I don't really buy the hook of this Martin Johnson piece in New York magazine -- is there really anything distinctively "non-Trane" about these four guys? And conservatories are responsible for making players less slavishly reliant on Coltrane-isms? Really?
That said, it's nice to see great players like Bill McHenry and Joel Frahm get some props in a magazine that doesn't normally have a lot of time for jazz. I'm not as familiar with the other players profiled -- Ned Goold and Chris Byars, although evidently Ned has a blog.
Here's a taste:
The best and most distinctive among them is McHenry, whose new record is called Roses. A native of Maine, he arrived in New York in 1992 to find a fairly enervated and unwelcoming scene. He did a tour of duty playing for lousy tips in East Village bars but couldn’t gain traction in the more serious local clubs. “I was just weirding out in people’s basements,” McHenry says of his playing then. So he decamped to Barcelona for a year, where he found a more nurturing environment. By the late nineties he had hooked up with guitarist Ben Monder and bassist Reid Anderson (of the Bad Plus), who, along with drummer Paul Motian, now make up his quartet. Their years of playing together have given them that kind of telepathy that turns solos into duos and trios, and then takes entirely unexpected turns. Since his return to New York, McHenry has been ubiquitous, playing in numerous other top bands, including a regular Sunday-night turn in Brooklyn with trumpeter John McNeil in a quartet devoted to obscure numbers by dead composers.
The article also answers the question "Hey, whatever happened to Gigi Gryce?":
(Gryce, a leading saxophonist and arranger in the fifties, is himself an interesting story—fed up with the music biz, he abandoned it to develop a top-notch public-school music program in the Bronx.)