While the Kronos Quartet cracked open the field of jazz for the once-exclusively classical string quartet, the Turtle Island String Quartet is the first whose members can actually improvise, thus giving the foursome much credibility in the jazz world. Their repertoire extends from bebop standards like "A Night in Tunisia" to Third Stream... [+] Read More

While the Kronos Quartet cracked open the field of jazz for the once-exclusively classical string quartet, the Turtle Island String Quartet is the first whose members can actually improvise, thus giving the foursome much credibility in the jazz world. Their repertoire extends from bebop standards like "A Night in Tunisia" to Third Stream material to rock & roll treatments of Robert Johnson's Delta blues ("Crossroads"), throwing in bluegrass, South Indian ragas, and any other influences that they can latch onto -- all without the crutch of a rhythm section.

Violinist/cofounder Darol Anger spent nine years (1975-1984) as a founding member of the David Grisman Quintet, which helped to open up the possibilities of jazz improvisation for stringed instruments. Just before leaving Grisman, Anger played with violinist David Balakrishnan in a four-violin group called Saheeb. Soon thereafter, the two recorded an album with jazz violinist Matt Glaser -- and together with cellist Mark Summer of the Winnipeg Symphony, Anger and Balakrishnan founded the TISQ in 1985. The viola chair has been a revolving door throughout much of the group's history, filled respectively by Irene Sazer, Katrina Wreede, and Danny Seidenberg. Balakrishnan in turn was replaced in 1993 by Tracy Silverman. Their first self-titled album for Windham Hill Jazz -- released in 1988 -- led to several more on that label, including the soundtrack for the film Spider Dreams. In 1993, the TISQ and the Billy Taylor Trio performed Taylor's Homage, one of the more gracefully balanced classical/jazz fusions around, in concert. ~ Richard S. Ginell, All Music Guide [-] Hide

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. They next came together in 1951, recording as the Milt Jackson Quartet. In... [+] Read More

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. They next came together in 1951, recording as the Milt Jackson Quartet. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set. In the early days Jackson and Lewis both were equally responsible for the group's musical direction but the pianist eventually took over as musical director. The MJQ has long displayed John Lewis' musical vision, making jazz seem respectable by occasionally interacting with classical ensembles and playing concerts at prestigious venues, but always leaving plenty of space for bluesy and swinging improvising. Their repertoire, in addition to including veteran bop and swing pieces, introduced such originals as Lewis' "Django" and Jackson's "Bags' Groove." The group recorded for Prestige (1952-55), Atlantic (1956-74), Verve (1957), United Artists (1959) and Apple (1967-69) and, in addition to the many quartet outings, they welcomed such guests as Jimmy Giuffre, Sonny Rollins, the Beaux Arts String Quartet, a symphony orchestra conducted by Gunther Schuller, singer Diahann Carroll (on one piece), Laurindo Almeida, a big band and the Swingle Singers. Although the musicians all had opportunities to pursue individual projects, in 1974 Milt Jackson, tired of the constant touring and the limitations set on his improvising and he quit the group, causing the MJQ to have a final tour and break up. In 1981 Jackson relented and the Modern Jazz Quartet (which has recorded further albums for Pablo and Atlantic) became active again although on a more part-time basis. Connie Kay's health began to fade in the early '90s (Mickey Roker often filled in for him) and after his death in 1995, Albert "Tootie" Heath became his replacement. ~ Scott Yanow, All Music Guide [-] Hide

While George Russell has been very active as a free-thinking composer, arranger and bandleader, his biggest effect upon jazz has been that of the quieter role of theorist. His great contribution, apparently the first by a jazz musician to general music theory, was a book with the intimidating title The Lydian Chromatic Concept of Tonal... [+] Read More

While George Russell has been very active as a free-thinking composer, arranger and bandleader, his biggest effect upon jazz has been that of the quieter role of theorist. His great contribution, apparently the first by a jazz musician to general music theory, was a book with the intimidating title The Lydian Chromatic Concept of Tonal Organization, where he concocted a concept of playing jazz based on scales rather than chord changes. Published in 1953, Russell's theories directly paved the way for the modal revolutions of Miles Davis and John Coltrane -- and Russell even took credit for the theory behind Michael Jackson's huge hit "Wanna Be Startin' Somethin,'" which uses the Lydian scale (no, he didn't ask for royalties). Russell's stylistic reach in his own compositions eventually became omnivorous, embracing bop, gospel, blues, rock, funk, contemporary classical elements, electronic music and African rhythms in his recent, ambitious extended works -- most apparent in his large-scale 1983 suite for an enlarged big band, The African Game. Like his colleague Gil Evans, Russell never stopped growing, but his work is not nearly as well-known that that of Evans, being more difficult to grasp and, in any case, not as well-documented by U.S. record labels.

