“I believe the melody is one of the most important things and I want it to always be significant. When I think the composition has reached a good level of complexity without sounding pretentious, then I am happy.”
“I’m very much a bassist in the sense that for a long time I’ve been in that supportive role, playing for a variety of artists of different genres. And with that I’ve had the good fortune to travel to different parts of the world, and live in The US. That exposure to different people and different sounds I think are what I consider to be some of the highlights.”
Everything Bob played was a melody of its own. The way he would weave the notes through the harmonics of a song somehow keeping the integrity of both melody relevance and the critically important harmonic notes, was something to marvel at.
The words ‘ethno-jazz’ and ‘folk-jazz’ often come up, when people try to describe Zela Margossian‘s music, but make no mistake: this is not a sub-genre, […]
“Hilary Geddes is equally comfortable using her guitar to evoke ambient spacious soundscapes as she is weaving single note melodies through complex chord changes, generating raucous energy through angular lines and overdriven rock solos.”
With these two recent albums, one solo piano, another an ensemble project, Keyna Wilkins shows something of her style and musical imagination.