For Downbeat Magazine’s 80th Anniversary, they published a list of the 80 coolest things in jazz. #41 is New Orleans, and Open Ears got a brief mention in the article:
At…events like Jeff Albert’s Open Ears Music Series, improvising players innovate new sonic concepts on the fly, giving listeners direct and immediate access to their creative process.
Kind words from Bill Meyer in his Still Single review of the new Steve Marquette album.
STILL SINGLE – Steve Marquette Quintet – I Knew It Then LP (Two Cities Records):
“There and everywhere, trombonist Jeff Albert connects the dots between freeform blubber, steeplechase charge, and languid ardor so naturally that the distance between his stylistic touchstones never even comes to mind.”
“The Tree on the Mound” was released in January, but fortunately a few nice folks still remember it in December. It received an “Honorable Mention” in the New York City Jazz Record Best of 2013 list, and was named as one of nola.com’s Best Jazz Records of 2013. Both lists put us in some humbling company.
Thanks for a great 2013. See you next year.
Moment’s Notice (page 2):
“Maybe it’s the laconic, conversational drawl that is half-expected from New Orleans musicians, but the dialogue between Albert’s trombone and Jordan’s tenor is tight, buttery and telepathic, their interplay granted both complex measurement and an easy, yarn-spinning collectivity.”
Follow the above link the read the entire review by Clifford Allen.
The Jazz Session, a jazz podcast produced by Jason Crane, is making a comeback. Back in February of 2012, I recorded an interview with Jason, and it never was released because he ended the show before the CD that we spent much of the interview discussing was released. Well that CD is out now, and the show is returning, and our interview is now available. Follow the link below to hear it.
The Jazz Session » The Jazz Session #420: Jeff Albert
**A couple of notes:
I have since finished the dissertation that we talked about in the interview. If you are having trouble sleeping and would like to read it, it is here: http://research.jeffalbert.com/imp/
The CD order changed a bit since I sent him music before the interview, and one of the tunes he plays in the show, is not actually on the CD. Mixes changed some too, so the bass sounds better on the CD than on the podcast.
Jeff Albert Instigation Quartet, The Tree on the Mound (Album Review – offbeat.com): “The art and practice of listening is both difficult and underemphasized in our current world. Starting from the first cut on this great quartet recording led by trombonist Jeff Albert, it is easy to hear how much listening is happening on this record.”
“Whether performing or producing his Open Ears Music series in New Orleans, trombonist Jeff Albert excels at using his own talent to bolster that of his peers. It’s an idiosyncrasy that shines through on his excellent new disc. At the heart of The Tree On The Mound are four improvised “Instigation Quartet” pieces. While Albert gives saxophonist Edward “Kidd” Jordan plenty of space to do his thing, the trombonist also brings a delicate balance of deference and leadership—a combo that allows the music to shape-shift from kinetic and cerebral (“Instigation Quartet #6”) to witty (“Instigation Quartet #4”) to sublime (“The Strut”).”
I am once again honored to be in such good company, with the other Rising Star Trombonists in the 2013 DownBeat Critics Poll.
“The Tree on the Mound” was named a Recommended New Release by Andrey Henkin in the June issue of The New York City Jazz Record.
From the review:
There is a pleasing variance between Albert’s tuneful and rhythmically straightforward bluster and Jordan’s unfettered but emotionally ambivalent tonality. That opposition persists whatever the tactics and stands as one of the strong suits of this album.
Dusted Reviews: Jeff Albert’s Instigation Quartet – The Tree on the Mound:
“The last three tracks in particular find the group really hitting a galvanizing stride and crafting a series of bracing contrapuntal passages. ‘Instigation Quartet #6’ unfolds as a succession of duets, the first an explosive dialogue between Jordan and Abrams, the next a slow burn from Albert and Drake before moving on to an invigorating ensemble section and roof-raising solo by Jordan. Tenor and trombone converse and cavort in ornate arcs with a level of close confluence complemented by bass and drums. It’s a consensus that carries over into the closer, a collective leap through the indelible finger-snapping groove of Anderson’s ‘The Strut.’”