Russell's first instrument was the drums, which he played in the Boy Scout Drum and Bugle Corps and at local clubs when he was in high school. At 19, he was hospitalized with tuberculosis, but he used the enforced inactivity to learn the craft of arranging from a fellow patient. Once back on his feet, he played with Benny Carter, but after being replaced on drums by Max Roach, Russell began to zero in on composing and arranging. He moved to New York to join the crowd of young firebrands who gathered in the Gil Evans "salon," and he was actually invited to play drums in Charlie Parker's band. But once again, he fell ill, finding himself in a Bronx hospital for 16 months (1945-46), where he began to formulate the ideas for the Lydian Concept. Upon his recovery, Russell leaped into the embryonic fusion of bebop and Afro-Cuban rhythms by writimg "Cubana Be" and "Cubana Bop," which the Dizzy Gillespie big band recorded in 1947. He contributed arrangements to Claude Thornhill and Artie Shaw in the late '40s and wrote the first (and not the last) speculatory scenario of a meeting between Charlie Parker and Igor Stravinsky, "A Bird In Igor's Yard," recorded by Buddy De Franco.

While working on his Lydian theories, Russell dropped out of active musicmaking for awhile, working at a sales counter in Macy's when his book was published. But when he resumed composing in 1956, he had established himself as an influential force in jazz. Russell's connection with Gunther Schuller resulted in the commission of All About Rosie for the 1957 Brandeis University jazz festival, and he also taught at the Lenox School of Jazz that Schuller co-founded. He formed a rehearsal sextet in the mid-1950s which became known as the George Russell Smalltet, with Art Farmer, Bill Evans, Hal McKusick, Barry Galbraith and various drummers and bassists. Their 1956 recording Jazz Workshop (RCA Victor) became a landmark of its time, and Russell continued to record intriguing LPs for Decca in the late 1950s and Riverside in the early 1960s. Another key album from this period, Ezz-thetics, featured two important progressive players, Eric Dolphy and Don Ellis.

Finding the American jazz scene too confining for his music, Russell left for Europe in 1963, living in Sweden for five years. From his new base, he toured Scandinavia with a new sextet of European players and received numerous commissions -- including a ballet based on Othello, a mass, and an orchestral suite Electronic Sonata for Souls Loved By Nature. Upon his return to the U.S. in 1969, he joined the faculty of the New England Conservatory of Music, where Schuller had started a jazz department, and this gave him a secure base from which to tour occasionally with his own groups. Russell stopped composing from 1972 to 1978 in order to finish a second volume on the Lydian Chromatic Concept. He led a 19-piece big band at the Village Vanguard for six weeks in 1978, played the Newport Jazz Festival when it was based in New York City, and made tours of Italy, the U.S. West Coast and England in the 1980s. Among his most imposing commissions of the last decade or so have been An American Trilogy and the monumental three-hour work Time Line for symphony orchestra, jazz ensembles, rock groups, choir and dancers. In addition to The African Game and So What on Blue Note, Russell made recordings for Soul Note in the 1970s and '80s, and Label Bleu in the '90s. In addition to continuing as a faculty member of NEC during the '90s, Russell also led the big band Living Time Orchestra. ~ Richard S. Ginell, All Music Guide [-] Hide

Newton is a thoroughly contemporary artist, making elegant, sometimes eccentric, always high-minded albums that reflect a wide variety of jazz and classical influences without giving a fig about what happens to be popular at a given time. Besides producing a lovely tone quality, his flute work is highly resourceful, making use of... [+] Read More

Newton is a thoroughly contemporary artist, making elegant, sometimes eccentric, always high-minded albums that reflect a wide variety of jazz and classical influences without giving a fig about what happens to be popular at a given time. Besides producing a lovely tone quality, his flute work is highly resourceful, making use of flutter-tonguing, birdlike effects and simultaneous vocal/flute lines, trying to push the envelope of his instrument. As a composer, Newton finds wellsprings of inspiration in John Coltrane, Charles Mingus and Duke Ellington -- the latter whose music he transformed completely on the adventurous The African Flower album -- and he writes charts for all kinds of combinations of instruments.

