Reviews that mention Kidd Jordan
September 11, 2014
Kidd Jordan/Alvin Fielder/Peter Kowald
Trio and Duo in New Orleans
NoBusiness Records NBCD 64/65
Pete Robbins
Pyramid
Hate Laugh Music 003 pet
Jean Derome et Lé Quan Ninh
Fléchettes
Tour de Bras TDB 9004cd
Fred Van Hove/Damon Smith/Peter Jacquemyn
Burns Longer
Balance Point Acoustics BPA2
Sun Ra Arkestra
Live in Ulm 1992
Golden Years of Jazz GY 30/31
Something In The Air: Guelph Jazz Festival Reaches A New Maturity
By Ken Waxman
Moving into a comfortable adulthood, the annual Guelph Jazz Festival (GJF), September 3 to 7, hasn’t abandoned its presentation of new artists. However it has reached the state where musicians who have been there in the past are returning, but mostly in new contexts. Case in point in 2014, the 100th anniversary of bandleader Sun Ra’s arrival on this planet – he returned to the cosmos in 1993 – where the Sun Ra Arkestra, now under the direction of alto saxophonist Marshall Allen, gives two performances on September 6. The first is an afternoon parade; the second couples the band with dancers from the Colman Lemieux Company for Hymn to the Universe, a multi-media presentation at the River Run Centre (RRC). MORE
December 8, 2013
A Night in November Live in New Orleans
Valid Records VR-1015
Evan Parker/Barry Guy/Paul Lytton
Live at Maya Recordings Festival
NoBusiness NBCD 55
Butcher/Buck/Mayas/Stangl
Plume
Unsounds 35u
Michel Doneda/Joris Rühl
Linge
Umlaut Records umfrcd 07
Lori Freedman & John Heward
On No On
Mode Avant 16
Matt Mitchell
Fiction
Pi Recordings PI50
Paul Bley Trio
Closer
MORE
August 1, 2013
Jeff Albert’s Instigation Quartet
The Tree on the Mound
RogueArt R0G-0046
Two generations of innovative New Orleans residents improvise together on this swiftly moving session of seven original compositions, including four parts of a multi-layered suite. Seconding the Crescent city natives – tenor saxophonist Kidd Jordan, 78, and trombonist Jeff Albert 43 – are two Chicagoans on bass and drums, creating an ensemble not unlike those extant during the 1920s when the likes of Sidney Bechet and Kid Ory brought Big Easy styles north to the Windy City.
Of course one can’t take the Crescent City-Windy City historical comparisons too far. For a start neither rhythm section member is an apprentice in advanced sounds like early Chicago Jazzers would have been. As a matter of fact bassist Joshua Abrams is proficient playing various world musics as well as being the linchpin of several Chicago bands, including his own. As for drummer Hamid Drake, he’s one of the most in-demand percussionists in the world, as likely to appear on a European festival stage as a U.S. club gig. MORE
July 1, 2012
On Fire
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Like Diogenes searching for an honest man, tenor saxophonist Kidd Jordan often has to travel great distances from his New Orleans home to find suitable playing partners. Jordan, who had long-time arrangements with the late Chicago tenor saxophonist Fred Anderson and versatile Mississippi drummer Alvin Jackson, here showcases his fire music in the company of Chicago bassist-cellist Harrison Bankhead and New York’s Warren Smith, who plays drums, vibes and percussion on this Brooklyn-recorded CD. MORE
January 20, 2012
Rhapsody's 2011 Jazz Critics' Poll
Individual Ballot
From Ken Waxman
1) Your name and primary affiliation(s) (no more than two, please)
2) Ken Waxman
Jazz Word (www.jazzword.com
3) Your choices for 2011's ten best new releases (albums released between Thanksgiving 2010 and Thanksgiving 2011, give or take), listed in descending order one-through-ten.
1. World Saxophone Quartet Yes We Can Jazzwerkstatt JW 098
2. Gerald Cleaver Uncle June Be It As I See It Fresh Sound New Talent FSNT-375
3. Hubbub Whobub Matchless MRCD 80 MORE
May 21, 2011
Yes We Can
Jazzwerkstatt JW 098
Who would have guessed that nearly 35 years after it was first organized the World Saxophone Quartet (WSQ) would make one of its most exciting CDs in years thanks to a 75-year-old guest star saxophonist? But it’s true. After a number of gimmicky CDs and live shows featuring shifting personnel, rhythm sections and odd song choices, the WSQ has returned to form with this superlative session thanks in no little part to the contributions of Kidd Jordan.
