WORLDJAZZ

1 Sem 2012 - Part Three

2012-01-09T00:36:00.003-02:00

Peter Erskine New Trio
Joy Luck

By Carlo Wolff at JazzTimes

Texture is all on Joy Luck, a fine recording that introduces the versatile Vardan Ovsepian on keyboards and arrangements. Buttressed by Erskine’s nephew Damian on bass, this set sparkles, shimmers, provokes and delights.

Each of the 11 tracks tells a story or at least implies one. Take the brooding “Dr. Kildare,” a Jerry Goldsmith tune that unfolds in stately fashion with Ovsepian at his most magisterial and Erskine at his bluesiest: Ovsepian weaves a mutable improvisation as Erskine fills, then drops back, and then takes over. Simultaneously relaxing and stimulating, this is music as conversation.

While Erskine originals dominate, the choice of covers is judicious. Vince Mendoza’s “Esperança” gets a jaunty, martial treatment sparked by Ovsepian’s insidious synth and Erskine’s rimshots. Erskine plays resonant, sultry marimba on Bob James’ aptly titled “Iridescence,” and his brushwork, in sync with Ovsepian’s sturdy, dappled piano, brings fresh gravity to Frank Loesser’s “I’ve Never Been in Love Before.” Ovsepian’s “Every Tomorrow,” highlighted by Damian Erskine’s plummy bass, is a stunning showcase for a prodigious technique and a faintly mathematical harmonic sensibility. Ovsepian is one to watch, as is the younger Erskine, whose bittersweet “Song for Zoey” caps this subtle, thoughtful disc.

Niño Josele

Paz

by Michael G. Nastos

You would be hard pressed to find another recording where a flamenco guitarist interprets the music of Bill Evans. This one has Nino Josele playing select pieces performed and beloved by the modern jazz piano icon, and in three instances composed by him. A variety of settings are used, from solo acoustic guitar, some duo and vocal efforts, guitar-bass-drums, and a few guest cameos. The sound of Josele through Evans is thoughtful, introspective, facile, understated and romantic. Dynamics are shaded with a sweet restraint aside confidence in doing the music justice. The CD opens with the perfect prologue, the Evans overture "Peace Piece," as delicate and pristine a composition as anyone has ever written, played perfectly. Then the pace quickens as Josele and his trio kick up "Waltz for Debby," at first in typical 3/4 time, then in a higher 4/4 gear. The third Evans evergreen "Turn out the Stars" is more typically in flamenco style apart from all the other selections, again with the trio. There are six standards, the highlights being solo guitar samplings of "When I Fall in Love" and a multitude of distinct Spanish styles showcased during "The Dolphin," Jimmy Rowles ballad "The Peacocks" accented by Joe Lovano's piquant tenor sax, and Tom Harrell's trumpet playing an extrapolated melody on the second time repeat during "My Foolish Heart." "Hullo Bolinas" of Steve Swallow may be the unexpected choice of the recording, another slow ballad (of many) done with guitar and Marc Johnson's bass only. Also unexpected but less effective is Freddy Cole's reading of Paul Simon's "I Do It for Your Love." As a whole this project is well paced and placed, executed with plenty of soul, and should prove a discovery for those not familiar with Josele's excellent musicianship.

Eric Reed
Something Beautiful

by Ken Dryden

In a world where so many young jazz artists feel the need to feature programs consisting exclusively of originals on their debut recordings as leaders, it is refreshing to hear a veteran like pianist Eric Reed, who plays a wide range of forgotten gems, some standards, and jazz favorites along with inventive renditions of songs from gospel, pop, and his own compositions. Accompanied by bassist Reuben Rogers and drummer Rodney Green, Reed kicks off Something Beautiful with a subtle yet strutting exploration of Lucky Thompson's "Sun Out," followed by a driving setting of Dave Brubeck's timeless gem "In Your Own Sweet Way," complemented by Rogers' tasty bass and Green's sensitive percussion. The sole standard of the date is "How Deep Is the Ocean?," yet Reed gives it a fresh look by improvising his way into it rather than stating the melody outright, offering a gently swinging performance. Reed's deep gospel roots are evident in his celebratory treatment of "Lift Up Your Hands to the Lord," while his deliberate arrangement of rocker Billy Joel's ballad "Honesty" almost gives it the feeling that it could be played as an offertory solo. Reed's originals are just as potent, including the infectious midtempo cooker "Something Beautiful" and the lush romantic ballad "If I Knew You." Eric Reed's Something Beautiful showcases a seasoned artist who is very much at the top of his game.

Ted Rosenthal Trio

Out Of This World

By Edward Blanco

Borrowing from The Great American Songbook is a standard practice for many jazz artists, who include one or more pieces when rounding out a repertoire of primarily new material. Not so for pianist Ted Rosenthal, whose affinity for music from the Songbook is reflected on at least two previous recordings, Rosenthology(Concord Jazz, 1994) and One Night in Vermont (Planet Arts, 2003), focusing on music from Irving Berlin, Jimmy Van Heusen, Tadd Dameron and Matt Dennis. On Out of This World, Rosenthal takes his featured trio of bassist Noriko Ueda and drummer Quincy Davis on another musical journey, revisiting the classics.

Presenting ten time-honored and oft-recorded songs in a refreshing new manner is a challenge Rosenthal's trio meets rather convincingly. Whether re-harmonizing a tune or inserting an odd-meter arrangement, the pianist explores and stretches the limits in providing new interpretations of ageless contributions from Cole Porter, Richard Rodgers,George Gershwin and Harold Arlen, among others.

Rosenthal's 9/8 rearrangement of Arlen's title track features strong bass work, and includes a few bars reminiscent of Dave Brubeck's "Blue Rondo a la Turk." Porter's "So In Love" gets such an overhaul from the pianist that the melody is hard to distinguish, turning this old tune almost new. The trio swings to a swift-tempo rendition of "Have You Met Miss Jones" providing Rosenthal a format to show off a bit of his more than appreciable talents. In stark contrast, the group ventures into dark and somber territory on Gershwin's long and bluesy "Prelude # 2."

The music flows warm and gentle on Billy Strayhorn's "Lotus Blossom," "How Long Has This Been Going On" and the familiar "In the Wee Hours of The Morning." The brisk swinging approach is covered on the sharp "People Will Say We're In Love," "Embraceable You" and the brief but charging "Cry Me a River." Performing music that is every bit as part of American culture and musical history, Ted Rosenthal and crew stay very earthbound here, crafting cleaver and inventive new reads to beautiful old tunes that are truly Out of This World.

Track Listing: Out of This World; So In Love; Have You Met Miss Jones; Prelude #2; Embraceable You; People Will Say We're In Love; Lotus Blossom; How Long Has This Been Going On; Cry Me A River; In The Wee Hours of The Morning.

Personnel: Ted Rosenthal: piano; Noriko Ueda: bass; Quincy Davis: drums.

Craig Taborn
Avenging Angel ( Piano Solo )

by Thom Jurek

For fans of Craig Taborn's electronics-oriented recorded work or for those who prefer his early trio records or his sideman appearances with James Carter, a solo acoustic piano recording on ECM might come as a bit of a surprise, but it shouldn't. Taborn's been playing solo shows for over a decade -- most of them improvised -- and it's that part of his musical character that displays itself on Avenging Angel. Taborn has always been interested in the language of the instrument itself, the possibilities of its tonalities, spaces, textures, echoes, etc. The 13 pieces here, recorded on a gorgeous Steinway piano in Lugano, Switzerland, elaborate magnificently on all of those notions and more, without sounding overly ponderous or studied. These pieces range widely; each has its own motivation, form, frame, and intention; each arrives at a different destination. "The Broad Day King" begins with quiet, even delicate high-register notes that resemble wind chimes in a gentle breeze, and is colored as it evolves by descending chord patterns with deliberate spatial elements to delineate them from that intro while extending its memory. The title track commences with mildly dissonant two- and three-note chords in the lower-middle register, playing a pulsing if syncopated rhythm as the right hand adds accents and contrapuntal voicings to create the appearance of a dual melody, though only one eventually emerges. "Gift Horse/Over the Water" asserts a series of scalar studies before dynamically raising its head and using jagged chords to move from one half of the tune to the other. "Spirit Hard Knock" commences by using sharply angled single-note improvisation before assembling a dreamy series of lyric phrases. Taborn's use of the instrument itself is quite physical: at times he plays ppp (where restrained force is employed to push on the key just enough to get a sound), while other notes or short segments employ Sforzando. The elliptical nature of "Forgetful" is the set's most beautiful and elliptical number, emerging from the ghostly trace of a lyric melody into a fully realized spherical one; despite its dynamic changes -- which are gradual -- it never surrenders its deliberate spaciousness where sound itself -- the moments after single keys or chords are struck -- lingers and holds momentarily, before others replace them. Avenging Angel is not an intellectual exercise, it is a major contribution to the actual language of the piano as an improvisational instrument: its 13 pieces feel like a suite: seamless, economical, original, and visionary.

