Browse some recent Origin Reviews.
Michael Dease - Found in Space: The Music of Gregg Hill
by Steven Miller, Sound in Review
Found in Space: The Music of Gregg Hill buzzes with the power of collaboration, diversity, and the timeless appeal of jazz as a genre that thrives on collective energy. Trombonist and bandleader Michael Dease, known for his reverence for jazz history and his formidable technique, brings together a stellar group of musicians from different backgrounds, ages, and experiences. This project, guided by the intricate, genre-defying compositions of... read more
Carlos Vega - Art of the Messenger
by Larry Hollis, Cadence
Here's a belated present for all us hard bop lovers. This Carlos Vega has a pair of previously issued discs for the Origin label and is not to be confused with the drummer of the same name. Those two platters were salutes to Bird but this time around its a nod to powerhouse drum-master Art Blakey Vega's bandmates are the same on all three discs so one has little trouble understanding how super tight this quintet is on this third album. Each of... read more
Seattle Repertory Jazz Orchestra - Sacred Music of Duke Ellington
by Andrew Lindemann Malone, Jazz Times 2006
Before this review delves into the overarching aesthetic issues which we critics so like to concern ourselves, I should note that the Seattle Repertory Jazz Orchestra's two-CD compilation of pieces from Duke Ellington's three Sacred Concerts provides solid performances of mostly remarkable music. The Oregon Repertory Singers sound especially good under their conductor, Gil Seeley, delivering an exquisite textured account of Duke's a capella... read more
Bobby Broom - The Way I Play: Live In Chicago
by D. Oscar Grimes, O's Place Jazz Letter
Guitarist Bobby Broom leads a trio with Dennis Carroll (b) and Kobie Watkins (d) for this live session at Pete Miller's Steakhouse in Chicago. They are playing bebop - eight covers of classic tunes. Bobby takes the bull by the horns on Parker's "Donna Lee" and Rollins' "Unit 7" with great fills from Watkins. Performing in a restaurant is always challenge but at least a few of the patrons were captured by Broom's work and there was lots of... read more
Chad McCullough - Dark Wood, Dark Water
by Elliott Simon, All About Jazz
As illuminating as new views of familiar landscapes can be, a vibrant jazz scene is best measured by its ability to foster young artists creating new music. Dark Wood, Dark Water's compositions employ advanced harmonics and are all originals, save for the band's lovely and unique take on Lennon-McCartney's "Blackbird." Joining Chad McCullough and Jeff Johnson are Bishop himself, saxophonists Mark Taylor and Geof Bradfield and pianist Bill... read more
Scott Burns - Passages
by Peter Margasak, Chicago Reader
It's hardly news that Chicago has a deep jazz community, and though a variety of specific scenes exist (free jazz, neo-trad, etc), players here tend to be distinguished by their versatility. But that often means that if a musician doesn't wear a particular hat, he or she can get overlooked. Case in point: tenor saxophonist Scott Burns. One of the most reliable horn players in town, Burns has been mentioned in these pages as a member of the... read more
Bobby Broom - Bobby Broom Plays for Monk
by Ken Watkins, 100 Greatest Jazz Albums Blog
Bobby Broom, joined by Dennis Carroll (bass) and Kobi Watkins (drums), plays eight Thelonious Monk compositions in this guitar trio take on the great pianist's music.
Jazz musicians have never found it easy to capture the wonder and the eccentricity of Monk's music in any terms other than his own. Yet that has not stopped generations of players from taking on this challenge, so pervasive is his influence as one of the initiators of bop. Many,... read more
James Moody - 80 Years Young: Live at the Blue Note, March 26, 2005
by Jeroen de Valk, Jazzflits (The Netherlands)
James Moody's old bandleader Dizzy Gillespie couldn't be there that night at the Blue Note, but he was there anyway. The traces he left in the life and music of Moody (1925-2010) were omnipresent. Think of the repertoire - pieces like 'Bebop', 'Birks' Works' and 'Cherokee' - and a preference for real Jesus tempos, such as later generations played and still play less and less. And then there was the shared past that went back far into... read more
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