A – B

All artists filed by last name under A and B :

The Signal Anthology | Contemporary Canadien Poetry | Gazelle Books

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This exciting collection of contemporary Canadian poetry includes work by Don Coles, Rhea Tregebov, Ann Diamond, Marie-Claire Blais, Peter Dale Scott, David Solway, Jan Conn, Robert Allen, Doug Beardsley, Arthur Clark, William Furey, Michel Garneau, Susan Glickman, Gerald Godin, Carla Hartsfield, Elisabeth Harvor, Charlotte Hussey, Ross Leckie, Laura Lush, Errol McDonald, Muhammad al-Maghut, Robert Melancon, John Reibetanz, Richard Sanger, Stephen Scobie, Ricardo Sternberg and George Ellenbogen. Continue reading →

Claudine Bertrand | The Last Woman | Gazelle Books

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The Last Woman, a selection from twenty years of poetry, is a voyage into being and living, into the country where a woman reveals herself without fear. This lyricism of survival emerges directly from an intimacy of words spoken by one in search of roots, loving and spiritual. French critic, Jean-Pierre Faye, says: “Claudine Bertrand stands between Gaston Miron and Tristan Tzara: a Quebec poet who invents her own new language.” This selection includes poems from La dernière femme (1991), L’amoureuse intérieure (1997), Tomber du jour (1999), Le corps en tête (2001), and Jardin des Vertiges (2002). Continue reading →

Connie Crothers | Lenny Popkin Quartet | In Motion | NA1013

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A memorable concert at “The Cave” (Belgium, Nov. ’91) alternating standard forms and free forms — the music joining wild flights of the tenor around the harmonies, sinuousity and diabolical precision, compact rhythms stretching tradition, and at the center the pianist lighting the powder keg with flurries of single notes, unexpected accents and expansive chord clusters. They appeared astonished at the enthusiasm of the public that was still in shock but enraptured. This is their latest album. — Gerard Rouy Continue reading →

Connie Crothers | Lenny Popkin Quartet | Jazz Spring | NA1017

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The influence of Lennie Tristano’s teachings survives into the ’90s with the Connie Crothers/Lenny Popkin Quartet a principal exponent. “Jazz Spring” melds contrasting approaches, with mixed results. Crothers can be a forceful, percussive pianist, prone to dark, minor chords delivered with a stabbing attack. Popkin favors the tenor saxophone’s upper register, and plays smoothly in a style somewhat suggestive of Lee Konitz. As an accompanist, Crothers maintains tension, but sounds stern and hard-edged, almost at odds with the group’s bright, upbeat approach. As a soloist, Crothers adopts a more expansive, introspective persona. On the CD’s best tracks, “Jazz Spring” and “Beyond a Dream,” she exhibits a lighter touch, unraveling elaborate melodic lines. in this mode, she interacts effectively with Popkin’s tenor. — Down Beat, August 1994 Continue reading →

Connie Crothers | Lenny Popkin Quartet | New York Night | NA1008

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Bop in a light, relaxed groove, performed at a live date at the Blue Note in New York City. The program consists largely of easily swinging bop tunes, including some originals by Popkin and Crothers — her “Prez Says” is particularly delightful. They play two knotty Lennie Tristano compositions, too: “Leave Me” and “Lennie-Bird.” And there’s one ballad cover, “You Go to my Head,” which is a tour de force for Popkin’s sensuous tenor. This club date was in December, but this quartet plays like spring is here for good. — John Baxter, Option, Jan./Feb. 1991 Continue reading →

Sunnyoutside Press

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Sunnyoutside Press strives to publish works of the highest quality and present them in a manner that enhances the reader’s experience. Our aim is to approach the production of our work the same way a poet approaches the poem — everything has a purpose. Continue reading →