Labels

Connie Crothers | Richard Tabnik | Duo Dimension | NA1003

Posted by

0

Piano and alto sax are paired in this program of nine original pieces plus the ballad oldie “Star Eyes.” Connie Crothers plays with great strength and fire, yet seems to draw her lines with lightness and a fine edge. Her rhythmic sense never wavers, even in the most “outside,” adventurous constructions she develops with Richard Tabnik. Some of the airy dryness of the late altoist Paul Desmond colors his sound, but Tabnik follows a different path in terms of both harmonic conception and energy. He and Crothers obviously share close ties in this music which is both individualistic and a direct descendant of the late pianist/teacher Lennie tristano. Substantial and refreshing. — Lois Moody Continue reading →

Bud Tristano | Connie Crothers | Primal Elegance | NA1038

Posted by

0

The contrasting tonality of these two musicians characterizes the performance. Tristano’s playing concentrates on rapid-fire combustion using upper-register ignition, and Crothers’ pronouncements linger at subterranean levels. The sound swells to a common ground of excitement where each artist finds order in the union. This duet is a highly stimulating experience where two opposing forces meet on a battlefield and resolve the conflict with their unifying communicative skills. Although heavy in heart, this match is an uplifting example of creative improvised art.” — Frank Rubolino, One Final Note, Spring 2002 Continue reading →

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

Posted by

0

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

Posted by

0

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

Posted by

1

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

Posted by

1

“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 | Solo Piano | Music From Everyday Life | NA1025

Posted by

1

While one would expect her own compositions to be freeform vehicles, I was surprised and impressed by the way Crothers approached the standards. Songs such as “Lover Man”, “Star Eyes”, and “How High the Moon” are played with such originality that the melody lines are fully submerged under her interpretive direction. She projects the essence of the songs without ever having to make an overt statement on the theme. Only on the opening segment of “Good Morning Heartache” does even the slightest hint of the theme surface. This subtlety indicates an ability to hear far beyond the superficial level of melody. Crothers makes heavy use of the lower end of the register in probing the labyrinth she designs inside the songs. Her right hand adds the sparkling relief, but the most meaningful statements are derived from the bottom end of the sound spectrum. The tunes are the essence of full-bodied articulation, and her exploratory endeavor results in substantive music with power framed in a veil of tenderness. — Frank Rubolino, onefinalnote.com, September 2001. Continue reading →

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

Posted by

0

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 →