Jazz

Liz Gorrill | Solo Piano | For the Beauty of the Earth | NA1030

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After a stark, brooding deconstruction of Irving Berlin’s “How Deep Is The Ocean,” Liz Gorrill goes on to createa startling solo piano record that explores territoryhovering somewhere between Paul Bley and Ran Blake. Certainly there’s a classical touch and strong feel offormal rigor about her playing that ranges from the Satie-like repetitions of “Secrets Start Singing” to thefugue-like romp of “Two Hands Made Of Sun,” a startling performance that made me smile as it conjuredup a further point of reference: Lennie Tristano. From impressionist miniatures like “Shaken Out In Thunder”and “The Stormy Wind” to sustained meditations like“Gardens Dying, Blossoming,” Gorrill explores anadventurous program that is simply exquisite. — David Lewis, Cadence, January 1999 Continue reading →

Liz Gorrill | Dreamflight | NA1010

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The final “Dream Sequence” begins with a piece entitled “Blues From A Subterranean Galaxy,” which, without a hint of Sun Ra’s leavening humour, should give a sense of what’s going on here: just imagine space converted to mass. What is remarkable, however, is what Gorrill achieves by the end of the sequence. The final “Deep Awakening,” along with numerous other moments in the performance, has such kinetic energy that it levetates not only itself but the burdens of history, particularly piano history, that Gorrill so willingly assumes elsewhere. — Stuart Broomer, Coda, May/June 1993 Continue reading →

Liz Gorrill | Charley Krachy | A Jazz Duet | NA1007

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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 →

Bud Tristano | Connie Crothers | Primal Elegance | NA1038

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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 | 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 | Solo Piano | Music From Everyday Life | NA1025

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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 →