Lee Prosser

Lee Prosser

In the seventies, prior to the "World Music" explosion of the nineties, Brit fusion guitar god John McLaughlin teamed with a trio of Indian musicians to form Shakti in an attempt to make a jazz noise of the music of the Indian sub-continent. The joy of this particular cross-cultural union of musical souls was that McLaughlin and company - violinist L. Shankar and percussionists Zakir Hussain and Vinayakram didn’t seem to give a damn what genre they were tossed into, just as long as they could we
I may never understand the power that creative improvised music but its existence is undeniable. Leading up to a concert by Jemeel Moondoc and William Parker I was not having a good day. It wasn't that everything was going wrong so much as nothing seemed to be going right. I was rushing around all day without much purpose or focus. The concert was set to begin at 8 p.m. and by 7 p.m. I was seriously considering the possibility of not going. Yes I had been looking forward to the concert for a cou
The theater was crowded, packed with a healthy cross-section of humanity. Jazz-heads old & young, many folks Indian or Indian-American, fans of Indian music, well-dressed fusion fans, musical eclectics of all ages, skin hues & economic status-all have come to see/hear what legendary jazz guitarist John McLaughlin had up his sleeve that night, and/or to hear McLaughlin "revisit" a previous musical context: Shakti.

Shakti was a group of McLaughlin's in the mid-to-late 70s. He'd moved away somew

Hold onto your hat jazz fans, San Francisco is quickly becoming one of the hottest jazz scenes in the country thanks to high-profile jazz concerts and festivals, films, educational events and first-class jazz clubs that offer some of the world’s most outstanding jazz performances. San Francisco is not only a beautiful city, but for the diehard jazz enthusiast, a visit promises a whirlwind of venues and activities to make your heart go pitty-pat.

Thanks to serious jazz devotees like Randa
Codifying the performance of improvised music into another language as I am doing here is a very difficult task- - one that requires removing all, sometimes unknowable, obstacles especially of cliche-ridden descriptions that do not respect the creative nature of what was heard. In the long run, I do hope that I honor with words the music I hear. And induce those who read the words to find the music.

The concluding night of the Conway New Music Society’s Fifth Anniversary Concert Series reache

At 3 pm on Saturday, Oct. 21st, Michael Ehlers introduced the first performer of the afternoon who had appeared in the first Meetinghouse Music Festival in 1995. The performer was Lawrence Cook.

Cook played a drum solo in four movements. The structure of the first part was measured. He would place rests among the sounds that rose from the cymbals, the snare and the toms. He gave a character to each instrument while sustaining a steadiness that became similar to the hum of a sewing machine. Hi

This past weekend of October 20 & 21, Michael Ehlers designed a musical explosion of a birthday party for the 5 year-old Conway New Music Society in Amherst, Ma. As is Ehler’s forte, he never fails to bring many times, new, and always outstanding musicians to the Meetinghouse arena.

There were three major sets to the weekend. The first began on Friday night with the folk/blues performance of Mike Cooper from England followed by the drum and saxophone duet of Donald Robinson and Joe McPhee.

It was a rainy first day of autumn and Milwaukee native Bunky Green was back in Chicago for a week at Joe Segal's Jazz Showcase. Physically fit, Bunky blows as though he is competing in an Olympic event. His athletic prowess is matched by a sympathetic understanding of the jazz encyclopedia. Playing many familiar standards, he made each one fresh and new with twists and turns from his alto that would make even Bird raise an eyebrow.

The band was composed of Stu Katz on piano and vibes, Larry

Bernie Kaplan, a famous entertainment lawyer in London used to tell people that Dave Frishberg’s "My Attorney, Bernie" was written for him. When Kaplan died, they played the sardonic little tune at his funeral, and someone later remarked to the composer, "It’s too bad about Bernie, isn’t it?"

But Dave Frishberg just thought it was a nice, silly little rhyme, and had never met Kaplan. We learned all this on September 7th at the Jazz Spot, where Frishberg played to a house full of fans. The eve

I was lucky enough to catch Stanley Turrentine in Seattle last month at one of his last performance gigs. He played the week of August 17th at the Jazz Alley, a great club off 5th Street and home to many star players. The band began with a short number to introduce themselves-Larry Fuller on piano, Dave Streicher on guitar, Paul Thompson on bass, and Lenny Robinson on drums-before the sax legend joined them onstage.

What makes Turrentine a legend? Perhaps it's his mastery of the subtone-the s

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