Origin Records Reviews

Matija Dedic - MD in NYC
by David Franklin, Cadence

Matija Dedic is a 38-year-old Croatian piano virtuoso who has played around the world with leading Jazz performers, including a number of well-known Americans, and won numerous awards world-wide. Bassist Archer and drummer Scott both boast extensive, impressive credentials. The modern mainstream MD in NYC is Dedic's second album and the first with these two fine side­men.

To be sure, Dedic displays a mastery of his instrument. His... read more

Clay Giberson - Minga Minga
by George W. Harris, Jazz Weekly

Clay Giberson goes solo on piano for eleven of his own compositions that show an allegiance to impressionists like Satie and Debussy. There is a lyrical classicism to pieces like "Little Bird" and the reflective "Burst" while "Adah" has Giberson using silence as a note.A dash of Gershwin buoyancy adds a dash to "Astir" and " Closer to You" and he shows his ability to swing on "Minga." His hands feel warm on "Stride Right" while a touch of... read more

Greta Matassa - Favorites From A Long Walk
by Cindy McLeod, Jazz Review

Jazz vocalist Greta Matassa makes a big statement in an understated way with her latest release Favorites From a Long Walk, a sterling collection of songs performed masterfully by the singer and her quintet for this mainstream jazz CD.

Matassa is a stylist who has serious chops, her voice is full-bodied and texturally stimulating. Her phrasing and delivery are conversational and relaxed, but are backed by a veritable steam engine of... read more

Bill Anschell - Figments
by George Fendel, Jazz Society of Oregon

It's true, you can go wherever you wish with a mind-boggling 88 keys when you're going it alone. And so it is that Anschell takes us on an intriguing journey of creativity on this solo album. He begins the proceedings with a very different take on "My Heart Belongs to Daddy." I'd think that Cole Porter would have dug it! Next comes Cahn-Van Heusen's gorgeous "All My Tomorrows," a tune seemingly being rediscovered decades after it was written.... read more

Thomas Marriott - Flexicon
by Adam Greenburg, All Music Guide

Trumpeter Thomas Marriott spent time paying his dues in the New York scene, moving back to his native Northwest after a few years and becoming a darling of the local jazz scene. On Flexicon, he pulls out sounds and styles from both areas of influence. The album opens with Freddie Hubbard's "Take It to the Ozone," jumping directly into full-speed, full-power, high-energy, post-bop melodies and using the solos to explore every possible nuance of... read more

Richard Sussman - Live at Sweet Rhythm
by David Franklin, Cadence

Thirty-one years ago, pianist-composer Richard Sussman released an LP (2/79, p. 54) that became something of an
underground Post-Bop classic. To celebrate Free Fall's CD release in 2003, Sussman reconstituted most of the original group (saxist Larry Schneider didn't make it) for a two-night gig at New York's Sweet Rhythm.

Although between the 1979 recording and the 2003 one, trumpeter Harrell, tenorist Bergonzi, bassist Richmond, and... read more

Chris Walden Big Band - No Bounds
by Jack Bowers, Cadence, December 2006

No Bounds is composer/arranger Chris Walden's follow-up to last year's Grammy Award-nominated Home of My Heart[Origin 82439], and could be another strong contender for that honor, as it comprises eleven of his admirable charts performed by a blue-chip ensemble of Los Angeles-area studio/big band musicians. Walden, who employs a large string section on "No Bounds" and "Clax's Theme," welcomes three guests from his native Germany- Trumpeter... read more

Gregg Keplinger / Reuben Radding / Daniel Carter - Language
by Jon Davis, Expose

This set starts out with a mangled bowed sound from Reuben Radding's bass, more sound effects than notes, joined after a few moments by Daniel Carter's alto sax and Gregg Keplinger's drums. The three wander aimlessly for a bit, then the fog clears and a quick swinging tempo emerges, with Radding providing a busy bottom end, Keplinger simultaneously keeping the beat on the ride cymbal and adding unexpected accents on snare and toms, and Carter... read more

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