Greg Robinson
Greg’s Contributions
November 1998 Hearsay
Eric Essix
Guitarist Eric Essix is a broad-based musician with an undeniably bright future. A lifelong resident of Birmingham, Alabama, he began playing guitar in church at age nine. Early influences included the Temptations, the Jackson Five, and James Brown, as well...
April 1998 Hearsay
Mark Shim
Webster’s Dictionary defines a shim as “a piece of thin material used to fill in space between things.” Which is not to imply that tenor saxophonist Mark Shim’s material is thin, nor that he falls somewhere “in between” stylistically. On his debut, Mind...
January/February 1998 Hearsay
Bernard Purdie
Bernard “Pretty” Purdie’s career is a singular phenomenon in the annals of American music. Born in Elkton, MD, June 11, 1939, he began his professional career at the age of 12 before moving to New York in 1961 and becoming a fixture on the thriving studio...
December 1997 Hearsay
Julian Coryell
A young guitarist, age 24, arrives on the scene eager to establish himself as a jazz artist. He lands a big-time record deal and makes plans for an edgy stateside debut (he already has two successful albums in Japan.) But somehow during the protracted process...
September 1997 Hearsay
Ed Palermo
“I, for many years, wanted to hear Frank Zappa’s music, especially his obscure music, on a grander scale. Not that I wanted to make it better; I just wanted to hear those melodies and harmonies with more instruments.” That’s alto saxophonist and arranger...
September 1997 Hearsay
Michael Blake
Tenor saxophonist and composer Michael Blake’s first outing as a leader, Kingdom of Champa (Intuition), is as successful as it is ambitious. Lushly produced by Teo Macero in a style befitting its epic sweep, Champa is a challenging, multifaceted, seven-movement...
September 1997 Hearsay
Joel Forrester
Pianist and com-poser Joel Forrester, 51, still pounds the pavement on a regular basis, hunting for gigs in restaurants and bars around New York. A bop-oriented player with a crisp attack who cites Thelonious Monk as his number-one influence, Forrester recently...
June 1997 Features
Lee Konitz: On His Own Terms
Great jazz can be like a flurry of snowflakes. No two solos, or phrases, are alike, and the subtlest inflections attached to each note are one-of-a-kind. The greatest jazz players —the innovators—are also one-of-a-kind. Lee Konitz is this kind of player...
June 1997 Features
Max Roach Remembers Tony Williams
The recent, unexpected death of master drummer Anthony Williams came as a terrible shock to his family, friends, and music lovers everywhere. On Thursday, February 20, Williams, after complaining of stomach pain, was admitted to the hospital for gall bladder...
June 1997 Hearsay
Clusone Trio
Cecil Taylor, in an interview with Nat Hentoff in 1962, said, “What makes jazz unique is the compression of energy into a short period of time, and that, in turn, is a reflection of what the machine has done to our lives in metropolitan areas in America...
June 1997 Hearsay
Bert Wilson
Bert Wilson, at 57, is finally getting some of the recognition he deserves. Endless Fingers (Arabesque), his latest CD with his band, Rebirth, shows him to be a major contemporary figure of the tenor saxophone. Why has it taken so long for Wilson to be noticed...
June 1997 Hearsay
Jerry Bergonzi
The jazz scene has been deluged with hype of late, and that is certainly not all bad. But while a healthy number of stars have prospered, it has been all too easy to overlook the rank-and-file jazz players. These are the musicians who, in the words of saxophonist...
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