Chick Corea & Stefano Bollani

Orvieto

by William Ruhlmann

Chick Corea and Stefano Bollani's Orvieto (named after the Italian city in which it was recorded) finds the two pianists, an American who is pushing 70 and an Italian in his late 30s, paired at a duo acoustic piano concert from December 2010. The set consists of tunes alternated from each of the player's repertoires, but only the selections were agreed upon in advance; otherwise, the two are winging it. Naturally, Corea takes the lead on his numbers and Bollani on his, making it easy to tell the difference between them, even if their playing styles were not sufficiently distinct. The opening with the mutually composed-on-the-spot "Orvieto Improvisation No. 1" suggests a more esoteric effort than the concert as a whole turns out to be, as Corea and Bollani feel each other out with dissonant chords in a modern classical manner, before the piece develops rhythmically and comes together. The track gives way to Antonio Carlos Jobim's "Retrato em Branco e Preto," Bollani's first showcase (fans will recall that he recorded an entire album of Jobim music, Falando de Amor), which demonstrates the Italian's sometimes florid, always emotional, and highly melodic playing style. Here and elsewhere, Bollani demonstrates a pretty, lyrical, and showy approach, including cascading runs, as Corea supports him with rhythmic chording. The older player demonstrates his technical ability starting with a take on the standard "If I Should Lose You," taking fast, bright, single-note runs. And so it goes, as Bollani actually proves the more traditional of the two, Corea recalling his bop roots, particularly when the duo's second improvisation gives way to Miles Davis' "Nardis," a tune associated with Bill Evans (a player to whom Corea has devoted an entire album). Although Corea is often figuratively as well as literally on Bollani's home turf, providing support on Bollani originals and another Jobim selection, the show closes with a strong reading of Corea's "Armando's Rhumba" before the enthusiastic crowd brings the pianists back to make up a "Blues in F." And thus the veteran of Hispanic heritage and the younger Italian mix their Southern European flavors on one of the building blocks of American jazz, making for a heady musical concoction that confirms the talents of both.

1 Sem 2012 - Part Two

2012-01-09T00:12:00.003-02:00

Paul Bley
Solo in Mondsee

by Thom Jurek

Fully 35 years after Open, to Love, Paul Bley's seminal solo piano recording for ECM (which stands as a watermark both in his own career and in the history of the label -- i.e., unconsciously aiding Manfred Eicher in establishing its "sound"), the pianist returns to the label for another go at it on Solo in Mondsee. Recorded in Mondsee, Austria, in 2001, and not issued until Bley's 75th year, these numbered "Mondsee Variations" were played on a Bösendorfer Imperial grand piano, an instrument that is, like its player, in a class of its own. Bley moves through ten improvisations lasting between two and just under nine minutes each. His range of thought, instinct, and motion is staggering. In a little over 55 minutes, he combines melodic and abstract notions of jazz and blues (especially on "VII" for the latter), ghost traces of popular song from the 1930s to the present, various folk musics, contemporary classical ideas, and reflections on the art of improvisation itself. This set isn't about flash, nor is it about transcendence. It's about the investigation of space, and the arrangement of music within it. While Bley has recorded other solo albums in the last 35 years, none is more diverse and tender in its sparseness than this one. His sense of detail is also his sense of economy on the instrument, which is graceful and elegant, rarely simply "percussive." In this manner Bley is a poet of sound. He pushes a line only as far as the extension of his own "breath," as the late poet Charles Olson put it regarding written language. Where the writer felt compelled to use the "/" symbol as a way of creating a break, Bley is not so specific; he is not interested in being a celebrated "technician." He pushes the line in any way that suits the idea at hand, which in turns suggests others; he allows room for its reverberations and trace echoes to inform each following sound, creating song from silence, lyric from air. His vast knowledge of musical forms is never knotty or purely intellectual; there is a great deal of emotion put into -- and coming out of -- each and every piece; the harmonic reflections on "IV" and "V" are particularly beautiful in very different ways. There is a wall that writing about this music presents; there is only so much explaining to do, because there isn't a written language that can even hope to convey this except poetry itself, and even there, it falls short. For anyone who has ever wondered about Bley and his amazing 60-year career in jazz, or for anyone interested in either the piano or improvisation, this recording, like its predecessor, will mystify, delight, and satisfy in ways that cannot really be imagined until Solo in Mondsee is actually encountered.

Christian McBride

Conversations With Christian

by Ken Dryden

Conversations with Christian is an unusual release, as it features the veteran bassist playing duets with a number of good friends. The vocal meetings include Angélique Kidjo, Sting, and Dee Dee Bridgewater (the latter with a hilarious, funky cover of the Isley Brothers' signature song "It's Your Thing"). The pairings with musicians of McBride's generation (trumpeter Roy Hargrove, tenor saxophonist Ron Blake, and guitarist Russell Malone) all exceed expectations. There are several enjoyable duets with pianists, one featuring Latin jazz master Eddie Palmieri, a duo improvised tango by Chick Corea and the leader, plus an all too rare acoustic outing by the talented George Duke (who tears up the keyboard with his hard-charging "McDukey Blues"). But McBride's meetings with Dr. Billy Taylor (playing his beautiful "Spiritual" with some potent arco playing by the bassist) and the elegant, swinging meeting with the gifted jazz master Hank Jones ("Alone Together") remain moments to savor, as they are among the final recordings by the two jazz greats, both of whom died in 2010. The last track is a funky blues just for laughs, with actress Gina Gershon joining the bassist by playing a Jew's harp, with lots of comic spoken exchanges between the two. Throughout it all, Christian McBride plays with the chameleon-like adaptability of a Milt Hinton or Ray Brown. In the two-plus decades since arriving on the jazz scene, Christian McBride has demonstrated that he is a jazz master in the making, and this is easily one of his most compelling CDs.

Mike Garson

The Bowie Variations ( For Piano )

by Andrew Everard at What Hi Fi ?

I don't often suggest you take a listen to a particular disc: after all, musical taste is a pretty personal thing, and one person's breathtaking piano jazz is another's lift-music.

But there's a bit of a closet Bowie fan-base here in the WHFSV office, from one-time completist Simon Lucas to myself and photographer Steve Waters, both of whom are old enough to remember seeing the Dame on his Ziggy Stardust tours, back in the (whisper it) early 1970s, so I thought I'd pass this one on for those of a similar persuasion.

I have to say I had serious misgivings when I got the press release from Reference Recordings in the States about Mike Garson's new disc The Bowie Variations: I have a serious problem with so many 're-interpretations' of music I love, to the extent that despite being a big fan of Philip Glass, I really loathed his ponderous, over-portentous Heroes Symphony, based on Bowie's album.

(Nick Lowe's Bowi EP, released in response to Bowie's Low LP, made me smile a lot more.)

But I really needn't have been so concerned that I was going to be confronted with lounge versions of the Bowie catalogue, a la Mike Flowers' Wonderwall – Garson's disc is no novelty item, but rather a beautifully crafted disc of solo jazz arrangements from the pianist who was, after all, described as 'the fourth Spider'

While David Bowie himself may have insisted that The Spiders from Mars were only really three – guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick 'Woody' Woodmansey – it was pianist Garson who joined the first Ziggy Stardust tour at very short notice, and whose jazz styles played so great a part in the band's sound at the time.

It's Garson's atonal solo you hear soaring through Aladdin Sane, the pianist later telling an interviewer 'It was just two chords, an A and a G chord, and the band was playing very simple English rock and roll. And Bowie said: “play a solo on this.”

I'd just met him, so I played a blues solo, and then he said: “No, that’s not what I want.” And then I played a latin solo. Again, Bowie said: “No no, that’s not what I want.” He then continued: “You told me you play that avant-garde music. Play that!”

'And I said: “Are you sure? ‘Cause you might not be working anymore!” (laughter). So I did the solo that everybody knows today, in one take.

'To this day, I still receive emails about it. Every day. I always tell people that Bowie is the best producer I ever met, because he lets me do my thing.'

In the same interview, Bowie's long-time collaborator Tony Visconti was quoted as saying 'Mike Garson listens attentively, then plays whatever the hell he wants.'

Garson got his gig after an audition in front of Bowie and Mick Ronson in the RCA studio in New York – 'Mick, who was a well-trained musician and also a great pianist, gave me the chord changes to the song Changes. He put it up to the music stand.

'And I think I played only six or eight bars, six or seven seconds, and he says: “You've got the gig!”'

Garson went on to play on some of the best-known Bowie tracks: his piano underpins We Are the Dead on Diamond Dogs, and also the title track of Young Americans.

In all, Garson has been working with Bowie for the better part of four decades now: not bad going for an eight-bar audition.

So, The Bowie Variations, then: a series of short piano works based on tracks such as Space Oddity, Life on Mars, John, I'm Only Dancing,Ashes to Ashes and, of course, variations on the song that started it all,Changes. And each and every track is surprising, involving, and just superb.

Using a Yamaha Disklavier piano, which is able to record a performer's playing then play it back on cue, Garson has created multiple layers of sound while still playing live – 'It's like having six hands,' he says.

The music was recorded at the Oxnard Centre for the Performing Arts in California, which Reference Recordings has used several times in the past – and what a recording it is!

In the hands of engineer 'Prof' Keith O Johnson (left), Reference Recordings' chief engineer and technical director and fresh from his success in the most recent Grammy Awards, this HDCD-encoded disc is perhaps the best-sounding piano disc I have ever encountered.

It has a stunning sense of the presence of the instrument in a very real acoustic, and really breathtaking percussive impact as the hammers hit the strings.

Plus there's a beautiful combination of close-up definition and the natural decay of notes.

I've only ever really heard a piano sound much better than this once, and that was when I sat up close and personal at a very small, intimate recital given in the Bosendorfer Hall in Vienna last year, after a day spent touring the company's piano factory.

Yes, this recording is that good.

If you're a Bowie fan, you should hear this disc. If you're a fan of jazz you should, too.

And even if you just want to hear just how good a CD can sound, with a disc able to push your system to its limits, this is one you should have.

