Jeff Albert

Last weekend’s tour of Texas with the Log Ladies has generated my favorite piece of press ever.

SYSTM, the Log Ladies, Lunch Money [Show Preview]: Austinist:

” Oh yea, the Ladies of the Log are playing with Jeff Albert (trombonist): he is kind of a big deal.”

Emphasis added by me.

Bill Meyer’s preview, for the Chicago Reader, of the Instigation Quartet gig at the Hideout in Chicago on February 8:

Klang, Jeff Albert’s Instigation Quartet | Hideout | Jazz | Chicago Reader:

“The Instigation Quartet, one of his most adventurous endeavors, is more an idea than a group; its book is a set of loose verbal and written instructions for improvisers, and at each gig he confronts a different set of musicians with those texts. “

He also snuck in a little review of his advance copy of the new CD:

“… in November he recorded a version with saxophonist Kidd Jordan, drummer Hamid Drake, and bassist Joshua Abrams, who turn his instigations into constantly shifting explorations of mood and texture. Because he had three associates of the late, great Fred Anderson on hand, the resulting album—titled The Tree on the Mound and due sometime this year on French label Rogue Art—also includes a couple of the tenor saxophonist’s tunes. Albert’s solo on Anderson’s “The Strut,” which blends blubbery chatter with bluesy testifying, is an irresistible combination of down-home and far-out.”

Click the link for the full piece.

http://www.jonathanfreilich.com/frontpage/2011/5/27/complete-interview-with-jeff-albert-trombonist-and-curator-o.html

Click the link above to hear an interview of me by Jonathan Freilich. Jonathan has been doing podcast interviews with New Orleans musicians, and he has a great knack for getting us to say things we didn’t know we knew.

Hamid Drake and Bindu: Reggaeology at the London Jazz Festival:

“Having worked together since 2006 when they hooked up to form Lucky 7s, it was no surprise that the two trombones spent much of the evening hanging on each others coat tails, phrasing as one, veering between seat of the pants counterpoint and raucous support for each other’s solos. New Orleans resident Albert boasted the fuller tone, and brought with him some of his natal cities’ second line sensibilities, while Bishop tended more to the abstract and dissonant. Both took fine features: Bishop’s muted ‘bone on his own ‘Fred’s Gift’ was particularly noteworthy, while Albert tore it up with the plunger mute on ‘Mother Kali’s Children No Cry.’”