Equally telling are her comments concerning the success that she experienced early in her career, at age nineteen, with the debut CD Saxuality in 1990. More than one million copies of Saxuality were sold. “My main goal wasn’t to make a video (Lily Was Here, with Dave Stewart) or a hit album. My main goal was to be a little bit famous,” she says, sounding a lot like Billy Crudup’s character, Russell Hammond, in Cameron Crowe’s movie Almost Famous.

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Tippin’ On The Edge of Funk: Interview With j.dee PDF Print
Written by Joe Montague   
Saturday, 18 August 2007

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Tippin’ On The Edge of Funk

Jazz saxophonist j.dee is one man you do not want to refer to as funky. He will also object if you say his music is smooth. So what is it with this cat from LA anyway? The sax man who is better known for his production and songwriting skills will tell you that his music is “tippin’ on the edge of funk,” and that just happens to be the name of his current CD.

“What I wanted to try and do is to be a little funkier than the mainstream smooth jazz artists are, but still be smooth jazz. I thought I would come up with a track that sounds kind of funky, with a funky melody, but still has the jazz overtones to it, that underline the little nuances that keep it in the jazz idiom,” says j.dee in talking about the title track, “Tippin’ On The Edge of Funk.”

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Interview with Rob Fried PDF Print
Written by Joe Montague   
Monday, 30 July 2007
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Wind Song
To say that jazz bassist/composer Rob Fried thinks outside the box and that his music is complex would be enormous understatements. To say that his songs on the current album Wind Song leave you feeling relaxed and immersed in their many moods would be a truer statement. Unlike so many sophisticated writers whose music is wonderful, but sometimes leaves the listener mentally and emotionally exhausted, Fried seems to have a knack for creating music that, despite pushing the envelope, provides for listening enjoyment. To this end, he in part credits the instincts of the many talented musicians who appear on the Wind Song.

During my conversation with Fried, he spoke about his ambitious multi-CD project, of which Wind Song is the first in the collection. Wind Song as the title implies Fried set out to write charts that would leave the listener with a musical representation of wind. His future projects will recreate various elements of the earth such as earth, fire, water, metal and wood, through his charts. He says, “Imagine in your mind four circles or rings and each one of them represents a style of music. One of them represents jazz, another rhythm and blues, one world music—the music of Brazil, Cuba and Africa, and the final one represents ambient or new age music. All the circles intersect. The area where they intersect is where I dwell.”

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Interview with Gretchen Parlato PDF Print
Written by Joe Montague   
Tuesday, 24 July 2007
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Gretchen Parlato

Donning a blue wig, performing a whacky improvisation of a very senior citizen awaiting her boyfriend’s arrival, the absolutely comedic woman on the youtube video is obviously blessed with talent. "Miss MacKenzie’s" performance was repeated in part last Valentine’s Day as she delighted the patrons of New York City’s Cornelia Street Café. This time she had an accomplice in a jazz artist by the name of Dave Devoe. Miss MacKenzie is the alter ego of the very talented and equally beautiful jazz vocalist Gretchen Parlato, whose ethereal vocals have caused seasoned jazz musicians and singers to marvel at her seemingly endless musical gifts.

 

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Interview with Morrie Louden PDF Print
Written by Joe Montague   
Sunday, 08 July 2007
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Morrie Louden

“To me the most amazing thing as a writer is to get a concept in your mind, have it come out through your fingers, find it on the piano, write it down, play it, have someone else hear the melody and get that same thought and same feeling that I had originally. That is the ultimate reward as a writer,” says the personable upright bassist and composer Morrie Louden.

Louden who is the proud owner of an almost three hundred year old Pietro Rogeri upright acoustic bass describes how songs often come to him, “Sometimes I will grab a piece of paper and write down notes, or I will create a manuscript piece of paper and write out the notes so I won’t forget what is in my mind. It is amazing, I don’t know where they come from, it must be God because I can be doing just about anything, and a melody will come to me. I will run to a piano to try and find it. When I do (find the melody), oh man that is just the most wonderful thing in the world, to take a sound that is in my mind, find it musically and then put it across.”

It was with this same enthusiasm and flair for the creative that Louden approached his current CD Time Piece. Reflecting upon the title track he says, “That piece got its name because it literally represents pieces of time. I was very careful in writing that piece. I wrote sections in different periods of time because I did not want to rush it or force it. I had a vision of how I wanted this whole song to lay. It tells a story and there are many stories within that piece. The whole thing is an odyssey. It wasn’t the type of piece that I sat down and wrote in a day or week. It has definitive directions and sounds. If I knew it wasn’t a good direction, or it wasn’t everything that I wanted out of the sound, I would stop, and let it sit until the right sound came to me. I just wanted it to flow.”

