Lee Prosser

Lee Prosser

Jazz purists say none can compare to the legendary jazz performers like Charlie Parker, Stan Getz, Chet Baker or Miles Davis. They were musicians who lived and breathed the art form, but one must admit, jazz exists through musicians who performed it in the past and those who perform it now. Transcending the new breed of jazz musicians, some stand apart from the jazz-based music that today might be labeled "smooth jazz" which is anything but jazz in its purist form. One such artist is jazz trumpe
On December 30th I went to catch the performance by Richard Elliot and his band at The Rave, in Milwaukee, Wisconsin. I've seen Richard perform live many times since the late eighties in many different venues, including several times in the Avalon Ballroom in Catalina. He's always great and I thoroughly enjoy his performances, but this time he was perhaps the most outstanding of all.

The energy which Richard brings to the stage makes me wonder about the term "smooth jazz". It certainly doesn'

The best recordings of Duke Ellington's music can be listened to again and again, because his works are not decorations of a familiar shape but a new arrangements of shapes.

Ellington, in fact, is an authentic composer, the first jazz composer of distinction and the first black composer of distinction.

His work apart from a few minor details is not left to caprice the ear of the instrumentalist; it is written out in full score. Though in the course of time variants may creep in, th

The Sugar Village Jazz Club, Meldert, Hoegaarden, Belgium outdid themselves in presenting another terrific jazz performance. Belgium's best kept secret, The Sugar Village Jazz Club has provided twelve years of some of the best known jazz artists for the Province Vlaams Brabant. Only three-to-four performances are held throughout the year; so jazz connoisseurs keep close watch for upcoming events as they are always outstanding. The atmosphere is warm and friendly and there isn't a bad seat in

Though less spectacular than the other events of the JVC-NY the solo piano recitals held each year..... are a source of joy. These concerts start very precisely on time and are made to end similarly on the dot at the end of 60 minutes....While jazz audiences welcome starting things on time to terminate the music when everything is groovy and both artist and audience are willing, such military rigidity is most disconcerting. I remember Hilton Ruiz had to be almost physically removed at one of the

The Andy Bey Quartet

Published in Concert Reviews
In a world where the term 'jazz singer' has been usurped by a generation of Quiet Storm R&B crooners and cabaret hangers on, the rare chance to be in the presence of true greatness is rare. So the opportunity to see Andy Bey in one of his (tragically) rare live appearances was all the more gratifying.

Though the increasing notoriety that his brilliant albums bring is rendering the labeling of Bey as an 'unsung' master obsolete, the juxtaposition of his monumental gifts and what could be calle


Pharoah Sanders Live

Published in Concert Reviews
John Coltrane met Pharoah Sanders in 1964, shortly after Coltrane released "A Love Supreme" and "Crescent". Those two albums signaled the end of one Coltrane's hard bop phase and the beginning of the free jazz experimentalism that would mark the rest of Coltrane's career. During Coltrane's last years he was enamored with other saxophonists; Sanders had a blustery growl of a tone that floored Coltrane, but moreover, a beautiful grasp of melody that would serve him well long after Coltrane passed
Years from now, when the work of Cassandra Wilson is discussed among jazz fans, scholars, and critics, two albums will stand out among her canon. The first, "Blue Light 'Til Dawn", her debut on Blue Note, was a breakthrough for the singer. After a tenure at Verve Records that found Wilson drifting further from the experimental jazz-funk of the seminal M-Base collective and sounding increasingly like a Betty Carter clone, producer Craig Street stressed spartan instrumentation, moody arrangements,
An assemblage of quintessential musicianship performed before me last night at a concert in Amherst, Ma. The quintet was Alan Silva on bass (a rarity for him), Marshall Allen on alto sax, Hamid Drake on drums, Kidd Jordan on tenor sax and William Parker also on bass.

Silva began the one set gig with a long introduction playing a lilting rhythmic line, sometimes strumming the strings like he would a guitar, setting the theme, stating the pace. The other players listened. Each one had his eyes

I have been thinking for quite a while since last Wednesday night’s concert at FLYWHEEL in Easthampton, Ma. how to arrive at the words to describe the intriguing music I heard.

There were essentially distinct definable spaces in front of me in which each of the four musicians created their own place to produce their musical lines. Matt Weston’s more than complete drum set was in the back left corner of the platform. Le Quan Ninh’s large bass drum was on the right of the platform, an array of