Newton's first musical experiences were on the electric bass as part of a Motown cover band in San Pedro, which he quit to form a Jimi Hendrix-style trio. However, he also picked up alto and tenor saxophones while in high school, not discovering the flute until he was 16. Heavily influenced by Eric Dolphy -- to whom he has been compared -- and Roland Kirk, Newton began to lean toward the avant-garde in jazz while studying classical music at Cal State Los Angeles. Soon after moving to Pomona, he joined a local band, Black Music Infinity, that was led by then-free-jazz drummer Stanley Crouch, with Arthur Blythe and David Murray as co-conspirators. Feeling the competitive heat on saxes, Newton decided to concentrate totally on the flute at age 22. A year after graduation (1978), he made a move to New York with Murray, where he hooked up with Anthony Davis on three LPs, played in Cecil Taylor's big band, and started recording as a leader on several small and large labels. He moved back to San Pedro in 1982 and started teaching jazz history, composition and jazz ensemble at the California Institute of the Arts in Valencia. Over the years, Newton has also written several classical commissions for various-sized ensembles, and in 1990, he published a book, Improvising Flute. Alas, not enough of his recordings are currently available to give one a decent idea of his wide-ranging tastes. ~ Richard S. Ginell, All Music Guide [-] Hide

The musical director of the Modern Jazz Quartet for its entire history, John Lewis found the perfect outlet for his interest in bop, blues and Bach. Possessor of a "cool" piano style that (like Count Basie's) makes every note count, Lewis with the MJQ has long helpled make jazz look respectable to the classical music community without watering... [+] Read More

The musical director of the Modern Jazz Quartet for its entire history, John Lewis found the perfect outlet for his interest in bop, blues and Bach. Possessor of a "cool" piano style that (like Count Basie's) makes every note count, Lewis with the MJQ has long helpled make jazz look respectable to the classical music community without watering down his performances.

After serving in the military, Lewis was in the Dizzy Gillespie big band (1946-48). He recorded with Charlie Parker during 1947-48 (including "Parker's Mood") and played with Miles Davis's Birth of the Cool Nonet, arranging "Move" and "Rouge." He worked with Illinois Jacquet (1948-49) and Lester Young (1950-51) and appeared on many recordings during the era. In 1951 Lewis recorded with the Milt Jackson Quartet which by 1952 became the Modern Jazz Quartet. Lewis's musical vision was fulfilled with the MJQ and he composed many pieces with "Django" being the best-known. In addition to constantly touring with the MJQ during 1952-74, Lewis wrote the film scores to Odds Against Tomorrow, No Sun in Venice and A Milanese Story, recorded as a leader (including the 1956 cool classic "Two Degrees East, Three Degrees West," collaborations with Gunther Schuller and records with Svend Asmussen and Albert Mangelsdorff) and worked with Orchestra U.S.A. in the mid-'60s. When the MJQ broke up in 1974, Lewis worked as an educator and occasionally recorded as a leader. With the MJQ's rebirth in 1981, he has resumed his former role as its guiding spirit. Most of John Lewis's own projects were recorded for Atlantic. ~ Scott Yanow, All Music Guide [-] Hide

Hailing from a trio of Modern Jazz Quartet (MJQ) sessions, Django (1955) contains some of the earliest sides that Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums) recorded for Prestige Records. Initially, the combo were part of Dizzy Gillespie's influential backing band and after a few minor personnel... [+] Read More