Peter Erskine/Bob Mintzer/Darek Oles/Alan Pasqua

Standards 2 - Movie Music

By Dan Bilawsky

While the songs featured on Standards 2, Movie Musicwere given an initial audience through the medium of film, some of them have led a fruitful existence beyond the borders of the silver screen. Some melodies—like Tara's Theme," from 1939's Gone With The Wind—will always be associated with their point of origin, but much of Cole Porter's catalog, including the two inclusions on this album ("Night And Day" and "I Concentrate On You"), is more familiar to current audiences than the films that spawned these standards. This quartet treats both types of material with equal respect as it plies its trade with the utmost care.

The "2" in the title presents this album as a sequel of sorts, following on the heels of theGrammy-nominated Standards (Fuzzy Music, 2008), but a few major differences in personnel set this album apart. Drummer Peter Erskine and pianist Alan Pasqua continue their fruitful partnership, but the bass chair, which was left vacant when Dave Carpenter passed away suddenly in 2008, is now filled by Darek Oles. While this changes the group dynamic in certain, minor ways, the addition of tenor saxophonist Bob Mintzer is the bigger game changer. Mintzer adds different layers of emotion, from jubilant soloing ("Cinema Paradiso") to haunting melodism ("Rosemary's Baby"), and his sound and overall conception fit perfectly within this group.

Each piece on this album retains its core essence, but these four musicians also manage to bring something new into the picture. The sense of drama that was overstressed on the original recording of "Tara's Theme" is completely gone, with a nonchalant, easy swinging attitude in its place, while "Somewhere" is shrouded in the mist given off by Erskine's sizzle cymbal. Erskine possesses the most finely calibrated ride cymbal pulse of any drummer in the business, and this helps to provide a comfortable rhythmic ride whenever he leans on this skill.

The other three members of the band have a chance to shine, sans-Erskine, on the sunny introduction to "Cinema Paradiso." Mintzer swoons over Pasqua's piano, and Oles is almost invisible, save for his seamlessly subtle arco backing. "Night And Day" is the most oft-covered selection on the album, but it also turns out to be the most wholly integrated quartet performance. Erskine provides a calypso groove that detours into swing, and a snare-based solo that speaks of Brazilian carnivals. Pasqua and Mintzer provide disjunct introductory material that gets in line when the quartet starts to move as one while, all the while, Oles resides in the background, holding it all together.

Like its predecessor, Standards 2, Movie Music benefits from the KMF Audio microphones used to record the album, but the recording ultimately boils down to the musicianship. Microphones can only take in what musicians put out, and this quartet delivers solid gold.

Track Listing: Tara's Theme; Somewhere; Dr. Kildare; Three Stars Will Shine Tonight; Night and Day; Rosemary's Baby; Cinema Paradiso Intro; Cinema Paradiso; I Concentrate on You; For All We Know.

Personnel: Bob Mintzer: tenor saxophone; Alan Pasqua: piano; Darek Oles: bass; Peter Erskine: drums.

Jean Michel Pilc/Francois Moutin/Ari Hoeing

Threedom

by Andrea Canter at JazzPolice

Sometimes the origin of an album title is elusive, but not here. Threedom readily conjures the spirit of this recording, three equal partners freely interacting, be it on compositions of their own invention or in dismantling formerly familiar covers from the likes of Miles Davis, John Coltrane, Charlie Parker, Charlie Chaplin, Duke Ellington and the Gershwins. Similar to the construction of Pilc’s solo Essential, the components of Threedom are all offered in relatively small doses, with 18 tracks filling the total.

The collaborative compositions share an underlying elegance, often dark or at least a bit dusky. “Morning” is a little countrified tune, a walk through a garden on a spring morning, Moutin’s voicings and contra-beats giving this a slight edge as if some clouds are on the horizon. “Birth” unfolds slowly with the majesty of a hymn, filled with Moutin’s gorgeous, deep basslines and Hoenig’s ever so gentle cymbals. “Slow” finds Pilc executing repeating tinkle chords over Moutin’s ominous undercurrent and Hoenig’s restless punctuations; danger lurks but the mystery never resolves. “Touch” moves quickly as Moutin drives erratically and Hoenig sputters the pulse (by hand?), Pilc gathering his zinging resources from under the hood.

“The Grinch Dance” spins as if in a Latin carnival thrust into a House of Mirrors, a playground for the percussive antics of both Pilc and Hoenig and the fleet melodicism of Moutin, filled with shifty rhythms, sudden bursts of sunlight and furious bolts of lightning—unrestrained energy times three. “Dusk” also suggests a dance, with its swaying rhythm from Moutin and Hoenig countered by Pilc’s more obtuse exploration. Another study in dark shades, “Lily” highlights Pilc’s exquisite piano lines, while on the title track, Moutin’s opening solo inspires his cohorts to a thrusting, rhythmically twisted debate. “Hymn for Her” opens with a rim/cymbals solo from Hoenig , ultimately giving both Moutin and Pilc an airy cushion for bluesy melodic experiments that evolve into a more simple prayer.

Of the covers, the opening “Nardis,” at over 7 minutes, is the most extended piece, displaying Pilc at his abstract best. But it is indeed a collaboration, featuring a solo of despair from Moutin. “Think of One” is a quick and delightfully off-quadrant (even for Monk) spin, featuring percussive ploys from both Moutin and Hoenig; the trio builds intensity through repetition, jerky rhythms, and Pilc’s dazzling cascades offset by Hoenig’s slappy punctuations. “Giant Steps” is condensed into 2 ½ minutes, no horn necessary in this double-time, sputtering march arrangement, Moutin and Pilc running counterclockwise over Hoenig’s nonstop skittering. Staying in Coltrane mode, the trio follows with a version of “Afro Blue” that seems to rise slowly from a dark cave to grab a few shafts of muted sunlight.

Pilc’s solo opening on “I’m Beginning to See the Light” is a masterful example of taking a well known theme and seriously reshaping it without losing its essence; Moutin takes his turn with bounce and comment over Hoenig’s grooving pulse. Sure, we know this tune….Oops, what are they doing and where are the going? And will they get back? “Confirmation” maybe the most played high school jazz band chart, but this is not your student’s “Confirmation.” It’s Parker on an assortment of mood enhancers that even he never thought of, complete with hallucinations and wildly irregular respiration. Moutin offers an ingenious display of pounding fury. By the time we actually hear the theme of the closing “Smile” (and very briefly), we are already held prisoner by the inventive interplay of three titans of collaborative improvisation. And we’re in no hurry to escape.

Ellis Marsalis

A New Orleans Christmas Carol

By Dan Bilawsky

Christmas music doesn't usually come into stores, radios and homes until Thanksgiving time but, in a year when snow covered the East Coast before Halloween, early arrivals seem to be the norm. Guitarist Doug Munro delivered a Django Reinhardt-styled set of holiday classics on A Very Gypsy Christmas (GotMusic, 2011) in September; pianist Geri Allen tackled songs of the season on A Child Is Born, which hit stores around Columbus Day; and now, 2011 NEA Jazz Master Ellis Marsalis joins the group with A New Orleans Christmas Carol.

The elder statesmen of the best known family working in jazz today tackles a long list of timeless tunes in various configurations, from solo piano to quartet, and the resultant music is a display of pure pleasure and beauty. While the title of the album might lead some to believe that NOLA-slanted arrangements are plentiful, with second line grooves or Meters-style funk forthcoming, that's not the case. Marsalis merely uses the name of this collection to indicate from whence this wonderful music came.

In some places, Marsalis' playing simply evokes imagery of a family surrounding the piano to soak in the warm and tender sounds of the season on Christmas Eve ("Have Yourself A Merry Little Christmas"), but the majority of this music swings, sways and/or soothes in seemingly effortless fashion. Solos are succinct and stylish, and the arrangements are classy and charming.

Particularly notable performances include a trio take on Leroy Anderson's "Sleigh Ride," a warm interpretation of Vince Guaraldi's Charlie Brown-associated "Christmas Time Is Here," which features some fine vibraphone work from Jason Marsalis, and a rendition of "We Three Kings" that's built in the image of McCoy Tyner. "Christmas Joy," which features vocalist Johnaye Kendrick, is the better of the two vocal numbers on the record, but Cynthia Liggins Thomas' vocal performance on Thad Jones' "A Child Is Born" is far from second rate.

Each holiday season welcomes a new batch of Christmas-themed CDs, but far too many of them are ill-advised efforts to simply cash in on the spirit of the times. While it can be assumed that Marsalis would like to sell his music as much as the next person, A New Orleans Christmas Carol doesn't seem to have been made with that goal in mind. This is heartfelt music of merit.

Track Listing: O Tannenbaum; The Little Drummer Boy; We Three Kings; A Child Is Born; God Rest You Merry, Gentleman; It Came Upon A Midnight Clear; O Holy Night; Winter Wonderland; Christmas Time Is Here; Silent Night; O Little Town Of Bethlehem; Have Yourself A Merry Little Christmas; Christmas Joy; Sleigh Ride; Greensleeves; The Christmas Song; We Wish You A Merry Christmas; Winter Wonderland (Remix); Hark! The Herald Angels Sing; The Little Drummer Boy.

Personnel: Ellis Marsalis: piano; Bill Huntington: bass; Peter Harris: bass (13, 14, 18); Jason Marsalis: drums, percussion, vibraphone (7, 9, 17, 19); Roman Skakun: vibraphone (3, 6, 11, 15); Cynthia Liggins Thomas (4): vocals; Johnaye Kendrick: vocals (13).

