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Jon Deitemyer
Jon has been a member of Greenleaf artist Matt Ulery's various ensembles since 2006, and currently performs with Concord recording artist Patricia Barber. In addition, Jon has performed and recorded with Zach Brock, Phil Markowitz, Ben Paterson (MaxJazz), Grazyna Auguscik (EMI), Renee Fleming, Lynne Arriale, and American Public Media's "Prairie Home Companion".
Jon is also an active educator, with positions at Loyola University Chicago and the Chicago Academy for the Arts.
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Paul Dietrich: 5+4
by Jack Bowers
The concept for this latest album by Wisconsin-based trumpeter, composer and educator Paul Dietrich, his fourth as leader, can be found in its title, 5+4, wherein he employs a jazz quintet and four-member string section. It is to Dietrich's credit that neither one outshines the other; the quintet takes the lead on six of the album's eight numbers (all written by Dietrich), the strings on the others ("Out Here," A Separation"). Indeed, the two components mesh so ...
read moreChad McCullough: The Charm of Impossibilities
by Jack Bowers
At its core, trumpeter Chad McCullough's album, The Charm of Impossibilities is an homage to the music of classical composer Olivier Messiaen, whose singular approach to composition has inspired McCullough since he first happened upon works by the French writer soon after the turn of this century. He writes, Messiaen's music is so complex in structure, yet still accessible to the casual listener and completely overwhelming emotionally." His plan for the album was to transpose Messiaen's concepts to a setting ...
read moreChad McCullough: The Charm of Impossibilities
by Dan McClenaghan
Trumpeter Chad McCullough encountered classical composer Olivier Messiaen's Quator pour la fin du temps" back in the early days of his jazz career. That music was written in 1940 by Messiaen to be played by a chamber ensemble consisting of the composer's fellow inmates in a German prison camp. McCullough's The Charm Of Impossibilities takes its inspiration from this classical work. McCullough describes Messiaen's chamber piece: Complex in structure, yet still accessible to the casual listener and completely ...
read moreMatt Ulery: Mannerist
by Mike Jurkovic
There is a lilting magic to the music of Mannerist that is hard to deny or find fault with. The Bridge" starts and the whole day changes, eliciting, perhaps, a feeling of being lighter on the feet, lighter in spirit and, most importantly, lighter in the head. Suddenly all the information they want you to swallow goes away and its just you and the music. It is a beautiful thing. It is something bassist/composer/bandleader Matt Ulery sets out to do ...
read moreTracye Eileen: You Hit The Spot
by Richard J Salvucci
The death of the Great American Songbook as a vehicle for aspiring singers is sometimes announced. Someone should tell the singers. Because this season alone has seen a crop of good recordings, most of them reviewed in AAJ, and very favorably so in the main. Tracye Eileen, a jny: Chicago vocalist with roots in the jazz community, continues the stream to good effect. While the recording is rather brief at 29 minutes, and the live section suggests an ...
read moreKevin Fort: Perspectives
by Edward Blanco
Pianist and composer Kevin Fort follows his extraordinary debut, Red Gold (CD Baby, 2014), with another tip of the hat to jazz standards and the modern tradition; Perspectives is a musical package nicely filled with new arrangements of six classics and four new originals, performed by a standard piano trio. For more than twenty years an in-demand player in Chicago's talent-rich jazz scene, Fort is also an educator, currently lecturing at the Northwestern University Bienen School of Music.
read moreTracye Eileen: You Hit the Spot
by Jack Bowers
You Hit the Spot is either the third or fourth album by sultry-voiced, Chicago-based vocalist Tracye Eileen. It was recorded in two sessions: one with a trio (and audience), the other with a sextet. She gets a good head start thanks to a splendid choice of material eight blue-chip tunes, all from the Great American Songbook. Eileen fares reasonably well with each of them, spreading a bluesy blanket over what are essentially straight-ahead renditions. She has excellent ...
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From: Bicoastal Collective: Chapter...By Jon Deitemyer