Earlier this year, I spent a delightful and fascinating afternoon in conversation with Todd Cochran, aka Bayeté. His 1972 album Worlds Around the Sun has just gotten the deluxe reissue treatment from Omnivore Recordings. Our discussion began informally as we discussed where I was coming from. As a relative newcomer to jazz, I approach most
The in-box here at Musoscribe World Headquarters is overflowing once again, thanks in no small part to my focusing on other matters (including my recent move and impending nuptials) in addition to keeping up my reviewing schedule. So here’s the first in another series of shorter-than-usual reviews. All of these albums were worth my time;
Continued from Part Two… Bill Kopp: In the entry on you in the Music Hound Jazz book, the reviewer makes the points that your back catalog is in shameful disarray, with many titles out of print, and that you deserve better. Now, that book was written in the 90s. What’s the state of your catalog
Continued from Part One… Bill Kopp: Though you’re certainly grounded at least in part in rock styles, another remarkable quality of your musicianship to me is the way you take more of the jazz player’s approach to arrangement: you’re not stingy about having all the solos. Everybody gets a chance to shine. Is that a
One might describe Larry Coryell as something of an undiscovered legend. To those in the know – jazz/fusion aficionados and those like me fortunate enough to stumble onto his vast catalog by accident – he’s one of the greats, certainly a peer of names such as John McLaughlin and Pat Metheny. But to the world
It’s a popular (and not wholly inaccurate) contention that Phil Collins did his best work with Genesis in the immediate years after Peter Gabriel left, and then – around the release of ABACAB, headed for the ditch creatively. Of course the commercial approach reaped rewards in terms of album sales; once Genesis quite being challenging
The backlog of music here at Musoscribe World Headquarters has gotten massive; it’s nearly overwhelming. Anyone who tells you that there’s no good new music out there clearly doesn’t deserve your attention. These albums, however, do. That said, the only practical way for me to cover them is to do so in a truncated fashion.
In the related and sometimes overlapping fields of marketing and customer service, “bait and switch” is – quite rightly – considered a bad thing. Drawing a potential customer in with promises of one thing only to deliver another (or worse yet, a sales pitch for another) is considered an unethical practice. But somehow when it’s
Continued from Part Three… Bill Kopp: Speaking of playing onstage, how do the live pieces differ from the studio versions? Do you open them up for improvisation, or are they tightly structured? John McLaughlin: Oh, yes! The minute we start playing. They even change in the studio; take 1 could be different from take 2.
Continued from Part Two… Bill Kopp: This is an obvious thing to say, but since instrumental music has to convey its messages without the benefit of lyrics, it has to do so using tone, volume, melody, harmony and so forth. When you compose a piece, do you think about it in extramusical terms – that