Stefano Battaglia Trio

The River Of Anyder

by Thom Jurek

Italian pianist and composer Stefano Battaglia has recorded three previous offerings for ECM, all in different settings. Interestingly, The River of Anyder is his first to feature his trio, with bassist Salvatore Maiore and drummer/percussionist Roberto Dani. Battaglia, formerly a classical pianist, approaches composition and improvisation from that vantage point. When he does enter the jazz realm, it is through Italy's own grand jazz tradition from the '70s era on. The album was recorded in 2009 and produced by Manfred Eicher at Lugano's Radiotelevisione Svizzera. Location matters, because the silences and spaces on this set are much warmer, and more intimate, than those Eicher usually gets in his Netherlands studio. The ten selections here are all titled for mythical geographies inspired by sources as diverse as Thomas More, J.R.R. Tolkein, Rumi, Rimbaud, Black Elk, Hildegard Von Bingen, and Francis Bacon. Battaglia begins the set with "Minas Tirith," introduced by hushed cymbals and a series of skeletal triads, Maiore enters playing the same note pattern, accenting and syncopating before Battaglia lets the still sparse, regal body of the tune come to the fore. The title piece features a near-classical solo prelude for an intro. When Maiore's bass enters with big wooden tones, the work begins to unfold as a minor-key lyric melody, full of elliptical, implied runs on the piano that are actually given forward movement by Dani's drums and percussion. The Rumi-inspired pieces like "Ararat Dance," for starters, find the pianist beginning his jazz ascent, taking a more prominent role, and double-timing his rhythm section with stellar arpeggios and ostinati. "Sham-Bha-Lah," one of the three longest tracks (which are all in the middle of the album), offers skeletal, harmonic frameworks that are fleshed out by drones from Maiore and circular rhythms from Dani. Inspired by von Bingen's "Columba Aspexit" plainchant sequence, Battaglia builds extended modes and knotty half-step arpeggios from her work. "Bensalem" (a mythical island of Atlantis) is the most straight-ahead tune here with pianist and rhythm section engaging one another in a songlike construct that flows openly and freely. Battaglia returns to Rumi in "Ararat Prayer" near the album's close. His minor-key melodic and modal inventions are simultaneously mysterious, fluid, and rhythmic, with gorgeous percussion work from Dani. The River of Anyder is an excellent addition to Battaglia's ECM catalog to be sure; more importantly, however, it is a fine showcase for the power, drama, and discipline of this trio in a recording studio.

1 Sem 2012 - Part One

2012-01-01T23:58:00.000-02:00

Giancarlo Guerrero & Nashville Symphony Orchestra
Piazzolla - Sinfonia Buenos Aires

by James Manheim

Most presentations of Astor Piazzolla's music by classical ensembles rely mostly on arrangements, but this release by the Nashville Symphony Orchestra comes up with an unusual program relying mostly on orchestral music by Piazzolla himself, and it hangs together nicely. The first two works on the program come respectively from near the beginning and near the end of Piazzolla's career, the two periods from which most of his works in the classical concert tradition arose. The little-heard Sinfonía Buenos Aires, Op. 15, from 1951, has a contemporary idiom reflecting Piazzolla's studies with Alberto Ginastera, but what's most notable is the prominent bandoneón part and the hint of tango flavoring throughout. The slow movement in particular sounds as though it lies partway down an imaginary road connecting French romanticism to tango, and one can almost hear the famous event of a few years later when Nadia Boulanger heard Piazzolla play a scrap of tango and told him it was the music that was most truly his. The Concerto for bandoneón, string orchestra, and percussion of 1979, dubbed "Aconcagua" by a publisher after the name of South America's highest mountain, is a more common item but still deserves wider exposure; more than any other Piazzolla work it explores the relationship between the tango and other African-derived rhythms in its colorful percussion part. The work is given a thoroughly idiomatic performance by Argentine bandoneón player Daniel Binelli. The sole arranged work is the set of Cuatro estaciónes porteñas (The Buenos Aires Four Seasons) in the rather whimsical version for violin and string orchestra by Leonid Desyatnikov. This arrangement, which incorporates quotations from Vivaldi's Four Seasons concertos, sort of breaks the mood, but it's hard to resist the ebullient performance by young Chinese violinistTianwa Yang, whose comfort level with Western-hemispheric idioms is impressive. Taken as a whole the program is both fresh and fun, and it speaks well for young Venezuelan-American conductor Giancarlo Guerrero and his efforts to put classical music back on the map of Music City, U.S.A. The sound, recorded at the orchestra's Schermerhorn Symphony Center, is solid.

Sammy Nestico and The SWR Big Band

Fun Time And More Live

by Marc Myers at JazzWax

Nobody swings like Sammy Nestico. The 87-year-old arranger knows how to get the heel of your foot bouncing and hands clapping without you even realizing they're moving. It just sort of happens, especially if you dig big bands. Sammy is old school, so his swingers build and build and build. The whole point, Sammy says, is to drive the listener wild, and Sammy always succeeds. Between 1968 and 1983, he was the pen on 10 Count Basie albums, four of which won Grammys. I just received his latest release, Fun Time and More Live: Sammy Nestico and the SWR Big Band. It's so good I was moved to give Sammy a call last evening. More with Sammy in a moment.
I first discovered Sammy in the mid-1970s, when my high school big band ordered a package of arrangements from Sammy's company. Back then, Sammy always included a black floppy vinyl record with a pro band playing the songs, so you could hear how they were supposed to sound. I still have the disc. Sammy has published 600 tunes and thousands of arrangements, and the chart craftsmanship on his new live album is remarkable.
Fun Time and More is a concert reading of compositions that Sammy and German's SWR Big Band recorded in the studio over the past few years. Surprisingly, the band takes each song at a perfect pace. Which is unusual for a live album. As you know, live recordings tend to be rushed, often due to stage nerves, and they lose something in the process. Not so here. This live album is as cool as can be. I only wish I could hear the SWR Big Band playing Sammy's arrangements at New York's Village Vanguard, Birdland or the Blue Note.
Speaking with Sammy by phone is like talking to the Santa Claus of jazz. Sammy is so full of life and laughter—and his passion for swinging hard knows no bounds:
“You like the album? I'm so glad. I haven't even heard it yet. I'm recording another one soon at the Capitol Tower in Hollywood with my favorite studio musicians. The arrangements will be all standards. I have 10 of them done. I just need two more, and we'll be ready to go.
“On Fun Time and More, I think my favorite tune is Blue Samuel. I took the chord changes from Johann Straus' Blue Danube waltz but wrote mine as a 4/4 swinger, like Dizzy [Gillespie] used to do basing new songs on the chord changes of standards. The chords on my tune are nice and the progression is real good, don't you think?
“I also like my arrangement of Johnny Mandel's Not Really the Blues, which he wrote originally for Woody Herman. I first took on that tune back in 1993, when trombonist Bill Watrous was recording an album of Johnny Mandel songs. Johnny had sent me the lead sheet, and I loved every bar of it. The energy just won't quit. I redid my arrangement of his song for the SWR Big Band, and it came out great.
“Whenever I write a tune and arrange it, I first sit in my home and work out both on my piano. After, I record myself playing it on the piano and load the result onto my iPod. Then when I take my walk each day around the circle in our neighborhood, I fine-tune the song here and there. I call the process 'surgery.' “
When I let Johnny Mandel know about Sammy's new album over the weekend and how he reworked Not Really the Blues, Johnny was excited but not surprised that Sammy had done a masterful job: “Of course he did. He's one of us."

Bill Carrothers Trio

A Night At The Village Vanguard

by C. Michael Bailey

The sonic character of New York City's Village Vanguard is one of sound as memory. There is a pillow of pungent warmth and familiarity surrounding the sounds captured that can be heard on the early recordings, like Sonny Rollins' A Night At the Village Vanguard (Blue Note, 1957),Bill Evans' The Complete Village Vanguard Sessions, 1961(Riverside, 2005), and John Coltrane's The Complete 1961 Village Vanguard Recordings (Impulse!, 1997), as well as the later recordings like Tom Harrell's Live At The Village Vanguard (RCA, 2002), Al Foster's Love, Peace and Jazz (Jazz Eyes, 2007), and Martial Solal's Live At The Village Vanguard: I Can't Give You Anything But Love (CAMJAZZ, 2008).That famous sound is captured in all its smoky warmth on the Bill Carrothers Trio A Night At The Village Vanguard. Carrothers, along with close friend/pianist Marc Copland, has been instrumental extending the piano language created by Evans, transforming it from impressionistic to expressionistic, while retaining an introspective nature. Carrothers relies on Joyspring (Pirouet, 2010), his recent tribute to the music of Clifford Brown, for a good part of the recital, kicking things off with the trumpeter's up-tempo "Tiny Capers," where the pianist extracts the bebop from Brown's hard bop. That is followed by a lengthy medley of Brown's "Joy Spring" coupled with Victor Young's "Delilah." Carrothers also draws on the compositions by Brown's pianist, Richie Powell, for "Gertrude's Bounce" and "Time," giving a full accounting of Brown's famous quintet with drummer Max Roach from the early and mid-'50s.

Amid all of this hard bop, Carrothers throws in his sideways blues, "Home Row," from his 2010 Pirouet disc of the same name, mixing in a bit of modernity as the pianist slowly incorporates the young and old into something new and vital. He does the same with his inventive and exciting "I Got Rhythm" montage, "Discombopulated." This add a level of performance tension that reveals Carrothers as a capable bandleader directing a performance for maximum listening pleasure.

