Browse some recent Origin Reviews.
Marc Seales - American Songs, Volume 3: Time & Place
by Chris Lunn, Ancient Victorys
Seales, from our 1970's jazz sessions at the Other Side of the Tracks, continues with the third in a series of jazz music interpretations. Fred Hamilton is on guitar, the amazing bass of Jeff Johnson or the electric bass of Dave Captein, and drums by Gary Hobbs. Seales has taken Americana or created his own songs from blues, funk, highway, and country. Curtis Mayfield's "Pusherman" has a Chicago feel mainly in the bass and sharp piano... read more
John Stowell - Resonance
by Rob Forbes-Roberts, Acoustic Guitar, September 2005
Jazz guitarist John Stowell unplugs for a solo set on acoustic guitars built by Portland luthier Mike Doolin. Playing a variety of Doolin's steel-, nylon-, and 12 string guitars, Stowell performs several excellent originals and covers such jazz standards as John Coltrane's "Equinox," Steve Swallow's "Peau Douce," and Jerome Kern's "Nobody Else but Me." The various acoustic textures of Doolin's instruments are intriguing but it's Stowell's... read more
Geof Bradfield - Our Roots
by Dave Rogers, WTJU - Richmond
Tenor sax man Geof Bradfield explains the premise of this disc as revisiting Clifford Jordan's tribute to Leadbelly when asked to put together a concert for the Fulton Street Jazz Record Collective. He and the band revisited these classic sounds while honoring the spirit that Jordan had first brought: play the old songs to honor them while adding your own voice which in itself has been influenced by the root without simply copying that root.... read more
Bill Anschell - Shifting Standards
by Carol Banks Weber, Festival Peak
I'm a Bill Evans type of listener. For me, a musician's touch says more than a fantastic cavalcade of impressive, overly complicated notes, impossibly juxtaposed against a harried orchestra of one. If you can make me feel down to my bones, you've got me.
Seattle's beloved jazz pianist Bill Anschell is cool, because he can do both: move and impress, touch and flash, tone and stack — often on a forgettable, throwaway standard everybody... read more
Bruce Barth Trio - Dedication
by George W Harris, Jazz Weekly
So, what, or who, is the soulful pianist Bruce Barth dedicating this trio album to? In the liner notes, Barth mentions the memory of a dear friend Montez Coleman, but truth be told, with bassist Vincente Archer and drummer Montez Coleman, the sounds and styles are dedicated to a collection of inspirations.
Starting off is an upbeat tilt of the ivories to George Perry in "George's Dance" which has Barth and company tapping into their inner... read more
Steve Korn - Pride & Joy
by Todd S. Jenkins, All About Jazz
Relaxing quintet jazz for a quiet night by the fireside. American cuisine is abundant with what are known as "comfort foods": pot roast, hamburgers, barbecued chicken, apple pie. Dishes that sit well and warm the heart without demanding too much in return from the consumer. Steve Korn's Seattle ensemble offers up a good-sized helping of what might be termed "comfort jazz" for the same reasons. This set includes two Pat Metheny compositions (one... read more
Joe Locke - Subtle Disguise
by FILIPE FREITAS, JazzTrail
In a career spanning nearly four decades, vibraphonist Joe Locke conquered a high-ranking place among the most versatile mallet men in jazz. On his latest album, Subtle Disguise, he is edgier than ever, presenting two covers and seven original compositions, which are elevated to a superior dimension by the presence of exceptional colorists such as saxophonist David Binney and guitarists Adam Rogers and Raul Midón.
The eloquent saxman makes... read more
Clarence Penn - Behind the Voice
by George W Harris, Jazz Weekly
Clarence Penn, best known for his drum work, adds keyboards, percussion and vocorder to his repertoire on this clever album where he features various vocalists to his rotating musical team that includes Adam Rogers-Gilad Hekselman/g, Shedrick Mitchell/key, and James Genus-Yasushi Nakamura/b amng others. Most intriguing Is the wide-ranging use of singers, with Kurt Elling in earnest form with Hekselman on "Come Talk To Me" while Emily Braden adds... read more
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