Browse some recent Origin Reviews.
Geof Bradfield - melba!
by Jeff Tamarkin, JazzTimes
The Melba of the title is Liston, a trombonist, composer, and arranger who built a formidable reputation in a mostly male world both as a leader and in her arranging and playing with Gerald Wilson, Dizzy Gillespie, Dexter Gordon, Art Blakey, Count Basie and, especially, beginning in the late 50's Randy Weston. Weston gives saxophonist and clarinetist Bradfield his blessing in the album's liner notes, and the acclaim is deserved.... read more
Scott Reeves - Portraits and Places
by Staff, Jazziz
Multi-instrumentalist, composer and educator Scott Reeves assembled his Jazz Orchestra eight years ago, but has just gotten around to recording with them. During that time, the City College of New York professor, who also taught at Juilliard among other prestigious institutions, has honed his big band's sound and the works he's written for them. The thrilling results can be heard on Portraits and Places (Origin), the Scott Reeves Jazz... read more
Bryan Doherty - Rigamarole
by Thomas R. Erdmann, Jazzreview
Chicago-based bassist Bryan Doherty makes his debut on Origin Records with Rigamarole. The recording, while containing a number of different styles of music all strongly reminiscent of music from other bandleaders ("Zigurat," for example, would not be out of place paired with the milder music recorded by Chick Corea's Return To Forever band), does have moments of individuality.
The strength of the recording lies in the rhythm section work... read more
Amit Friedman - Unconditional Love
by Jack Bowers, All About Jazz
Once upon a time, jazz, an American creation, was confined for the most part within its borders. But that was once upon a time. Today, any barriers that once kept jazz within a prescribed realm have long since vanished, and the music Americans once embraced as their own has flourished around the world, performed with increasing awareness and dexterity by artists who have built upon the patterns created in the land of its birth to weave colorful... read more
Jessica Williams - With Love
by George Fendel, Jazz Society of Oregon
Williams is an uncompromising artist who consistently produces one stunning album after another. In recent years, she has primarily recorded her own brilliant compositions. So this album of standards played solo is a welcome detour. She elects to state these serene and glistening melodies with only minimal improvisation. This is wise, because these melodies stand on their own. Every note says something, and Williams plays the necessary ones and... read more
Scott Reeves Jazz Orchestra - Without a Trace
by Brian Zimmerman, Jazziz
In addition to being an in-demand trombonist and professor at the City College of New York, Scott Reeves is an abundantly skilled composer and arranger, with a reputation for merging edgy, non-traditional harmonies with timeless grooves and forms. Without a Trace, his sophomore album for Seattle-based Origin Records, provides a glimpse into Reeve's compositional style. Featuring some of New York's top-flight jazz artists — including... read more
Bobby Broom - The Way I Play: Live In Chicago
by Matthew Lurie, Time Out Chicago
Every once in a while, Bobby Broom threatens to recede into the background, the once-prized picture on the wall you no longer notice. Then, for those of us who happen to overlook the local guitarist's weekly gigs at Evanston's Pete Miller's or the Green Mill (with the Deep Blue Organ Trio), he puts out a head-slappingly good record like this and the process begins anew.
The Way I Play is culled from a four-month span last year during Broom's... read more
David Friesen Circle 3 Trio - Where the Light Falls
by Ric Bang, Jazz Scan
In the beginning, the acoustic bass was a key instrument in the rhythm section: one that set, and helped maintain, a steady "beat" in the orchestra or combo in which it was used. It rarely was used to play a melodic line, unless a bow was involved. But that changed as time passed; the instrument evolved, and the artists' skills improved. Today, you're just as likely to hear complex melodic lines and solos featuring that "horn," as on brass or... read more
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