Browse some recent Origin Reviews.
Piet Verbist - Suite Réunion
by Bernard Lefèvre, JazzHalo (Belgium)
Piet Verbist is a passionate contrabassist who is full of energy and inspiration with what he writes in an authentic richly varied style of electric grooves (Zygomatic) to modern jazz (Mamutrio).
For his new project Suite Réunion with entirely his own work, he chose a different acoustic composition. This Piet Verbist Quartet (PVQ) has been on many stages in previous years and was enthusiastically received every time. In February... read more
Matt Jorgensen - Tattooed by Passion: Music inspired by the paintings of Dale Chisman
by Jeff Krow, Audiophile Audition
Matt Jorgensen has created a profound moving work on Tattooed by Passion, his CD honoring his father-in-law, Dale Chisman, who was considered Colorado's most significant abstract painter for thirty years until his untimely death on August 29, 2008. Matt includes several photos of Dale's work in the liner notes, which give a clear indication of Chisman's talent.
What drew me into this CD was the wide variety of musical palettes that Jorgensen... read more
Shawn Purcell - Oblivity
by Jeff Becker, Jazz Sensibilities
Shawn Purcell's Oblivity is a natural continuation of his previous work and a marked expansion of his compositional vision. Having long established himself as a first-call guitarist in Washington, D.C. and beyond, Purcell now offers a set of ten originals that frame his artistry with clarity. The elegance of Purcell's writing, the fluency of his playing, and the intuitive chemistry of a first-rate ensemble make this album a true find.
At the... read more
Thomas Marriott - Constraints & Liberations
by Greg Simmons, All About Jazz
Listening to Thomas Marriott's Constraints & Liberations, two things are abundantly clear: Marriott spent some serious time studying Miles Davis' second great quintet; and, his own voice on trumpet is developed well enough to make it sound like a strong, easily recognizable influence, but not plagiarism. Naturally, favorable comparison to the one of the greatest standing outfits in the history of jazz is intended as a compliment.
The... read more
John Moulder - The Eleventh Hour
by John Barron, The Jazz Word
Chicago guitarist John Moulder delivers an impressive live set with his quintet on The Eleventh Hour, recorded at the legendary Green Mill jazz club. Moulder's compositions tend to lean on modal frameworks with odd-metered grooves. His pieces have accessible qualities while presenting daunting musical challenges to the players involved. A thoughtful improviser who takes the time to tell a compelling story, Moulder is able to utilize a variety... read more
Peter Epstein and Idée Fixe - Abstract Realism
by David Kane, Cadence
Aptly titled, Abstract Realism plies the interesting waters that lie between conventional Jazz and the Avant-garde. This is the sort of progressive Jazz I find interesting: Jazz that employs both tonality and atonality; where written material serves to propel the performers into improvised flights of fancy and where the music is replete with dynamic contrast. Just a quick com parison of two tracks, "Simple" and "Center" for instance, cover quite... read more
Cathy Segal-Garcia - SOCIAL ANTHEMS, VOLUME 1
by Paula Edelstein, Sounds of Timeless Jazz
Social Anthems Volume 1 is an excellent rendition of protest songs covered by vocalist Cathy Segal-Garcia. A child of the Sixties, Ms. Segal-Garcia sings some of the most memorable songs of social importance with exemplary new arrangements. Although these songs were mostly introduced as Folk inspired songs, Segal-Garcia's jazzy updates work really well. Joined by such stellar musicians as Anthony Wilson on guitar, Josh Nelson on piano/keyboards,... read more
Kelly Sill / Jim McNeely / Joel Spencer - Boneyard
by Phillip McNally, Cadence Oct-Dec 2007
Jim McNeely is of course one of the reigning masters of mainstream Jazz piano, with a pedigree that includes time with the Jones-Lewis Band and with Joe Henderson. I first heard him behind Stan Getz on a night when he stole the show from the fussy saxophone maestro. On "Boneyard" he is, as you would expect, tasteful, neat, in the pocket yet never glib. His playing is particularly lovely on "Naomi" and "in the Wee Small Hours," where his touch is... read more
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