Allaboutjazz.com has an interesting article and interview with Bernard Stollman who founded the ESP label in the 1960's and who has recently reactivated the imprint:
A young woman came to me who was a choreographer, a very lovely woman, and she said I understand you're helping musicians. I said yes, I am sympathetic to their struggles, and she said 'why aren't you helping Ornette and Cecil? I remember I said Ornette and Cecil who? She was aghast, they're the princes of modern music and you don't know them? That's just terrible. Look, I've talked to them about you, and they both want you to manage them.
Pop Matters has an interesting article about the resurgence of the piano trio, looking at groups led by Brad Mheldau and Uri Caine as well as The Bad Plus:
By the 1950s, the piano trio format on its own had become the most important and flexible unit in jazz. It was, in fact, a perfectly balanced stool with three legs. The jazz drummer not only keeps time, driving the music forward, but also establishes style; swing, funk, bossa nova, ballad. The bass player keeps time and establishes harmony with his note choice. The piano player plays the melody with his right hand and harmonies with his left. The formula is so airtight, so utterly logical and "classical", that it can be hard to tell the difference between a Bud Powell trio recording from the '50s and a Mulgrew Miller side from the day before yesterday. The trio led by Bill Charlap in 2005 emulates the 1962 Bill Evans Trio without a trace of stodgy nostalgia.
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