Reviews

"**** . . . command of a forbidding instrument that speaks a solo language rarely heard in jazz. . . [Clark] sets ambitious goals. . . He showcases his gifts as soloist, composer, orchestrator, and instigator .... He sets every stage and his solos are revelatory."

- Down Beat (September 1997)

"Clark has conjured up a mercurial, exciting set. The CD runs the gamut musically - from the ravishing, leisurely title track . . .to a feisty take on Sonny Roll ins' 'Airegin' and a deeply soulful rendition of 'My One and Only Love'."

- Jazziz (September 1997)

Critic's Choice" This newest set from progressive jazzman John Clark reaffirms his distinctive and engaging talent - and not just in [the] somewhat narrow filed of jazz French horn players."

- Billboard (June 7,1997)

"John Clark . . . shows here his mastery of the horn in settings inventive and varied . . . rich sounds . . . The high luster on these recordings is far more than just an illusion of depth."

- JazzTimes (June 1997)

Bruce Ditmas: What if

****"striking, colorful music"

-- Down Beat (June 1995)

"an outstanding release"

-- Option (September - October 1995)

**** 1/2 “A monster of a disc that will . . . delight more venturesome

[listeners] . . . challenging, wide-open but well thought-out music.”

-- Buffalo (NY) News (May 12, 1995)

Steve Kuhn: Seasons of Romance

"Kuhn's piano work has more than just vast fluency, harmonic

imagination, and subtle intelligence; it has genuine grace. Best of all,

his firm yet sensitive touch draws a luminous tone from his

instrument . . ."

-- Stereophile (January 1996)

*** 1/2 "Kuhn's stirring, samba-like 'Clotilde' and 'Good Morning,

Heartache' are standout tracks, making the best use of the pianist’s

interactive emphatic left hand."

-- Down Beat (January 1996)

"everything on this disc simply sings and swings"

-- Jazz and Blues Report (November 1995)

Harold Land: A Lazy Afternoon

"Why didn’t someone think of this before? . . .timeless pieces,

beautifully rendered . . . if you are a seeker of beauty, Harold Land

has the answer . . ."

-- JazzTimes (September 1995)

"Land glides through Ray Ellis’ orchestral charts, rhapsodizing forlorn

and alluding to noirish days gone by . . ."

-- Billboard (May 6, 1995)

Alan Pasqua: Dedications

"wonderfully fresh"

-- The Wall Street Journal (February 2, 1996)

" . . . thoroughly satisfying and enjoyable. . . .From bop to swing, Alan

Pasqua & co. (in trio, quartet, and quintet settings) joyously explore

many facets of the jazz tradition, adding zest and their own voices to

every one of Alan’s excellent compositions."

-- The Music Advocate (May 1996)

Alan Pasqua: Milagro

**** 1/2 "[Milagro] sneaks up on you . . . and insinuates itself into

your consciousness and CD player . . . a program of glowing,

thoughtful tunes . . . Pasqua's playing is warm and introspective

throughout . . ."

-- Down Beat (January 1995)

" . . .a fine, thought-provoking debut for Alan Pasqua . . ."

-- JazzTimes (March 1995)

**** "Alan's piano is clear and has a beautiful sound . . . what this

album presents is hard-core and, simultaneously, impressionistic

jazz."

-- Swing Journal (Japan) (November 1994)

Gary Peacock: Just So Happens

"Peacock turns in a masterful, always musical performance, and . . .

his warm, woody tone [is recorded} with exceptional presence and

depth."

-- Down Beat (February 1995)

"a riveting duet . . . For its wealth of uncanny empathy, liberal doses

of chance-taking, and raw-boned musicality, Just So Happens is one

of the finest jazz albums of the year."

-- Jazziz (January 1995)

Julian Priester and Sam Rivers: Hints on Light and Shadow

"a welcomed addition to both artists' discographies."

- JazzTimes (July-August 1997)

"an example of Rivers' free-blowing brilliance . . .Priester is a fine nimble player . . .they're both such able improvisers that moments of revelation are inevitable."

- Jazziz (August 1997)

"Postcards continues to explore the possibilities of improvisation in an electro-acoustic setting . . . I highly recommend it for headphone listening."

- Cadence (August 1997)

Ralph Simon: As

"Fine musical moments."

-- JazzTimes (December 1995)

"With all its depth of field and slow unfoldings, this is a fine CD."

-- Cadence (May 1995)

"rich-textured, musically adventurous"

-- The Wall Street Journal (February 2, 1995)

**** "Finally Simon's second album arrived . . . his tenor and

soprano, with rich and deep tones, vibrate though the transparent

space . . . a very serious music, remarkably rich and colorful."

-- Swing Journal (Japan) (November 1994)

Ralph Simon: Music for the Millennium

". . . subtle textures and hues of acoustic and electric music. "

- Down Beat (January 1997)

" Beautifully recorded and sensitively performed . . . Simon's a fine player. . . a very attractive album. "

- Jazziz (January 1997)

Bob Stewart: Then and Now

* * * * "rambunctious fun."

- Down Beat (February 1997)

Critic's Choice

- Billboard (November 20, 1996)

". . . covers an incredible range of expression . . . open-minded musicality. . ."

- JazzTimes (October 1996)

A "top new jazz release"

- Business Week (December 9, 1996)

Jorge Sylvester: MusiCollage

"Sylvester shines as composer and player . . . MusiCollage is the

quintessence of creative teamwork."

--JazzTimes (April 1996)

Critic's Choice: "a fresh, eclectic blend of straight-ahead, Latin and

avant-garde jazz styles."

-- Billboard (February 17, 1996)

Chip White: Harlem Sunset

Critic's Choice: "White's auspicious debut as a leader . . . This smart,

swinging set flies high . . ."

-- Billboard (January 7, 1995)

"Buy Harlem Sunset . . . It has strong new lines on which to improvise

(composed by White), solos which flame with passion, and startling

sonic immediacy."

-- CD Review (April 1995)

" . . . a reputation-making debut . . . White has assembled an all-star

cast . . . what makes this album soar is White’s angular, propulsive

compositions, tunes that are unusually lyrical for a drummer . . .

Harlem Sunset represents the best modern jazz has to offer."

-- Boston Herald (December 23, 1994)

Reggie Workman: Cerebral Caverns

**** "this entire team of spelunkers digs where we've seldom gone

before, flooding dark chambers with their flashes of brilliance. What

Workman brings to life on Cerebral Caverns is fantastically rare and

rewards repeated listening."

-- Down Beat (January 1996)

"Workman, continually stretching, exploring and experimenting, just

might be the future of jazz."

-- CMJ (December 4, 1955)

"aesthetically adventurous . . . the innovative instrumentation and

the vivid dynamics of the recorded sound make it a feast of new

sonic colors, one ear thrill after another."

-- Stereophile (January 1996)

Critic’s Pick 1995 (Sunsh Stein) JazzTimes (March 1996)

Reggie Workman: Summit Conference

**** 1/2 " . . . the virtuoso veterans on Summit Conference create

highly structure, tightly focused improvisations that sound ripe, rich,

and fully mature . . "

-- Down Beat (January 1995)

Critic's Pick (Top 10 List)

-- John Dilberto, Jazziz (March 1995)

**** 1/2 " . . . what a wonderful group! Everybody brought in his

originals and showed off his skills . . . everybody’s solo is

outstanding."

-- Swing Journal (Japan) (November 1994)