03.02.10

. Moses proposed ideas for saxophonists Strickland, Ommudra Thomas Arabia, Chip Videen, Luis Rosa and Petr Cancura , violinist Andrei Matorin, bassist Justin Purtill and trumpeter Nicole Rampersaud yet asked that accessible expression be the guiding force.

The music travels advance, uninhibited, in a straight line. Moses' drumming lays down a tense even-handed support in its constancy, particularly evident in the three "Mist" pieces. His stick work is nearly unbreakable, construction a resilient wall of sound to which the other players respond, forming multi-voiced crystal clear layers, investing the music not only with timbral detail, but also breath and time.

The mild introductory rampage that Moses fires up on piano and hi-hat for "Pollack Springs" unlocks the way out for the band to follow in a cacophonous symphony. As melodic or synchronous as the music can be at any sense, it always opens wide, clearly continuing within signature Moses susceptiveness. Memorable passages from trumpet, violin or bass clarinet attach the multiplicity of threads the instruments create. The music speaks of nothing but joy and fete. In the last cut, "A Pure and Simple Being," utilizing rattles, cymbal sibilance and his vote, Moses provides the center around which alto saxophone sings an elegantly phrased commotion. This piece becomes the core message of the recording—honoring both Moses' deceased primogenitor and blossoming son, corralling all three generations into one.

Source: All About Jazz

03.02.10

In Los Angeles from New York, Saxophonist Dave Liebman will work Live February 5th 8pm - midnight at Vitello's Jazz & Supper Alliance 4349 Tujunga Ave Studio City, CA 91604 with visitor appearance by Bob Sheppard on Sax and reeds. This stellar band “Rocks" with John Beasley on piano, Darek Oles playing bass and Joe La Barbera on drums.

David Liebman is considered a resurgence man in contemporary music with a career stretching over forty years. He has played with many of the masters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner and others; authored books and instructional DVDs which are acknowledged as classics in the jazz applicants; recorded as a leader in styles ranging from classical to swing to free jazz; founded the International Association of Schools of Jazz; a multiple Grammy candidate;an inductee into the International Association of Jazz Educator's Foyer of Fame; the recipient of an Honorary Doctorate from the Sibelius Academy in Helsinki, Finland,

Source: All About Jazz

by admin

I agree saxophone, and I’ve played a soprano with both a curved and accurate neck. To be bona fide, I don’t regard as that the neck absolutely makes that big of a modification with colouring. It seems to darken the tone colour a small-minded bit, but I deliberate on it’s a weight of option. It’s mostly because with a accurate neck saxophone, you have to imprison the horn forthright out in front of you and with a curved neck, you can take it closer to your remains, and it’s more ergonomic for some people.

I take a fancy to the curved neck, herself. It makes it easier to use a neck strap. Some people don’t like using a neck strap on Soprano, but when I don’t use one, my wrist starts to mournful. I don’t after to get carpal burrow or anything.

I give saxophone, and I’ve played a soprano with both a curved and unqualified neck. To be forthright, I don’t fantasize that the neck in the end makes that big of a adjustment with manner. It seems to darken the tint a cheap bit, but I mull over it’s a material of desire. It’s mostly because with a set neck saxophone, you have to stick up the horn straightforwardly out in front of you and with a curved neck, you can approve of it closer to your masses, and it’s more ergonomic for some people.

I lodge the curved neck, himself. It makes it easier to use a neck strap. Some people don’t like using a neck strap on Soprano, but when I don’t use one, my wrist starts to depress. I don’t shortage to get carpal burrow or anything.

Source: What does a curved versus a straight neck for a soprano saxophone do?

by Joe Sarno

Terry Riley could caper a importance of soprano saxophone (for minimalist purposes that is) although he didn't have the system and authority or unmitigated dispatch-striking vivaciousness of that euphoric modernist, Steve Lacy. Who does? This 1958 Religious Set - Lacy's moment as a band leader - almost matches the owner's composer himself in the explication of these knotty dwarf nuggets, most of which are kind of hazy even to this day. The be at the helm inheritor to the greatest anecdote-teller of them all, Sidney Bechet, Lacy could cross his way through any tangled course and still encounter out a conqueror. He was the correct disconcert to the '50s Cecil Taylor and paradoxically lent Taylor's betimes steady swaying some ineluctable cordial funk even though he was the ghostly guy. Coenobite's tunes have a not uncomfortable funk all their own so all Steve and his grand fellows (among them Mal Waldron and Elvin Jones as well as related Tayor-ite Buell Neidlinger) have to do is admire persist the program closely and they are composed unhampered. @320 Meet to Soloist Saints, a roots for eclectic music and miscellaneous bits of discernment that catch my way. I will mostly try to support tough-to-find, out of choice of words or unfamiliar recordings. I have no other aim than that I get off on the music of the 50s -60s -70s- jazz, vocals, nightspot, avant-garde, Greek, general public-bankrupt, bossa nova et al. and would like to spread the affluence a sparse. Obdurate comments are offer hospitality to and encouraged.

Source: Singer-Saints: Reflections: Steve Lacy Plays Thelonious Monk