D.D. Jackson

I am an Emmy Award-winning composer and Juno Award-winning jazz pianist who specializes in writing, arranging, and producing memorable, custom-made music for t.v., film & other media. I consider myself an "artistic problem solver": I strive to get to the essential conceptual truth of what the client is looking for - and to express it in a creative and supportive way.



[11/29/2007] - Young Stars of Jazz at Yoshi's

from article about James Carter's appearance (with myself on piano):

"Reed man extraordinaire, James Carter, came in on Thursday night with a sextet. At 38, Carter is one of the elder statesmen of the latest generation of jazz stars. He started playing at age 11 by picking up a horn, “puzzling it out,” and then playing along with his mother’s Duke Ellington and Count Basie records.

Carter started the set by dedicating the first piece to the late Max Roach. The set that followed took off at a torrid pace. Carter has been described as being a part of the new avant-garde movement. There was none of that on the sold out opening night. This was bebop on the highest scale.

Joining Carter on the front line was Dwight Adams on trumpet. These two paired perfectly with each other in style and intensity. The rhythm section consisted of D.D. Jackson on keyboards, Rogel Glenn on vibes, Ralphe Armstrong on bass, and Leonard King on drums. Altogether, this is one phenomenally tight band. Carter has the uncanny ability to play any jazz style imaginable and do it with his own voice. Bebop at its best is fast, frenetic and very high intensity.

Speaking of intensity, it’s hard to find an artist that can play the entire spectrum of reeds, from flute to baritone sax, with as much dexterity and intensity as James Carter.

Yet, when playing a ballad, there is such romantic elegance, it’s hard to believe you’re listening to the same player. Rogel Glenn was featured on several pieces and was an absolute standout. Glenn even doubled on flute at one point. Jackson had several notable solo moments. On one tune, where Jackson stood up while playing to get more leverage and intensity, the solo was the moment that punctuated the entire set. It was so incredible, after the piece ended, drummer King paused to get up from his kit and walk across the stage to give Jackson some tap to acknowledge and applaud the moment.

- James Adams, City Flight.com