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FEATURED INTERVIEWS

  • Born in Dallas, Texas and now happily domiciled in Los Angeles, bass player Edwin Livingston could be described as being on the crest of a wave.  His CD 'Transitions' was released in late 2010 and when recently I caught up…
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  •  New Orleans trumpeter Nicholas Payton has never conformed to anyone or anything. Reading his Facebook posts and Twitter “tweets”, you sort of get an idea about how un-traditional he is. He speaks his mind and, should someone attempt to challenge…
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  • Kem Owens
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    Adekemi Owens, known professionally and affectionately to music fans as "Kem," has come a long way from Nashville, Tennessee to his current hometown of Detroit, Michigan. So, one figures that is why this musical genius has written and performed songs…
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  • Law school creates more than a few challenges. There are hours upon hours of studying, grueling hours interning at law firms, and financial bills that need to find a way to get paid. For many law students the adversity is…
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Lyn Horton

Lyn Horton

The Amherst Unitarian Meetinghouse was literally packed for the first concert of a seven venue tour, mastered by Michael Ehlers, of the Peter Brötzmann Trio which included, of course, Brötzmann on tenor and taragato and the pinnacle of rhythm sections, William Parker on bass and Hamid Drake on drums.

The trio played two sets. The texture was outstandingly similar in both. Rapidity, energy, constancy, measurable devotion pervaded the music. The Brötzmann fire persisted, but the fire at this

The last of the Magic Triangle Series for its 14th year took place at its old home, Bezanson Recital Hall, at UMass Amherst, Massachusetts on Friday, April 11. The performance - David Murray and the Gwo-Ka Masters: a seven man band for this session made up of Hamid Drake on drumset, Klod Kiavue on Ka drum, Philippe Makaia, also on Ka drum, Hugh Ragin on trumpet, Jaribu Shahid on electric & acoustic bass, Herve Samb on guitar and David Murray on tenor & bass clarinet.

A charge emanated from on

Tucked away in the very depths of original Kingston, NY, is the Uptown Gathering Place. Not only is it a gathering place, but it is also a performance venue. And on March 15, 2003, Joe Giardullo’s Shadow & Light Band completed its tour of the Northeast.

The Shadow & Light Band rose coincidentally out of the tragedy of September 11. Their recording on that date served to demonstrate the buoyancy that art-making can offer---- resilience, although reeling, to events which have ramifications beyo

The initial 2003 concert of the Magic Triangle Concert Series took place on February 27, 2003, at the Helen Hills Chapel at Smith College, Northampton, Massachusetts. And an appropriate site it was for a star-studded performance by Alan Silva’s Celestrial Communication Orchestra in an American continuation of its rebirth in Switzerland in 2001.

The orchestra was packed into the fairly large platform area of the choir space of the chapel. The orchestra was arranged symmetrically with the rhyth

At the Vermont Jazz Center in Brattleboro, VT, Myra Melford in her Be Bread quartet performed a well-designed program. The performance mirrored her attention to detail, her adherence to a certain amount of structure and her sources of inspiration.

I have known about Myra Melford for years through her recordings and never in my wildest dreams expected to see her play. Her music is wonderfully melodic. The combination of instruments could not have been more appropriate. Cuong Vu played tru
On Feb. 5, at the Iron Horse, in Northampton, Massachusetts, Lee Konitz, in his trio comprised of Matt Wilson on drums and Dennis Irwin on bass, performed an extended 2 sets: two hours of beautifully basic continuity.

As the trio arrived, slowly the instruments crept up on the platform: Wilson’s drums came first-- set up to the right. Then all the speakers at the front of the stage disappeared. Then the bass arrived and was placed on the left. Even further left of the bass and a little c
For the closing concert of the season of the Boston Creative Music Alliance, at the Institute of Contemporary Art, Joe McPhee and Trio X performed two sets. The members of the Trio are Joe McPhee on brass and reeds, Dominic Duval on electrified string bass and Jay Rosen on drums and percussion.

The Trio began with a blast of abstract sound larger and more aggressive than can be imagined coming from three musicians. McPhee had his tenor; he stood in the middle of the slick black stage. Du
On last Monday night, at the Iron Horse Music Hall in Northampton, MA, Branford Marsalis performed with his quartet: Jeff "Tain" Watts on drums, Eric Revis on bass and Joey Calderazzo on piano. Marsalis played both the soprano and tenor saxes.

It is not surprising that the hall was packed to hear this quartet. The Marsalis name is almost like a magnet to listeners. I attended because I wanted to hear Branford, whom I believe has an edge to his playing that puts him in a category other th
29.01.2011

The Greatest Groove

Published in Concert Reviews
On Saturday, the 14th of September, The Fire in the Valley Festival in collaboration with the Boston Creative Music Alliance moved to the Institute of Contemporary Art Theater venue where over a dozen musicians collected in five groups took to the stage to perform from their hearts, their minds, their souls.

I must have taken 50 pages of notes, sequenced with arrows & lines & drawings & words intended to coalesce my experience of six hours of music so that I could write a coherent, truth
29.01.2011

Hearing Voices

Published in Concert Reviews
Drummer Ben Karetnick artfully drew together a quartet of seemingly out of balance proportions: the members of the group could be described with a graph that measured hyperbolic waves of maturity and experience of each individual. Joe McPhee played tenor & soprano saxes and pocket trumpet; Cliff White, a player from the Western Massachusetts area, was on alto & tenor; Joe Fonda, who has worked with Anthony Braxton among numerous other musicians, was on amplified double bass, and Karetnick, also