Category Archives: Reviews

CD Review: Finger Songwriter – Jeremy Siskind’s new CD!

Artist: Jeremy Siskind
Title: Finger – Songwriter
Label:  Brooklyn Jazz Underground Records
Genre: Jazz
Review by Dawoud Kringle

Not long ago, I attended Siskind’s performance at Carnegie Hall’s Weill Recital Hall (see my review here.) Now, my experience of Siskind’ss music will take a tour of his music in the recorded medium. I speak of his newest release; Finger – Songwriter.

Pianist, composer, and educator Jeremy Siskind originally from Irvine, CA, now living in NYC earned his Bachelor’s Degree from Eastman and his Master’s in English and Comparative Literature from Columbia, and studies piano with  Sophia Rosoff and Fred Hersh. Siskind performs around the world as a leader and sideman. Since the 2010 release of Simple Songs, Siskind’s first CD on Brooklyn Jazz Underground Records, he placed 2nd in the Montreux Jazz Festival Solo Piano Competition, was a runner-up for the American Pianist Association’s Cole Porter Fellowship, performed at Carnegie Hall, has had his book, Jazz Etude Inspirations, published by Hal Leonard, and has become the musical director for Sandra Bernhard.

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CD review: House of Waters…an astonishing display of virtuosity and musical beauty.

Artist: House of Waters
Title: Revolution
Label: self released
Genre: world/ambient/jazz

Review by Dawoud Kringel

New York City is one of those places where innovative musicians are the norm, rather than the exception. They lurk in the shadows, or stand on the world stage and bring their gems to listeners. One winter night, I went to Pianos in New York City’s Lower East Side. A friend was playing there, and hosting a jam session. I brought my instrument to sit in. Upon arriving, one of the opening groups was in the midst of their set. The room was filled with an astonishing display of virtuosity and musical beauty. I was impressed!

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Concert review: Terje Rypdal – bringing Nordic, impressionistic, spacey sound colours to Manhattan.

Date: June 27, 2012
Venue: Le Poisson Rouge (NY)
Review by Jeremy Siskind

From the moment that Terje Rypdal and his quartet stepped onto the stage of Le Poisson Rouge, all my sensory impressions grabbed me by the hand and hurried me to towards a faded word in the dusk light of a pitchy forest: dated. The hairstyles of the Norwegian band were combed with ‘80s cliché, the sound was jazz-rock that harkened to the age when musicians were enamored with “plugging in,” and the overall aesthetic was a tribute to the sort of virtuosity that has – in my vision – gone out of style with the rise of conservatory jazz programs.

Oddly, the band functioned in almost two completely separate units with solos by rock-based Rypdal and heavily-Miles-influenced Danish trumpeter Palle Mikkelborg pivoting around a very able rhythm section of organist Ståle Storløkken and Italian drummer Paolo Vinaccia.

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Event review: Friday Night At The Vision Festival 17

Date: Friday, June 15, 2012
Venue: the Roulette

Reviewed by Matt Cole

One of the many interesting things about the New York City jazz scene is that it is large enough to have a number of separate sub-scenes that have little overlap between performers (and quite possibly audience, though that is much harder to quantify). While this can certainly feel like cliquishness at times, I suspect that a fairly large part of it is that people have only so much time available, and can devote themselves to only so many bands; thus there is a natural tendency to fall into somewhat vaguely-defined groups. This doesn’t, of course, remove the danger of insularity and diminishing musical cross-fertilization. At any rate, this phenomenon can be seen by contrasting the recent 17th Vision Festival with last winter’s Winter Jazzfest — two events with very different lineups and to a certain extent musical feels. Yet, both events can be put under the aegis of modern jazz. The crowds were different, too: Winter Jazzfest had a younger crowd which seemed right at home in the West Village venues which it calls home, while the Vision Festival has a formal, almost classical feel to it, complete with the occasional shushing (though to be fair, there was some seriously pianissimo music at times).