Browse some recent Origin Reviews.
Lucas Pino - No Net Nonet
by Jerome Wilson, Cadence
The album is by a sharp, sax-heavy nine piece group very much in the mainstream jazz line. The faster pieces are prickly and kinetic but the slower ones, like "Sunday Play" which features a gorgeous tenor solo by leader Pino and thoughtful bass by Desmond White, tend to have the most personality. Pino's deep-souled soloing is consistently smart and spirited while guitarist Rafal Sarnecki gets a nice turn on the placid "Homage A 'Mitch" and Mat... read more
Shawn Purcell - 180
by Thomas Houbron, Couleurs Jazz (Paris)
When Pat Martino, Peter Bernstein or Color Jazz Radio praise your work and your guitar playing, you must be one hell of a "Bad Cat"!
"I saw you on YouTube playing Mynabird Blues... you are SMOKING!!!!! Really great!!! Next time you come to New York, let's play some songs!!!" Peter Bernstein
Another guitarist that we wanted you to discover in the Best of Colors Jazz Week is Shawn Purcell, on the release of "180", his second album... read more
Nick Finzer - The Chase
by Chris Spector, Midwest Record
You have to love it when a cat can graduate from Julliard without letting it go to his head. Bone man Finzer takes his sweet time between releases and we are wise not to rush him. Charting some new courses that give us the opportunity to follow him without tripping, this fleet fingered, buoyant jazzbo makes his bone talk while supporting his composing and leading chops making the whole a real gasser. Inventive but keeping it's fun, spirited... read more
Robby Ameen - Diluvio
by Jack Bowers, All About Jazz
It's a given that wherever Grammy-winning drummer Robby Ameen goes, irrepressible rhythm is sure to follow. Diluvio, Ameen's third album as leader of his own ensemble, is clearly no exception to the rule. Ameen's half-dozen compositions are intrepid and lively, and even Gerry Mulligan's "Line for Lyons" and John Coltrane's "Impressions," which seal the album, are given bright rhythmic makeovers in keeping with the leader's metrical frame of... read more
Barry Greene - Giants
by Thierry De Clemensat, Paris-Move
Barry Greene's Giants: A Modern Jazz Tribute That Bridges Tradition and Innovation
Barry Greene's Giants poses its central question before a single note has fully settled: to whom, exactly, does this title refer? The answer, as the album gradually reveals, is less a declaration of stature than an act of reverence. Greene, an accomplished guitarist and composer, has neither the inclination nor the ego to cast himself... read more
Rodney Whitaker - Outrospection: The Music of Gregg Hill
by Chris Spector, Midwest Record
Scooting out of the classroom for a hot second with several of the professors under him, Whitaker gives a full album to the works of up and comer Gregg Hill who already feels like a jazz old soul. The music is rooted in civil rights jazz, which certainly has a place in these times, and is delivered in proper fashion by the pros on board. A real ear opener that's good for the... read more
John Stowell - The Banff Sessions
by Jim Ferguson, Jazz Times
While many players who came up in the '70s and '80s stylistically reflect the influence of Pass, Montgomery, Hall, Kessel, Burrell, Grant Green, and a few other players who helped forged the mainstream guitar style in the '50s and '60s, Oregon resident John Stowell plays with an airy, lithe approach the basis of which is advanced, close-voiced chords more akin to pianists like Bill Evans. On The Banff Sessions (Origin), his most recent... read more
Scenes - ...But Not Heard
by George W. Harris, Jazz Weekly
The trio Scenes consists of John Stowell/g, Jeff Johnson/b and John Bishop/dr, who are joined by the sax and flute of Hans Teuber for a collection of subtly swinging originals. Tunes such as "C Minor Waltz" and the bluesy "Nanti Glow" have Teuber's tenor softly blowing on the gently flowing melodies, while the more kinetic fast spotlights deft interplay between Stowell and Johnson. Bishop's rumbling drums serve as a rich underflow for... read more
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