A few weeks back, for no reason but avoiding work, I assembled a list of the 100 best albums of the '90s. Okay, maybe not the best, but my favorites anyway, the ones that I seem to have listened to most obsessively over the years. In an effort to
Because poor Kenny G seems to come in for abuse in this blog from time to time, I thought it might be fun to revisit what I consider one of the greatest examples of musician-on-musician slagging in the history of jazz writing: guitar giant Pat Metheny putting the hurt on
Of the Mos Def character in 16 Blocks, you wrote: “Eddie has the kind of voice that makes fingernails on a blackboard sound like Kenny G.” What are we to make of this comparison, given that Kenny G. already sounds like fingernails on a blackboard? William Shunn Queens, NY
I'm surely not the only jazz aficianado here who nurtures a deep love and admiration for the music of Michael Brecker. He's been one of the most in-demand session saxophonists of the past 30 years, recording with the likes of Steely Dan, the Rolling Stones, Bruce
My contributions to the May CD Mix of the Month Club were Young Turks: A Sadly Shallow Survey of Hard Bop and Modal Jazz from 1956 to 1968 and its sequel Young Lions: A Criminally Incomplete Catalog of Post-Bop Players from 1986 to 2002.
My contribution to the March CD Mix of the Month Club was An Electricity in the Air.
It didn't actually turn into a riot two weeks ago at Iridium, but it looked like it might for a few minutes there. The first indication of trouble came early, though we didn't recognize it as such as the time. My brother Lee and his wife
I don't know if any of you watched Jazz, or if you decided to boycott PBS for the duration of January. I've been prowling around for alternate points of view, and I found some interesting ones at www.birdlives.com. This is a site run by
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