From The Washington Post:
A 20-year-old Murray took jazz by surprise in 1975, when New York was still reeling from the death of John Coltrane. The penetrating certainty and harmonic sparseness of Coltrane’s late work left people awed. Murray made his mark by reengaging with the older, more lyrical styles of Don Byas and Ben Webster, and he built new room in the avant-garde for blues humor and playful ironies.
Matthew Shipp opines on Herbie Hancock.
To a jazz pianist like me, who was deep in the learning phase in the ’70s, Herbie Hancock was a musical and industry force who had to be reckoned with. He was ubiquitous and he spanned so many different movements and stylistic shifts that any aspiring jazz musician had to deal with his impact. As a keyboardist, composer and bandleader, he reflected the mutations of jazz in his era, and even though Hancock was never a primary influence or inspiration for me, he could not be ignored.
From the Pittsburgh Post-Gazette:
Chicago saxophonist Ken Vandermark is one of the most persuasive, personified arguments for why every state’s liquor laws should be amended to allow minors to attend concerts if accompanied by a parent or guardian. While still in his tweens, Ken was enjoying jazz clubs in his hometown of Boston at the side of his father Stu, who wrote for jazz/improv bible Cadence Magazine. “I was out three nights a week at hundreds of shows like Art Blakey and Johnny Griffin. That’s where I fell in love with jazz, figuring out that they were playing the same pieces different ways every night. I was captivated by that.” His epiphany arrived when his dad gave him free-jazz saxophonist Joe McPhee’s “Tenor” album at the age of 17 from a stack of Cadence promos.