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Interview with Wayne Escoffery PDF Print
Written by Joe Montague   
Monday, 02 July 2007
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Wayne Escofferey © Nick Ruechel
Although his composition skills and his ability to master the tenor and soprano saxophones move him to the head of the class, Wayne Escoffery still relishes those opportunities to perform as a sideman with the ensembles of other leading musicians. It would be easy for a man with his stature in jazz music to be caught up in his own significant accomplishments, yet one never gets the impression from talking with Escofferey that he dwells on what has been, but instead spends more time thinking of ways to improve his craftsmanship.

In 1999, Escoffery moved from Boston, where he studied at the Thelonious Monk Institute at the New England Conservatory  of Music, to the Mecca of jazz music, New York City. Reflecting upon the past eight years and evaluating his career to date, he says, “I have had so many opportunities and they seem to keep coming. I am keeping my fingers crossed, because I am blessed to have some of these opportunities. I just hope to keep working more with my groups, and more as a sideman. I really think working as a sideman is important. There are still a lot of great musicians out here that I want to play with. I hope to continue doing what I am doing.”

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George and Chico Freeman/Michael Gibbs and the NDR Big Band
Written by Kevin O'Connor   

 July is rapidly becoming a month for the books. Having cleansed myself with a trip to the Rockies, I returned to the usual piles of material on my desk. Here are just a couple I couldn’t wait to devour:

 

George and Chico Freeman:  All in the Family (Southport)

ImageOnce in a while, the toils of a Music Director in a jazz station present a challenge. That is, every so often a recording comes along that simply blows me away but isn’t quite, in the parlance of the industry, a “radio friendly record.” Such is the case with an intimate new tribute album from the venerated first family of jazz in Chicago, the Freemans. The focus of this gem is on revered saxophonist Von “Vonski’  Freeman, who left us in 2012. Von was a true denizen of the City of Big Shoulders, having inspired countless players from Chicago.

 


But his sphere stretched well beyond the Midwest. Generations of players have absorbed his crafty approach to saxophone, sometimes without their knowledge.  He was also difficult to pigeonhole, so it’s only right that a musical postcard should be crafted by two of his closest relatives and sidemen:  Brother George and son Chico. In spite of, or perhaps all the better for, its intimacy, All in the Family is a challenge for the typical radio audience.  With its sweet interludes and seamless themes, this is one better left on “Continue” for your player, should you actually have one. Having said that, you’ll hear select tracks on KBEM for at least a couple of months.


Michael Gibbs and the NDR Big Band  Play a Bill Frisell Set List (Cuneiform)

ImageIt was once said by somebody, sadly not me: “Bill Frisell is a genre unto himself.” Though the guitar-brandishing fret wizard from Seattle chuckles it off, there’s rarely been a more apt description of a musician.  Frisell is a celebrated change-aholic, but not in the conspicuous ways of many of his peers.  With each recording, he explores new and strange visions. He’s never been above resorting to great gadgetry -- tape-loops, turntables, electronics. But he’s also disarmingly organic and as pure a jazz player as it gets, when the mood suits him.


This time, it’s not Frisell at the helm but NDR bandleader Michael Gibbs. Bill does appear on every track of this set list, which as the title betrays, is a live stab at the best and oddest of Bill’s pieces and his known renditions of other composers: “Benny’s Bugle” and “You’ve Got to Hide Your Love Away.”  This hits the airwaves this week.  

 
Robert Glasper: “Covered” (2015, Blue Note)
Written by Kevin O'Connor   

ImagePianist Robert Glasper is that all-too rare jazz musician who manages to reel in a respectable and growing crowd of jazz fans. More significantly perhaps, he also resonates with the hip hop and electronica crowd, particularly the ones who like a little substance and grit in their pop. There’s barely anything in the way of new composition on Covered, hence the title. The glaring exception is “Got Over.” Glasper  shares writing credits with no less than Harry Belafonte, who also appears on the track. The other original clocks in at thirteen minutes: “In Case You Forgot.”  It’s an opus unlike any he’s recorded to date. He also joins the ranks of pianists like Brad Mehldau in showing reverence for Radiohead, Joni Mitchell and other pop noteworthies.  

 
 

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