In the end, it is the exquisitely unique sonics of the room that crown this very fine performance. There is a nostalgic, analog warmth in these pieces that recall Evans' famous recordings 50 years ago, while at the same time showing how far piano trio practice has come since that time. Carrothers turns in a definitive trio set a the definitive jazz club.

Track Listing:

CD1/First Set: Tiny Capers; Joy Spring/Delilah; Gerkin for Perkin; Gertrude's Bounce; Jordu; This Is Worth Fighting For; Home Row; News From Home; Let's Get Lost; those Were The Days.

CD2/Second Set: Junior's Arrival; Time; Jordan Is A Hard Road To Travel; Peg; Blue Evening; Discombopulated; Snowbound; Days Of Wine And Roses; Our House.

Personnel: Bill Carrothers: piano; Nicolas Thys: bass; Dre Pallemaerts: drums.

Madelene Peyroux

Standing On The Rooftop

by Thom Jurek

In 2009, Madeleine Peyroux issued Bare Bones, her first recording of all-original material with producer Larry Klein and a small group of jazz musicians and co-composers. Standing on the Rooftop is her debut recording for Decca with producer Craig Street. The group of players here is a diverse lot: drummer Charlie Drayton, guitarists Christopher Bruce and Marc Ribot, bassist Me'Shell Ndegeocello; John Kirby, Glenn Patscha, and Patrick Warren alternate on keyboards, percussionist Mauro Refosco, violinist Jenny Scheinman, and Allen Toussaint guests on piano. The program is richly and elegantly painted with modern production touches even as its songs are rooted in the historical past of classic Americana: pop songs, blues, jazz, and sitting room tunes. It includes eight originals and four covers, among them a poem by W.H. Auden set to music by Ribot entitled "Lay Your Sleeping Head, My Love." The music is summery and laid-back. The languid parlor-room reading of "Martha My Dear" by Lennon & McCartney has a deliberate old-timey feel and twins well with "Fickle Dove" (one of two Peyroux tunes written with Scheinman). Robert Johnson's "Love in Vain," with its strange pump organ backdrop and studio echo, indulges the kinds of production tricks Tom Waits might employ in disguising a blues. That said, this song too has a twin of sorts in the sonically similar title track; a clattering rag blues with ambient electronics held in check by Peyroux's elegantly earthy vocal. Ribot's acoustic guitar and Toussaint's upright on the Auden poem give the singer a perfectly loose frame to create a song inside. The thin, lean, funky blues on "The Kind You Can't Afford" (co-written with former Rolling Stone Bill Wyman) and Bob Dylan's "I Threw It All Away" are both slow shuffles and high points. In the latter, Peyroux's voice shifts the lyric's meaning to where the implied bitterness gives way to bewilderment. The album's final three cuts, "Meet Me in Rio," "Ophelia," and "The Way of All Things" make fine use of Peyroux's jazz chops; and because of Street's production, make an exact time-space continuum wonderfully imprecise. As an album, Standing on the Rooftop may not be as striking as its predecessor, but perhaps it wasn't meant to be. It is a seemingly effort that pushes the familiar toward an uncertain future where pop genres cease to need to exist at all.

Jane Monheit

Home

by Matt Collar

Vocalist Jane Monheit delivers a sophisticated and romantic set of standards on her 2010 effort Home. Once again showcasing Monheit's sparkling virtuosic singing, Home also features the backing talents of the singer's longtime associates pianist Michael Kanan, bassist Neal Miner, and drummer Rick Montalbano. Also featured are guitarist Frank Vignola, trumpeter Joe Magnarelli, violinist Mark O'Connor, and others. Although Monheit takes the spotlight on such American popular songbook tunes as "A Shine on Your Shoes,'' "This Is Always," and "I'll Be Around," she also allows for several exceptional duets, including "Tonight You Belong to Me" with singer/guitarist John Pizzarelli and "It's Only Smoke" with singer Peter Eldridge. Home is an urbane, immaculately produced effort that should appeal to Monheit's longtime fans.

Traincha (Trijntje Oosterhuis) & The Clayton-Hamilton Jazz Orchestra

Sundays In New York

by EMI Holland

For the first time in patriotic music appears an album of top artists from a Dutch newspaper."Sundays in New York, the new album by Traincha/Trijntje Oosterhuis, on Saturday, January 15 through the AD spread. Free, that's a first.EMI Music Netherlands is working with the AD and they increase the print run single Saturday to 750,000 copies. For example, "Sundays in New York" without doubt one of the most listened to albums of the year.Christiaan Ruesink, AD editor: "We are proud to have the new album by Trijntje Oosterhuis on Saturday, Jan. 15 to offer free to our readers. For us a unique gift to readers and a great experiment. Trijntje Especially since one of the best singers of the Netherlands. The increased circulation of the AD that day is about 750,000 copies to ensure that as many people in the music and enjoy the newspaper. "New fansErwin Goegebeur, Managing Director, EMI Music Group: "For a modern music company like EMI Music is important to develop new distribution channels to explore. The extensive campaign and printing in cooperation with the AD allows us to create a large audience to become acquainted with this brand new album from one of Dutch most important and talented vocalists ever. Of course we hope in this way thousands of new fans for her to win. "Trijntje Oosterhuis ended 2010 with second place in the album charts for her Christmas album "This Is The Season". In the summer of 2010, Trijntje in the U.S. is still a full album "Sundays in New York. This album is the result of recording sessions with producer John Clayton in the famous Capitol Tower Studios in Los Angeles, where Frank Sinatra, Nat King Cole and the Beach Boys recordings. A special album with Trijntje both new and existing songs from the soul-jazz and has recorded with a full big band, the famous Clayton-Hamilton Jazz Orchestra.A dream come trueTrijntje Oosterhuis: "With the inclusion of" Sundays in New York "to me is a long cherished wish come true. Recording with a famous big band for me, holy Capitol Studios did I until recently thought impossible. Working with the top in the American soul and jazz scene has the utmost of my abilities required, and I found it delightful. Finding and writing your own new songs was a great challenge. I'm actually never on my own albums, but I am genuinely proud of what we are included. I feel privileged to support me on this AD. That so many people just going to hear this record, is for me a dream come true. I'd be surprised if known colleagues of mine do not follow. "Producer / arranger John Clayton on "Sundays in New York ':" It was great to Trijntien mirrors craftsmanship can be seen while in the studio adventure started with these wonderful songs. I have many famous artists included, Trijntje of the same high level. "

Best Jazz 2011 by WORLDJAZZ

2011-12-25T10:11:00.000-02:00

Best Jazz 2011 by WORLDJAZZ

Jazz Record of 2011
- João Bosco & NDR Big Band: Senhoras do Amazonas

Top 10 Jazz Records of 2011
- Georges Paczynski: Présence
- Jessica Williams Trio: Freedom Trane
- Denny Zeitlin: Labyrinth
- Anthony( Antonio ) Principe Trio: New and Old Swing
- Fred Hersch: Alone At The Village Vanguard
- The Impossible Gentlemen ( Gwilym Simcock, Steve Swallow, Adam Nussbaum, Mike Walker )
- Eliane Elias: Plays Live
- Antonio Faraò : Domi
- Claudio Filippini Trio: The Enchanted Garden
- The New Gary Burton Quartet: Common Ground

Vocal Jazz 2011
- Thierney Sutton: American Road
- Kurt Elling: The Gate

Jazz Hors Concours 2011
- Luca Lapenna: Words For Evans

Artiste du Jazz 2011
Brad Mehldau & Fred Hersch

Some Good Music I Listened This Year

2011-12-23T15:15:00.000-02:00

photo by AllegroArtsLive Music

By Claudio Botelho

1- ERIC REED - THE DANCING MONK. After deciding to left the religious temple for a while, Reed returned to his good old days and did a good rendering of Monk’s themes.

2- DENNY ZEITLIN - LABYRINTH. The veteran pianist shows he’s in top form. Exemplary in his completeness and impressionism. Remains one of the best around, always doing his job in the most unique way. This is surely a job of a great master!

3- ANTHONY PRINCIPE TRIO - NEW AND OLD SWING. The songs are more than commonplace, but with his great dexterity and vigor they became new ones. A tour-de force recording!

4- STÉPHANE KERECKI / JOHN TAYLOR - PATIENCE. Impressing in their solid introspection. The news here is that the players souls became one and the music rolls effortlessly. Consistently. Nothing could be more natural than one playing with the other, although they had never worked together before. Who knows, maybe in some other dimension had they met… That could explain the great empathy devised in this recording. For my taste, one of Taylor’s best ever.

5- BIG BAND PHAT - THAT’S HOW WE ROLL. A refreshing new approach of doing things others have done for so long. Super modern and traditional at the same time. And the recording…

6- JESSICA WILLIAMS TRIO - FREEDOM TRANE. The always competent, underrated and little known master pianist, along with her evergreen cohorts, do it again: an peerless pianism work honoring John Coltrane; her perennial master…

7- BOB BROOKMEYER - MUSIC FOR STRINGS, QUARTET & ORCHESTRA. If there weren’t any other reason, I’ve chosen him to remember we all have lost this great musician, teacher, arranger and human being. We’ll be missing you very much, Bob!

8- JOÃO BOSCO - SENHORAS DO AMAZONAS. One of the greatest jazz singers of the world, along with a no less spectacular band extremely well arranged by the late talented Steve Gray. The Brazilian percussion shines all along. One of the very best of this year. It’s a real pity Mr. Grey could not check the result of his great work among his fans. (Incidentally, Mr. Bosco is one of Brazil’s greatest songwriters).

