M – N – O – P

All artists filed by last name under M, N, O and P :

Richard Tabnik Quartet | Life at the Core | NA1016

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The songs on this album are not tunes which you are likely to start singing in the shower. More likely you will be stuck contemplating what it is about these songs that is so engaging. The elements presented could easily be a standard jazz recording session, but as soon as the first notes well-up you are immediately informed that you are in for a wild ride. The strumming and linear stylings of guitarist Andy Fite combined with the driving rhythm provided by bassist Calvin Hill and drummer-extraordinaire Roger Mancuso provide the perfect background for Tabnik’s lightening-fast improvisations. Tabnik reaches into this foundation to pull interesting and tasty pieces out which he uses to shape and create his solos out of. This is especially apparent in the two takes of Tabnik’s tune “Timescapes” (cuts 6 and 7). Listen for the interplay between Fite and Tabnik as they wind through the changes. Richard Tabnik is someone that you should definately check out. This is an artist who is not afraid to be himself. — Review (c)1996 Jason DuMars Continue reading →

Connie Crothers | Bill Payne | The Stone Set plus Conversations | NA1044 & NA1048

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Playing Clarinet with Connie is like breathing, totally natural. Our concert at “The Stone” in New York City on December 14, 2008 was a true success artistically. We had the distinct pleasure to have the great artist Jeff Schlanger improvising with us via paint and brush while we were on stage performing. It was a night to remember. — Bill Payne, December 2008 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 Quartet | CCQT | Ontology | NA1035

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“The most striking aspect of the music they create is their ability to communicate their individuality while blending into a functioning, cohesive ensemble. This requires a considered approach to the question of “…the nature aand relations of being…” in a democratic group context — thus ontology. Maintaining an individual identity while coalescing into such a satisfying ensemble, and simultaneously creating such a high level of musical quality and surprise, is the true challenge of jazz. The degree to which these four musicians succeed on “Ontology” is refreshing and rare.” — Art Lange, June 19999 (from liner notes) 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 →

Connie Crothers Quartet | music is a place | NA1043

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They may have started as members of the Lennie Tristano school of jazz, but the members of this highly evolved and polished quartet, as much a collective as the band of pianist Crothers, has ventured far beyond the tenets of Tristano. They take liberties with time, tone, tempo, dynamics and attack that would horrify more orthodox Tristanoites. The lesson they do take to heart is the valuable one of perseverance, of the importance of playing their music as often as possible, or, as Crothers says, “I put a ton of time behind everything I do . . . I spend time with music. It’s a joy! Never work.” Continue reading →