Playing alto saxophone instead of his usual tenor – thus filling missing WSQ founding member Oliver Lake’s chair – Jordan brings an indiscernible élan to the proceedings, evidently enlivening the group and prodding the other three players to masterful and imaginative work. The band’s other original members, baritone saxophonist and clarinetist Hamiet Bluiett and tenor saxophonist and bass clarinetist David Murray are both present. Meanwhile tenor and soprano saxophonist James Carter seems to be the newest permanent WSQ member, most recent in a long line of reedists who have filled the fourth chair since Julius Hemphill departed in 1990. MORE
December 17, 2009
Staying in the Game
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Fred Anderson Quartet
Live at the Velvet Lounge Volume III
Asian Improv AIR 0074
Fred Anderson Trio
Birthday Live 2000
Asian Improv AIR “Official Bootleg”
Fred Anderson
21st Century Chase
Delmark DE 589
Consistency of expression is what has characterized the playing of Chicago tenor saxophonist Fred Anderson over the years. Furthermore, unlike many other musicians, there hasn’t been a subsequent lessening of his powers as he ages. As a matter of fact, now that he’s reached the venerable age of 80, his improvisational skills are at an exalted peak. Listen to these CDs for proof. They were recorded not only at Anderson’s 80th Birthday Bash, but when he was a comparative youngster of 79, 78 and even 71. MORE
December 17, 2009
Live at the Velvet Lounge Volume III
Asian Improv AIR 0074
Fred Anderson
Staying in the Game
Engine e029
Fred Anderson Trio
Birthday Live 2000
Asian Improv AIR “Official Bootleg”
Fred Anderson
21st Century Chase
Delmark DE 589
Consistency of expression is what has characterized the playing of Chicago tenor saxophonist Fred Anderson over the years. Furthermore, unlike many other musicians, there hasn’t been a subsequent lessening of his powers as he ages. As a matter of fact, now that he’s reached the venerable age of 80, his improvisational skills are at an exalted peak. Listen to these CDs for proof. They were recorded not only at Anderson’s 80th Birthday Bash, but when he was a comparative youngster of 79, 78 and even 71. MORE
December 17, 2009
21st Century Chase
Delmark DE 589
Fred Anderson Quartet
Live at the Velvet Lounge Volume III
Asian Improv AIR 0074
Fred Anderson
Staying in the Game
Engine e029
Fred Anderson Trio
Birthday Live 2000
Asian Improv AIR “Official Bootleg”
Consistency of expression is what has characterized the playing of Chicago tenor saxophonist Fred Anderson over the years. Furthermore, unlike many other musicians, there hasn’t been a subsequent lessening of his powers as he ages. As a matter of fact, now that he’s reached the venerable age of 80, his improvisational skills are at an exalted peak. Listen to these CDs for proof. They were recorded not only at Anderson’s 80th Birthday Bash, but when he was a comparative youngster of 79, 78 and even 71. MORE
December 17, 2009
Birthday Live 2000
Asian Improv AIR “Official Bootleg”
Fred Anderson Quartet
Live at the Velvet Lounge Volume III
Asian Improv AIR 0074
Fred Anderson
Staying in the Game
Engine e029
Fred Anderson
21st Century Chase
Delmark DE 589
Consistency of expression is what has characterized the playing of Chicago tenor saxophonist Fred Anderson over the years. Furthermore, unlike many other musicians, there hasn’t been a subsequent lessening of his powers as he ages. As a matter of fact, now that he’s reached the venerable age of 80, his improvisational skills are at an exalted peak. Listen to these CDs for proof. They were recorded not only at Anderson’s 80th Birthday Bash, but when he was a comparative youngster of 79, 78 and even 71. MORE
November 20, 2008
The Vision Festival New York
June 11, 2008
Figuratively – and usually single-handedly – carrying the banner for experimental Jazz in New Orleans for many years, tenor saxophonist Edward “Kidd” Jordan, 73, must have felt metaphorically out-in-the-cold on many occasions. But heat was certainly in evidence – literally and emotionally – mid-June in New York as a turn-away crowd helped celebrate the reedman’s Lifetime Achievement with a series of concerts.