9- GEORGES PACZYNSKI TRIO - PRÉSENCES. Another solid work from this great drummer and leader (a sort of French Art Blakey…). This time with a very young team. A top form trio in a great jazz performance. As an added bonus, a thoughtful drum solo of his.

10- MIKKO GUERRINI/STEFANO BOLLANI - ITALIAN LESSONS. An all Italian musical work from two great masters which mixes classical with jazz and piano with some very soulful strings. A living proof these Italian are in the forefront of this art called jazz…

11- GIOVANNI MIRABASSI TRIO - LIVE AT BLUE NOTE TOKYO. For me, this recording marks a departure from his past works. This time, he took a more upfront approach which made it to communicate better through ever changing moods. Thus, the changing pace in each song keeps boredom out of the way. a welcome novelty, indeed!

12- FLORIAN ROSS - MECHANISM. In this hermetic piano solo work, Ross shows, through more than a dozen capsule songs, mostly of his, that less is more: very little inflections from the themes themselves transformed each one in a great piece of jazz, reminiscent of what used to do Ms. Billie Holliday. A work of a genius at his prime.

13- ELDAR DJANGIROV - THREE STORIES. A solo work which, in my view, represents his most important work to date. A very solid pianism is displayed all along. There’s a delicious mix of pop songs, classic ones and others of his own pen. Self assurance is the main ingredient here and his classical musical formation shows itself all the time with no ill side effects. This young artist has certainly done a senior work.

14- VIJAY IYER - SOLO. Another solo piano of great originality. Here, never a me-too work, far, far away from it. Listen to his rendering of Monk’s “Epistrophy” and also “Fleurette Africaine” from Ellington.

15- MATIJA DEDIC - MD IN NEW YORK. A new kid on the bloc, this eastern European does something special with the songs “Blue in Green”, by Bill Evans, and “Maiden Voyage”, Herbie Hancock’s masterpiece. A piano trio with well inserted enhancing effects of some electronic keyboard instrument. Refreshing throughout.

16- BILL ANSCHELL - FIGMENTS. Another piano solo work with very original interpretations of several standards. Easy going in its (apparent) simplicity. No wasted notes here! Be sure not to be misled by its easiness on the ears…

17- RICHIE BEIRACH - IMPRESSIONS OF TOKYO. One of my favorite piano players, Beirach this time decided to come alone, choosing impressionistic songs of his own penning, specially done to pay homage to a country that, from time to time, reconstructs itself. Tokyo, of course, is the centerpiece of this rendering.

18- GONZALO RUBALCABA - FE. Like Beirach, by himself. This is probably his best effort to date. Surely his most mature; a work of a seasoned artist, devoid of that show-offs of his early years, here replaced by feelings of great intensity and sentiment. This is a musical drink to be sipped very slowly…

19- GERALD WILSON - LEGACY. I don’t know how important was the help of Gerald’s son Anthony in this project, but all I can say is that, at his ninety-two years of age, Mr. Wilson senior has done one of his most consistent recordings in many years. I dare say his best ever, although it is difficult to guarantee this, considering the gigantic span of this musician prolific years.

20- ANTONIO FARAÒ - DOMI. He did it to honor his son Dominic. Along with bassist Daryll Hall and the great drummer Andre Ceccarelli, following his excellent “Woman’s Perfume”, done with this same drummer and bassist Dominique Di Piazza, Faraò’s newest follows his tradition of excellence. Here, we have someone who gives all his fingers to the keyboard in great abandon through long phrasings, to the sole benefit of the music. But, be warned: nothing is wasted!

21- CLAUDIO FILIPPINI - THE ENCHANTED GARDEN. Go with confidence: there’s much enchantment here. Along with Luca Bulgarelli on bass and Marcelo Di Leonardo on drums, Mr. Filippini did certainly one of the most instigated and colorful piano trio recordings of this year. Don’t miss it! If you decide to buy only one CD this season, get this one…

22- TED ROSENTHAL - OUT OF THIS WORLD. Supreme elegance and refinement. The popular American songbook has never been so well revered. This recording may as well become a classic of the gender. A very worthy successor of his awesome “Impromptu”. If you, by any chance, decide to buy just two CD’s in this Christmas, it will be very difficult to make a mistake if you choose Ted’s latest to go with Filippini’s.

This is not any “best-of-the-year” list. My intent was just to share with you some good music I listened this year. As it’s easy to see, the piano is a kind of obsession of mine. No matter how hard I try to keep it away, it’s always around…

Merry Christmas and happy new year!

2 Sem 2011 - Part Eighteen

2011-12-23T15:10:00.000-02:00

Marc Copland
Alone

By John Kelman

Following a couple of years where, uncharacteristically, he's released but a single recording, pianist Marc Copland returns to his usual, prolific self with Alone, his third 2009 album following the conclusion to his New York Trio Recordings trilogy, Vol. 3: Night Whispers, and Insight, his dark, intimate duet record with bassist Gary Peacock. Like the other two, Alone is also on the German Pirouet label, and the fact that Copland has parked his car permanently at Pirouet headquarters is no small endorsement, having recorded previously for other prestigious indie labels include Switzerland's Hatology, Germany's now-defunct Nagel-Heyer, and France's also sadly gone Sketch. It's also a well-deserved endorsement of Pirouet's commitment to Copland that the label is prepared to go the distance and release multiple discs in a single year.

Copland's last solo piano disc, the marvelous Time Within Time (Hatology, 2005) was one of the year's best. It may be a late entry for the year, but in the arena of solo piano, Alone is an equal contender. Copland evolves gradually rather than breaking significant new ground with each record, and the development between Poetic Motion (Sketch, 2001) and Time can also be found in the four years that have ensued since Time. Terms like "impressionistic," "dark," "intimate," and "abstract" are all good ones to describe Copland's distinctive approach to whatever music he turns his hand to, but while his last two solo discs focused on original music and standards, the similarly configured Alone expands the repertoire by providing a very specific and unique focus on three Joni Mitchell tunes.

Mitchell's inventive open tunings for guitar have provided grist for jazz interpretations in the past, notably Herbie Hancock's Grammy-winning River: The Joni Letters (Verve, 2007). But here, Copland draws from more obscure titles in Mitchell's early repertoire: "I Don't Know Where I Stand," from Clouds (Reprise, 1969), "Rainy Night House," from Ladies of the Canyon (Reprise, 1970, and "Michael from the Mountain," from Song to a Seagull (Reprise, 1968). What's, perhaps, most important is that these all come from before Mitchell began to dabble more explicitly in sophisticated jazz harmonies. Written more directly, that means Copland actually has more interpretive latitude, and he takes great advantage; the beauty of a Copland solo piano recital is that, while the non-original material is inevitably recognizable, his personal approach to reharmonization makes it sound very much as though he'd written it in the first place.

Copland's original material continues to demonstrate a equally personal and oblique approach the blues ("Blackboard"), while expanding Night Whispers' title track into an 11-minute, indigo-shaded tour-de-force where everything the trio delivered explicitly becomes implicit, suggested. A newer tune, "Into the Silence," revolves around a 7/4 ostinato; another brooding piece where Copland's ability to paint vivid images in sound remains intact.

He may be better-known in Europe, but Copland is one of America's too well-kept secrets. Those who've not yet been charmed by his inward-looking pianism couldn't start at a better place than the aptly titled Alone.

Track Listing: Soul Eyes; I Don't Know Where I Stand; Night Whispers; Into the Silence; Rainy Night House; I Should Care; Fall; Blackboard; Michael From Mountain; Hi Li Hi Lo.

Personnel: Marc Copland: piano.

Enrico Pieranunzi Latin Jazz Quintet

Live At Birdland

by Ken Dryden

Enrico Pieranunzi has proved himself to be one of the leading jazz pianists in Europe, primarily as a post-bop pianist who has recorded numerous CDs as a leader for various European and Japanese labels since his career took off during the mid-'90s. But this 2008 gig at Birdland in New York City reveals a different side, as it focuses on six Latin-flavored originals by Pieranunzi. He recruited a top-notch cast of supporting musicians, including trumpeter Diego Urcola; saxophonist Yosvany Terry; the young, in-demand drummer Antonio Sanchez; and veteran bassist John Patitucci. Pieranunzi's compositions blend the energy of Latin jazz with a singular infectious drive, particularly on his extended opener, "Danza 2," showcasing Urcola, Terry, and the composer in turn. The lovely Latin ballad "Rosa del Mare" is a subdued lyrical gem omitting the horns. Urcola nearly steals the show with his fiery solo in the lively "Danza Nueva," though Pieranunzi is no less impressive. Terry's emotional soprano sax is the centerpiece of the bittersweet ballad "Miradas." Enrico Pieranunzi's Latin Jazz Quintet will surely open the ears of his longtime fans, as those who were present at this enjoyable Birdland set can most certainly attest.

