The Kazzrie Jaxen Quartet | Callicoon Sessions | Cadence Jazz Records

What? You’ve never heard of Kazzrie Jaxen? Well you have but may not know it. She has been recording since 1979 but back then it was as Liz Gorrill and she did a number of releases on the Jazz Records and New Artists labels over a twenty year period. I know those recordings but I’ve never heard her as she is here. Why someone changes their name is often a many reasoned decision, but it would seem, coincidentally perhaps, that with that change came a new attack or addressing of her music – Viva la change! Here is a pianist with a strong, unequivocal attack, ideas in reserve which at times seemingly overflow themselves. And Charley Krachy seems inspired in this company, he arguably has never sounded better on recording. And credit to Don Messina and Bill Chattin for the unwavering support they provide. This was not only an unexpected surprise but a damn pleasant one too. This is exciting music. – Bob Rusch Continue reading

The Kazzrie Jaxen Quartet | Quaternity | NA1060

Sometimes virtuosic players merge into the thing they were clearly born for. Charley Krachy’s saxophone — where does such beauty of soul come from? Heaven and Earth meet. Kazzrie Jaxen’s piano — earth-scattering harmony and melody. Ascension into liberation, cutting roads through a wilderness sky. Don Messina’s bass — intense, whispered poetry. The quiet between the notes, like Sufic meditation, which effect it has. Drummer Bill Chattin’s rhythms enter a depth of being — beating like a heart to the pulsing weave of the other three voices. These musicians assemble and slowly, with the playing of the music, become the mountain top where God and Man dance in sheer, unobstructed heights and distillation of joy. — Helena Clare Pittman Continue reading

Liz Gorrill | Charley Krachy | A Jazz Duet | NA1007

The two instrumental voices merge satisfyingly on “317 East 32nd Street” where Gorrill offers not only a bass line, but also apt commentary for the saxophonist in cleverly obscured “Out Of Nowhere” territory. Most of the structures are familiar, but they merely serve as secure foundations for daring improvisation. Dynamics are important in such intimate music, and Liz Gorrill’s variety of touch becomes an essentialingredient in ensuring that the performances move through many layers and engender subtle shifts of mood. With all its complexity, the music maintains a momenturm and inner logic that is a tribute to the participants. “How High The Moon,” that perennial jazz racer, has its character reversed by a slow, reflective treatment in which no pet licks are used to escape hatches. A most stimulating set, at its best, perhaps, when the duo swings unselfconciously and with considerable exhilaration on “My Melancholy Baby.” — Jazz Journal, July 1991, Mark Gardner Continue reading

Notes from New York | a New Artists Record Sampler | NA1034

“NOTES FROM NEW YORK” is a sampler of the New Artists’ catalog, not so much a “greatest hits” collection, as an overview that features virtually all the talented musicians that have recorded for the label. Each of the performances rewards repeated listenings… This independent label’s future looks quite bright as it continues to infuse jazz with feeling, creativity, and fresh ideas.” — Scott Yanow, Editor, All Music Guide To Jazz. Continue reading