The jam-band epidemic claims another victim with ?berjam
There has always been improvised music. In the 20th century, this practice has come to be known as jazz.
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There has always been improvised music. In the 20th century, this practice has come to be known as jazz.
Not for Nothin' is the long-awaited third release from Dave Holland's quintet of Chris Potter (saxophones), Robin Eubanks (trombone), Steve Nelson (vibes, marimba), Billy Kilson (drums) and Holland himself on bass. Following the success of their previous two albums on the ECM label (Points of View, ECM 1663 and Prime Directive, ECM 1698), this new album retains the formula that has become the group's signature: funky grooves in odd meters combined with energetic soloing and a relaxed approach to harmony.
Herbie Hancock's new album, Future 2 Future (Transparent Music 500112, 2001), has received a lot of attention from the jazz community. So far, reactions have been overwhelmingly positive. David Adler of allaboutjazz.com calls Future 2 Future "[Hancock's] most powerful and relevant music in years." Jazz torchbearer Downbeat Magazine's Oct. 1 issue agrees, saying it is "a triumph [.] This is a Rolodex album that really works." Vibe nods approvingly as well, calling it "a techno fantasy that balances jazz subtleties with drum'n'bass, ambient, and hip hop textures."
It is hard to imagine the post-war classical music world without Pierre Boulez. Boulez the composer is a radical exponent of integral composition in the dodecaphonic language of serialism. Boulez the conductor shuns the mantle of interpreter in favor of urtext-caliber precision. Boulez the critic has little time for those who are not advancing the musical art. Whatever his role, Boulez is equally uncompromising.