Kurt Elling

The Gate

by Thom Jurek

Since the 1990s, Kurt Elling has proved a most innovative jazz singer. His recordings -- particularly The Messenger, Man in the Air, and Nightmoves -- also reveal him to be a modern jazz visionary. On The Gate, Elling presents nine songs gathered from rock, pop, soul, and jazz. Produced by Don Was, Elling is accompanied by longtime pianist Laurence Hobgood, saxophonist Bob Mintzer, guitarist John McLean, bassist John Pattitucci, alternating drummers Terreon Gulley and Kobie Watkins, and percussionist Lenny Castro. The material here is evocative of Elling's all encompassing view of jazz as an ever-innovative popular music. It opens with a subtle, deeply emotive and poetic reading of King Crimson's "Matte Kudasai." Commencing with only Patitucci's upright bass before Gulley and Hobgood enter from the edges, Elling croons languidly at the upper reaches of his range. McLean's guitar is used economically and delicately until his solo. Joe Jackson's "Steppin' Out" extends beyond the realm of the author's Cole Porter-influenced pop, transforming it into a warm, swinging, cool jazz number. The sparsity of Hobgood's phrasing underscoring Elling's voice shows remarkable restraint; Castro's hand percussion counters Watkins' hi-hat groove and makes it pop. Herbie Hancock's "Come Running to Me" changes shape entirely, from its funky fretless bass and vocoder roots comes a bona fide soul-jazz midtempo ballad. Stevie Wonder's "Golden Lady" backs off the funk; but the exacting interplay between Hobgood and Gulley keeps the soul intact; Elling reinvents it as an acoustic jazz ballad. The Beatles' "Norwegian Wood" subtly restructures the tune's rhythmic accents without forsaking a note of its melody. Earth, Wind & Fire's "After the Love Has Gone" is transformed into a limpid, nearly ethereal tone poem. The reading of Miles Davis' "Blue in Green" is based on Al Jarreau's arrangement, but it opens up more: space and texture grant his voice room to explore the melody's interior. "Samurai Cowboy," an original co-written with Marc Johnson, features Elling's multi-tracked vocals in a chanted chorus, underscoring a syncopated blues, highlighted by Mintzer's gritty fills. "Nighttown, Lady Bright" closes it as poetic, post-beat improvisation with Elling reciting as well as singing. The Gate presents Elling at the top of his game; it is a song cycle that is mesmerizing and mysterious as it is provocative and compelling.

Eliane Elias

Plays Live

By Leonardo Barroso

Well, by now everybody in the Jazz business, knows what a great artist Eliane Elias is. She 's a pianist, composer and singer, that made great records through out her career, but in some point, someone gave her the great idea to sing also. It was in my opinion a not so good one, it surely gave her more exposer and money, but the great Jazz she's always played was long gone.

But now we do have great news, Eliane Elias is back as a Jazz pianist nothing more. Together with her longtime trio, her husband bassist Marc Johnson and the great Joey Baron. This Trio is swinging hard and playing wonderfully in this live recording at The Bimhuis, in Amsterdam, on May 31st 2002, only now available, it's a 2010 release by Blue Note Records.

Eliane is one of my top Jazz pianist ! When she sets to make a great record or concert, she truly does. This is one the best CD's I heard this year, the sound is not that good, but still worth it, it was recorded by NPS( Netherlands Programme Service ) Radio.

Don't waste more time, and start listening to a great Jazz Piano Trio playing at the top of their game.

Enrico Rava Quintet

Tribe

By John Kelman

Plenty has happened since Enrico Rava last recorded with his working quintet. All but the piano chair remained stable between Easy Living (ECM, 2004) andThe Words And The Days (ECM, 2007), but trombonistGianluca Petrella is the sole remnant on Tribe. "Change is good," they say, and if the rest of Rava's quintet consists of largely fresh (and young) faces, the lack of name power shouldn't be mistaken for lack of firepower.

In a post-show interview following a blistering set with his New York Days (ECM, 2009) quintet in Germany—part of Enjoy Jazz 2009's 40th anniversary ECM Record celebration—Rava alluded to being freer now than in the 1960s, no longer constrained, as he was, by free jazz's largely steadfast avoidance of time, changes and/or lyricism. Tribe celebrates true freedom, as the trumpeter's quintet—expanding to a sextet on four tracks with guitarist Giacomo Ancillotto—works its way through eleven compositions and a closing free improv that, in its haunting melancholy and unrepentant lyricism, is as strong an endorsement of Rava's asserted freedom as anything in the set. That's not to say it doesn't travel to more outré terrain, but the final minute of the aptly titled "Improvisation" reduces to just trumpet and trombone, Petrella creating a soft pedal tone over which Rava gradually hones in on a single note that, in its gradual fade to black, reflects a shared allegiance to both transparency and space, permitting the music to breathe, regardless of context.

More than half of Tribe's eleven tracks come from past Rava releases—the relentless forward motion of the sketch-like title track dating back to 1977's The Plot (ECM)—lending an overall sense of consolidation, and irrefutable evidence that good writing never loses its relevancy.

Rava's relationship with the near-vocally expressive Petrella (nearing a decade) is the fulcrum on which a more emergent chemistry pivots amidst, though tracks like "Cornettology"—from Rava's TATI (ECM, 2007) but actually going back to Secrets (Soul Note, 1987)—clarify a collaborative intelligence all the more remarkable for its relative nascency, and for the almost impossible musical maturity of bassist Gabriele Evangelista and pianistGiovanni Guidi, still in their mid-twenties.

Rubato tone poems like "Song Tree" and the TATI-like trumpet/piano/drums trio of "Paris Baguette" juxtapose with haunting, time-based ballads like "Incognito" and the greater detail of "F. Express," where Ancillotto's Bill Frisell-like textural breadth quickly turns more overtly virtuosic. Rava is capable of great beauty, but even the bittersweet romanticism of "Planet Earth" (also from Secrets) isn't a given; once Petrella, Evangelista and drummerFabrizio Sferra join the trumpeter and Giudi, it's not long before things dissolve into fierier freedom, despite the underscoring constant of Rava's inherent melodism.

Were it not for all signs leading to even greater future heights for this significantly revamped lineup, the coalescence of a life's worth of experiences into some of the most cogent and creative music of his career would make Tribe an unequivocal zenith. Either way, it's one of the strongest albums of Rava's career, and certainly his best since returning to ECM in 2003 after a quarter century hiatus.

Track Listing: Amnesia; Garbage Can Blues; Choctaw; Incognito; Cornettology; F. Express; Tears For Neda; Song Tree; Paris Baguette; Tribe; Improvisation.

Personnel: Enrico Rava: trumpet; Gianluca Petrella: trombone; Giovanni Guidi: piano; Gabriele Evangelista: double bass; Fabrizio Sferra: drums; Giacomo Ancillotto: guitar (1, 6-8).

2 Sem 2011 - Part Seventeen

2011-12-18T20:27:00.002-02:00

Christian McBride Big Band
The Good Feeling

by Ken Dryden

Bassist Christian McBride was already turning heads as a teenaged sideman with Benny Green during the early '90s, showcasing formidable technique and imagination in his solos. Over the two decades since then, McBride has demonstrated his skills as a bandleader, composer, and arranger as well. After 15 years of studying big-band charts, experimenting, and writing, McBride developed sufficient material for a CD, recruiting some of New York's best and busiest players, including saxophonists Steve Wilson, Ron Blake, and Loren Schoenberg, trumpeters Nicholas Payton and Frank Greene, and trombonists Steve Davis,Michael Dease, and Douglas Purviance, plus pianist Xavier Davis and drummer Ulysses Owens (among others). Six of the 11 pieces are originals, highlighted by the funky, playful "Bluesin' in Alphabet City," the ambitious, multifaceted "Science Fiction," and the upbeat, boisterous post-bop cooker "The Shade of the Cedar Tree." Vocalist Melissa Walker shines on several tracks, including a warm setting of "When I Fall in Love" that opens with the leader's arco solo and a pulsating rendition of Bobby Scott's "A Taste of Honey" that is scored with rich ensemble work behind the singer. The solos by McBride, Blake, Wilson, andDease especially stand out, though everyone who takes a turn delivers a top-drawer effort. With this fine effort, it's safe to say that Christian McBride's talents as a writer have grown to match his considerable chops as a bassist.

The Tierney Sutton Band

American Road

by Ken Dryden

Tierney Sutton has long been a wide-ranging explorer as a vocalist, not satisfied with the standard jazz canon or typical approaches to songs. Together with her long-running band (pianist Christian Jacob, bassists Trey Henry and Kevin Axt, plus drummer Ray Brinker, all but one of whom have been with her since prior to her 1998 debut CD), Sutton finds songs she likes and works with her musicians to create provocative arrangements that keep the essence of melodies within reach while making thoughtful use of space and surprising rhythms. Opening with a focus on traditional songs, Sutton's warm voice is complemented by Brinker's hip backbeat and Jacob's darting piano. Her medley of "Oh Shenandoah" and "The Water Is Wide" is full of surprises, with her rich wordless vocal in the former bracketing the latter as its centerpiece, with Jacob interweaving "Oh Shenandoah" into his backing of the singer in "The Water Is Wide." The humorous introduction to George Gershwin's "It Ain't Necessarily So" sounds like one of the two themes from Raymond Scott's "Powerhouse," though the piece quickly takes an ominous turn in Sutton's dramatic, driving setting. Two more pieces from Porgy and Bess follow, a harmonically rich yet melancholy "Summertime" and a powerful "My Man's Gone Now" that incorporates an insistent vamp to increase its emotional impact. Sutton also explores the music of Broadway with three selections from the Leonard Bernstein/Stephen Sondheim hit musical West Side Story, highlighted by her moving treatment of "Somewhere." The finale is a harmonically rich duet with Jacob of "America the Beautiful," a beloved song that jazz vocalists have long overlooked.

