Événement

BlueStem Jazz presents Russ Johnson & Mark Feldman

Russ Johnson | a trumpeter of keen sensitivities and questing spirit Chicago Tribune

particularly Russ Johnsons lyrical, deeply melodic trumpet linesinvariably lifts the music to another realm. Down Beat Magazine

the dude can play some serious trumpet. Chicago Reader

Trumpeter Russ Johnson has been all over the progressive jazz map. Hes been an A-list performer for several years. All About Jazz

the knockout quintet assembled by Milwaukee trumpeter Russ Johnson. Not only has Johnson immersed himself in the local Chicago scene, hes maintained a diverse network of associates from his couple of decades spent in New York, as evidenced by his relationships with both saxophonist Jon Irabagon and pianist Mat Mitchell. Chicago Reader

Johnson plays a hard-swinging strain of postbop-brawny yet sophisticated, tartly melodic yet probing. Chicago Reader

The effect of Johnsons compositions was an almost instantaneous provocation of interest. The Examiner

Leading his new Headlands band, Johnson offers a wide range of expression, from his brilliant opening fanfare to the lyricism listeners have come to expect from him. Chicago Tribune

Long one of the bestpostbop practitioners in New York. Chicago Reader

Mark Feldman | After three albums with John Abercrombie--Open Land, Cat 'n' Mouse, and Class Trip--and the trio recording Abaton with Sylvie Courvoisier and Erik Friedlander, this is the first ECM leader date for violinist Mark Feldman.

Feldman is established now as one of jazz's finest string players, but What Exit frequently leaves 'jazz' behind, as his pieces--there are eight originals here - establish climates more frequently associated with contemporary composition. At the same time, interaction is paramount in this music and solo skills as crucial as ensemble awareness. Five years ago in an interview with the Boston Globe's Bob Blumenthal, Feldman spoke of his goal as integration, without it being a frivolous 'crossover' thing--the real organic integration of classical and modern jazz. What Exit takes large steps toward the realisation of this ambition, which is itself the logical outcome of Feldman's idiosyncratic journey through the genres over the last thirty years.