Hailing from a trio of Modern Jazz Quartet (MJQ) sessions, Django (1955) contains some of the earliest sides that Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass) and Kenny Clarke (drums) recorded for Prestige Records. Initially, the combo were part of Dizzy Gillespie's influential backing band and after a few minor personnel shifts, they continued as one of the more sophisticated aggregates of the post-bop era. The album commences with Lewis' sublime and serene title track "Django", dedicated to the memory of guitarist extraordinaire Django Reinhardt. This musical paean aptly recaptures the essence of Reinhardt's enigmatic gypsy-like nature, especially evident within Jackson's leads which emerge from the thoughtful opening dirge with a refined, warm tone throughout. Reinhardt's playfulness is recalled in Lewis' well-placed interjections between and beneath Jackson's lines. "One Bass Hit" is an homage to Gillespie with Heath taking charge of the intricate melody, showing off his often and criminally underutilized skills. From the same December 1954 gathering comes the moody Lewis-penned ballad "Milano". There is a notable Mediterranean feel resounding in the opulence of MJQ's unassuming interaction. The centrepiece is the lengthy four-movement showcase "La Ronde Suite circa January of 1955. The MJQ manoeuvre with unquestionable grace, alternately supporting and soloing, each taking the reigns as the others construct their contributions around the respective soloist. The remaining four selections date back to June of 1953 and are highlighted by "The Queen's Fancy", a simple and refined fugue that carries a distinct air of nobility. "Delaunay's Dilemma" is a definite contrast as it allows the players to cut loose with some frisky and fun exchanges that perfectly demonstrate their ability to glide through the sinuous syncopation. Both the understated splendour of "Autumn In New York" and the equally sublime cover of "But Not For Me" provide some familiar backdrops for the MJQ to collaborate and perhaps more directly display their essential improvisational abilities. In terms of seminal Modern Jazz Quartet entries, it is hard to exceed the variety of styles and performances gathered on Django. ~ Lindsay Planer, All Music Guide [-] Hide

Turtle Island String Quartet's Windham Hill Essential Series is a fine overview of the group's recordings for the label, culling the highlights from each of their albums to provide a definitive introduction to the contemporary instrumental quartet. ~ Stephen Thomas Erlewine, All Music Guide

Turtle Island String Quartet's Windham Hill Essential Series is a fine overview of the group's recordings for the label, culling the highlights from each of their albums to provide a definitive introduction to the contemporary instrumental quartet. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

This is one of pianist John Lewis' most rewarding albums outside of his work with the Modern Jazz Quartet. Three numbers (including a remake of "Two Degrees East, Three Degrees West") showcase his piano in a quartet with guitarist Jim Hall, bassist Geroge Duvivier and drummer Connie Kay. A 15½-minute rendition of "Body and Soul" has one of tenor... [+] Read More

This is one of pianist John Lewis' most rewarding albums outside of his work with the Modern Jazz Quartet. Three numbers (including a remake of "Two Degrees East, Three Degrees West") showcase his piano in a quartet with guitarist Jim Hall, bassist Geroge Duvivier and drummer Connie Kay. A 15½-minute rendition of "Body and Soul" has one of tenor saxophonist Paul Gonsalves' finest solos while "Afternoon in Paris" features a diverse cast with trumpeter Herb Pomeroy, Gunther Schuller on French horn, tenorman Benny Golson, baritonist Jimmy Giuffre and guitarist Jim Hall; altoist Eric Dolphy cuts everyone. This set was reissued in 1988 as part of Atlantic's Jazzlore series. ~ Scott Yanow, All Music Guide [-] Hide

This is a true classic. Composer/pianist George Russell gathered together a very versatile group of talents (trumpeter Don Ellis, trombonist Dave Baker, Eric Dolphy on alto and bass clarinet, bassist Steve Swallow, and drummer Joe Hunt) to explore three of his originals, "'Round Midnight" (which is given an extraordinary treatment by Dolphy),... [+] Read More

This is a true classic. Composer/pianist George Russell gathered together a very versatile group of talents (trumpeter Don Ellis, trombonist Dave Baker, Eric Dolphy on alto and bass clarinet, bassist Steve Swallow, and drummer Joe Hunt) to explore three of his originals, "'Round Midnight" (which is given an extraordinary treatment by Dolphy), Miles Davis' "Nardis," and David Baker's "Honesty." The music is post-bop and although using ideas from avant-garde jazz, it does not fall into any simple category. The improvising is at a very high level and the frameworks (which include free and stop-time sections) really inspire the players. Highly recommended. ~ Scott Yanow, All Music Guide [-] Hide

Excellent playing of Newton's compositions for solo flute. ~ Ron Wynn, All Music Guide

Excellent playing of Newton's compositions for solo flute. ~ Ron Wynn, All Music Guide [-] Hide