Highlight of the 13th Annual Vision Festival that took place at the Lower East Side’s Clemente Soto Velez Cultural Center, the five sets honoring Jordan were hot – as was the venue. Despite a few strategically placed revolving fans, the temperature hovered around 35 degrees Celsius in the venerable space, with body heat from the packed audiences adding to the ventilation challenges. MORE
June 6, 2008
LIVE at the Kerava Jazz Festival: Finland
Flying Note FNCD 9012
Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley
A Life Saved By a Spider and Two Doves
Another Timbre at06
Scott Fields
Bitter Love Songs
Clean Feed CF 102 CD
Open Loose
Strange Unison
Radio Legs RL 013
Jason Stein
A Calculus of Loss
Clean Feed CF 104 CD
By Ken Waxman
Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE
June 6, 2008
A Calculus of Loss
Clean Feed CF 104 CD
Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley
A Life Saved By a Spider and Two Doves
Another Timbre at06
Kidd Jordan/Kali Z. Fasteau
LIVE at the Kerava Jazz Festival: Finland
Flying Note FNCD 9012
Scott Fields
Bitter Love Songs
Clean Feed CF 102 CD
Open Loose
Strange Unison
Radio Legs RL 013
By Ken Waxman
Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE
June 6, 2008
Strange Unison
Radio Legs RL 013
Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley
A Life Saved By a Spider and Two Doves
Another Timbre at06
Kidd Jordan/Kali Z. Fasteau
LIVE at the Kerava Jazz Festival: Finland
Flying Note FNCD 9012
Scott Fields
Bitter Love Songs
Clean Feed CF 102 CD
Jason Stein
A Calculus of Loss
Clean Feed CF 104 CD
By Ken Waxman
Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE
June 6, 2008
Bitter Love Songs
Clean Feed CF 102 CD
Evan Parker-Mark Wastell-Graham Halliwell-Max Eastley
A Life Saved By a Spider and Two Doves
Another Timbre at06
Kidd Jordan/Kali Z. Fasteau
LIVE at the Kerava Jazz Festival: Finland
Flying Note FNCD 9012
Open Loose
Strange Unison
Radio Legs RL 013
Jason Stein
A Calculus of Loss
Clean Feed CF 104 CD
By Ken Waxman
Arguments exist as to the commercial benefits of free trade agreements. But musicians wish similar treaties existed for their trade. In the period since NFTA, for instance, the ability of performers to travel across borders has become worse. That’s what makes festival season important. Foreign performers ranging from respected veterans to savvy tyros get Canadian exposure. Recent CDs here capture older jazzers’ alchemy and suggest newer players to watch. MORE
October 16, 2006
Kidd Jordan/Hamid Drake/William Parker
Palm of Soul
AUM Fidelity AUM038
Temporarily and involuntarily away from his home in the Big Easy due to Hurricane Katrina, tenor saxophonist Kidd Jordan’s playing is more meditative than usual – although just as inspired – on this exceptional trio CD
Partnered by improv’s busiest rhythm section – New York bassist William Parker and Chicago percussionist Hamid Drake – Jordan, who for many years has not only been New Orleans’ most accomplished Free improviser, but often it’s only one, bring a lifetime of studied iconoclasm to the seven compositions here. Cerebral as well as fiery, he knows how to adjust his solid mid-register glottal punctuation and reverberated split tones for maximum impact. Always straightforward – although not straightahead – his improvising includes dirge-like atonal contrafacts of Crescent City classics like “Lonely Avenue” and “The Saints”. MORE
June 16, 2003
Live from the Vision Festival
Thirsty Ear THI 57131.2
The next best thing to being there, this combination CD and DVD package offers a distillation of some of the outstanding performances from last year’s Vision Festival in New York’s Lower East Side. Lacking the name recognition of Newport, Montreux, or any other capitalist entity-associated international star festival, in its less than 10 year existence, Vision has still promulgated a unique artistic vision.
Built around the vision of bassist William Parker, it’s a place where pioneering avant gardists from the 1960s mix it up with younger players who are carrying on experimental ideals. It’s cross-cultural, national and international as well, with the musicians showcased on this session arriving from Germany, Korea, Philadelphia, Chicago, Boston, Minneapolis, Valencia, Calif., New Orleans… and Brooklyn, MORE
May 10, 2002
ALAN SILVA/KIDD JORDAN/WILLIAM PARKER
Emancipation Suite #1
Boxholder 023
Dedicated to a Russian inventor/musician (Leon Theremin), an American theorist/composer (George Russell) and a Saturnian who combined these characteristics and many others (Sun Ra) this CD is a sprawling, nearly 57½ minute symphonic performance created by only three improvisers.
It can still be described as symphonic, however because Alan Silva, the American bass player, long-time European expatriate and Free Jazz pioneer, does his work on what he terms the orchestra synthesizer. That too is more than hyperbole as well. For in contrast to many other operatives -- especially in rock -- who employ Robert Moog’s invention for little more than beats and color, Silva takes full advantage of its polyphonic counterpoint. Not surprising for someone who worked with large scale visionaries like Ra and Cecil Taylor, he uses the instrument’s capacity for dynamics and sound separation to its utmost, conjuring up sets and subsets of percussion, horn and string sounds. MORE