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I first came across his name when you mentioned him and filed it in my mental bank. I have his FSNT release. a BITCH. The below article was right on point as to the current state of jazz....here is some tremendous music being played today. Logan Richardson is another beast on alto.
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"Jazz fans seem to be constantly debating when the best period for jazz was. That some believe that now is unequivocally the worst time for a genre now in its second century is puzzling. The arguments most often heard have to do with there being no “significant” innovations, and the predominance of high profile artists like Diana Krall and Jamie Cullum overshadowing more “serious” jazz artists.
Whether or not top-charting artists are serious is an argument for another day. But it’s inescapable fact that jazz’s marginalized position—at least in terms of CD sales—means that the greater public’s perspective on jazz is largely defined by the handful of big sellers like Krall, not to mention the predominance of reissues from the major labels. Still, one need only look to the plethora of independent labels to realize that jazz is hardly on its death bed. It’s thriving and, if not seeing grand developmental leaps, there are inescapable steps forward day-by-day, release-by-release. That a twenty-something musician like saxophonist Loren Stillman can release an album as mature, well-conceived and personal as It Could Be Anything is clear evidence that creative jazz with a difference is still being made and that it’s premature to be ringing its death-knell.
It Could Be Anything is Stillman’s fourth release as a leader since 1998, and if there’s anything more impressive than his growth as a player, it’s his evolution as a writer. Some might consider him too cerebral—there’s clearly an underlying complexity to his detailed compositions that is rich grist for inquiring musical minds. But analyses of his potent blend of irregular meters, vivid counterpoint and abstract harmonies would be of little value if his music didn’t resonate so strongly. Stillman’s impressionistic bent may mean out-of-the-box melodic thinking, but despite that he’s unfailingly lyrical. Some writers are oblique for the sake of it, but it’s clear that Stillman wants his music to sing.
Bassist Scott Lee and drummer Jeff Hirshfield date back to Stillman’s second release, How Sweet It Is (Nagel-Heyer, 2003). The newcomer to the group is Gary Versace, more commonly heard these days on organ in guitarist John Scofield’s touring band, as well as with Indo-Pakistani guitarist Rez Abbasi and on his own debut, Time and Again (Steeplechase, 2005). Here he’s strictly on piano, and his abstract sense of musical suggestion is continued evidence of a significant musical voice gaining ground at almost warp speeds.
Stillman’s technique is formidable—making his alto sound flute-like on the moody miniature, “Vignette: Ghost Town” and evoking multi-hued multiphonics on the more insistent and deceptively-titled “I Don’t Know What We’re Doing.” But his tone, possessing a gradual and gentle vibrato, remains warm and appealing throughout.
The quartet’s simpatico is clear, despite communication being often so subtle as to be felt rather than heard. Feeling is, in fact, the defining characteristic of It Could Be Anything, where Stillman proves that it’s possible to create intelligently multi-layered music that is emotionally compelling and speaks with its own voice."
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I met Loren when he was 19 and his playing was stunning then. He's just gotten better and better. I'm very happy to have him playing in my big band. The guy can immediately read/play everything I write for him, play unique and creative solos on any set of changes (or *no* changes), come up with interesting lines which fit my charts perfectly, plus he's confident but humble.I have almost all of his cd's, and they're all good. His own tunes are angular beauties. They'd be really hard for many saxophone players, but Loren's playing always sounds fluid and effortless, with unexpected twists and turns. If there's any justice he'll eventually gain much wider recognition. The guy is a jazz gem.
Which date of his should be next on my list? Have you heard Logan Richardson. His thought process is ridiculous. What I like about him is that he does not have that "Berkely" sound. A bit jagged and raw but his lines are just excellent. Not unlike Rodney Kendrick was on piano.
Loren's most recent cd is a trio date called "Trio Alto Volume One" on Steeplechase. Its a standards recording, but of course the way Loren, Steve LaSpina (bass) and Jeff Hirshfield (drums) play 'em ain't old hat. Guess I'd recommend that as an intro to Loren for some here who are less adventsuresome than you.For you -- check out:
"How Sweet It Is" w/Russ Lossing (piano), Scott Lee (bass), Hirshfield (drums) on Nagel Hayer.
"the brother's breakfast" w/Gary Versace(organ), Vic Juris (guit.), and Hirshfield (drums) on Steeplechase
They're both killer, and the music (except for one Monk tune) is all Loren's originals.No, I'm not hip to Richardson, but I'm gonna find some clips to check out right now. Thanks for the rec.
I don't have Gin Bon but will add it to my "to Buy List". I will check out the Nagel Heyer Date. Russ Lossing is an interesting pianist. Very abstract.
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