Alan Pasqua

Twin Bill: Two Piano Music Of Bill Evans

By Marc Myers at JazzWax

It takes a lot of courage for a pianist to take on Bill Evans. It requires even more courage for that pianist to overdub himself recording Evans' songs. After all, any pianist who would attempt such a thing would be asking for a ton of trouble. Evans fans are pretty particular, passionate and protective of the late pianist and have a low tolerance for intruders. Unless, of course, a pianist paying tribute to Evans actually pulled it off. Alan Pasqua does just that on Twin Bill: Two Piano Music of Bill Evans.
But let's back up. I generally don't care for Evans tribute albums. My feeling is Evans aced everything he recorded, and the last thing I generally want to hear is someone else's interpretation of his definitive versions. So I was already suspect when I spied Pasqua's album title.
Next is the double-decker gimmick. Evans recorded two albums in which he overdubbed himself using multitrack recording techniques—Conversations with Myself (1963) and Further Conversations with Myself (1967). So the fact that Pasqua was trying to pull off something akin to Yet Even Further Conversations seemed a bit gauling—like breaking into a museum and putting your feet up on an exhibit's furniture.
Flippng the CD over, I noticed that the track list included Take Me Out to the Ballgame, Vindarna Sucka Uti Skogarna and Grace—songs that Bill Evans never recorded. Now, I thought, we were into appalling territory. This would be our museum chap breaking out a tuna sandwich.
Furiously tearing open the plastic, I slipping on the CD, fully expecting to hit eject after about eight bars into the first track. But a funny thing happened on the way to the trash. I actually loved what I heard.
Pasqua manages to pull off his triple play by employing crystal clear reverence for Evans and his lyrical space-swing technique. These tracks aren't ape jobs, in which a pianist does his or her best to sound as though they are playing Evans transcriptions. Instead, they are solid, reverential interpretations that live inside Evans' style and soul.
From Very Early and Gloria's Step to Nardis and Interplay, Pasqua delivers a full, lush Evans tribute. In his overdubs, Pasqua focused less on attempting the complex, fairy-delicate musical dialogues that Evans pulled off in his Conversations albums. Rather, Pasqua wisely uses the overdub to give this music heft and dynamism, always mindful of Evans' sensitivity and style.
As for Take Me Out to the Ballgame, it actually works. Evans, of course, wasn't above vamping children's songs or radio jingles. He had great fun recording Santa Claus Is Coming to Town, Little Lulu and the WNEW Theme in the '60s. Paqua plays Ballgame as a waltz, and darned if his harmony choices don't sound like Evans himself. Pasqua leaves the listener feeling as though the master himself were sitting at the keyboard, his head bent over, his eyes closed.
Oh, one more thing. Pasqua bravely left himself open on yet a fourth front. Did I mention that this is a solo album?

Brad Mehldau & Kevin Hays

Modern Music

By Nate Chinen at nytimes.com

“Orvieto” (ECM) is the splashier and more casual of the two: a concert recording starring Chick Corea, the eminent American post-bop pianist who turned 70 this year, and Stefano Bollani, a quick-thinking Italian of similar effervescence, now 38. Recorded at last year’s Umbria Jazz Winter festival, it involved the barest preparation — loose set list, no rehearsals — but some favorable odds.JAZZ pianists spend a lot of time alone with their craft, and often just as much in the context of a rhythm section. It’s less common for them to sit down and make music with each other, though it does happen every now and then. (It happened a lot in the 1930s among Harlem stride masters, behind closed doors, in clubby camaraderie.) The scarcity is enough to make you notice a good piano-duo album when it arrives. This fall, oddly enough, there are a few, two of them due out on Tuesday.

For one thing, Mr. Corea has an unusually productive track record in two-piano settings, going back to “An Evening With Herbie Hancock & Chick Corea: In Concert,” released on Columbia in 1978. And he has a few years of history with Mr. Bollani, on European stages. Their buoyant, bustling take on a standard like “If I Should Lose You” (or, for that matter, Dorival Caymmi’s “Doralice”) feels brisk, companionable and practically seamless. Mr. Bollani has compared their output to the work of one pianist with four hands, which sounds fanciful and self-serving until you absorb the results.

“Modern Music” (Nonesuch), featuring Brad Mehldau and Kevin Hays, is a less joyous album, perhaps because it carries the burden of an agenda. It’s also the greater achievement. Mr. Mehldau and Mr. Hays, both in their early 40s, don’t have to work to find common ground, so they focus instead on bringing a high sheen to some choice material: one repurposed original each; potent adaptations of works by Steve Reich, Philip Glass and Ornette Coleman; and four intricate pieces by Patrick Zimmerli.

That last name appears on the album cover, and for good reason: Mr. Zimmerli, a product of the same high school jazz program as Mr. Mehldau, is responsible for the album’s stern, ingenious arrangements, which reflect his foothold in contemporary classical music. Mr. Zimmerli’s writing is intricately plotted; where there’s space for improvisation he lays useful traps, seeking to thwart the reflexive fluency of his players.

Still, in the end what you notice isn’t Mr. Zimmerli’s invisible hand, or even the four belonging to Mr. Mehldau and Mr. Hays. What sticks out is the feverish concentration of the whole enterprise, along with an idea long espoused, convincingly, by Mr. Corea: that it’s all music, flowing heedlessly across the boundaries of style.

Augusto Pirodda

No Comment

By Dan McClenaghan

A standard comic-strip theme presents the wise man sitting cross-legged on a remote mountain top, contemplating life, the human condition, God. A searcher from the temporal world below climbs the mountain and asks the wise man a question of profound importance. The last frame of the strip is a joke, the wise man's answer that steers the potentially sublime into the depths of the ridiculous; a good laugh at our expense. But the universal quest for truth remains constant, and is the central motivation for the creation of most great art.

39 year-old Italian pianist Augusto Pirodda didn't climb a mountain; he found his wise men, his jazz priests—octogenarian drummer Paul Motian and septuagenarian bassist Gary Peacock—in New York City.

The music this trio makes on Pirodda's No Comment is solemn and prayer-like, with an extraordinary degree of equilibrium of input between the musicians—a hallmark of a good percent of the art of the piano trio since the release of pianist Bill Evans' Sunday at the Village Vanguard (Riverside, 1961), an album on which Motian also performed. Motian's drumming—then and now—is pure poetry, leaning away from the timekeeping chore a good deal of the time to create subtle orchestral percussion worlds, hinting in the gentlest whispers of great elusive truths, seeming separate from, but augmenting, the pianist's search. Peacock—a vital artist in his own right, but most famous for his participation in pianist Keith Jarrett's long-standing Standards Trio—answers Pirodda's questions, remarks on his statements, and makes deep, vibrant statements of his own that garner succinct and well-chosen replies from the leader.

"Spare" is a key word when speaking of Pirodda's piano art. There is a folk song-like simplicity to his approach, with no wasted notes, making space a big part of his sound. The set opens with the dark-toned and gorgeously ruminative "It Begins Like This..." a collaborative, on-the-spot trio composition that was actually the recording session's sound check. "I Don't Know" is another spontaneous composition, beginning with a bass/drums duet—Peacock preaching, Motian adding a whispering chant—before Pirodda joins in, working the piano's left end, responding to Peacock's pronouncements.

Pirodda contributes four of his own compositions to the set, with "Brrribop" the most agitated and restless segment of the CD. "Ola" is the least abstract and possesses the brightest sound, with Peacock creeping stealthily through Motian's ephemeral weave, as Pirodda experiments with some dissonance.

With four previous CDs to his name, Pirodda is no neophyte, but as an acolyte of sorts to the Peacock/Motian pairing, he has taken his piano trio artistry to the highest level.

Track Listing: It Begins Like This...; Seak Fruits; Brribop; No Comment; So?; Il Suo Preferito; I Don't Know; Ola.

Personnel: Augusto Pirodda: piano; Gary Peacok: bass; Paul Motian: drums

BOB BROOKMEYER 1929 - 2011

2011-12-16T18:41:00.005-02:00

By: http://www.bobbrookmeyer.com

12/16/2011 12:38:19 PM - It’s with great sadness that we share the news that Bob Brookmeyer passed away last night, just three days shy of his 82nd birthday. Bob was an integral force in music, making some of the greatest groups in jazz history what we know and admire today. Whether as a composer, arranger or trombonist, his voice is immediately discernible from the very first note, always bringing a smile and one word: "Brookmeyer."

For many of us, Bob has always been a tremendous inspiration and an overflowing wealth of knowledge. You'd be hard to find a large ensemble composer that doesn't have Bob's name on the top of their list of favorites. For those lucky enough to have the opportunity to study with him, we were given more than just an education in the art of being a great composer, we were given a level of both love and support that expanded far beyond the classroom. He had a wonderful ability to cultivate our inner strengths, yet pull us out of our comfort zones and stretch us farther than we could have ever imagined possible.

Bob's newest album, STANDARDS, which was officially released a few weeks ago, was a record Bob was incredibly proud of. It is a true masterpiece in every sense of the word, with each arrangement encompassing everything that is "Bob Brookmeyer."

Bob, you were an amazing force and a fearless leader to all jazz composers. Thank you for your years of inspiration, support, and for leaving a legacy of music to continually inspire us for years to come.

2 Sem 2011 - Part Sixteen

2011-12-09T17:26:00.000-02:00

Paula Morelenbaum/ SWR BigBand/ Ralf Schmid
BossaRenova

by Dusty Groove America

A lovely project that mixes the vocals of Paula Morelenbaum with backings from the SWR Big Band – but in ways that still have a really warm and intimate feel! The set's quite different than the usual singer meets big band set – as the SWR seems almost to be broken out into smaller units – guided with great grace by arranger Ralf Schmid, who creates the feel of small bossa combo backings on many numbers, with slight larger touches, of the sort you might hear on a classic Elenco Records session, but with a more contemporary flavor overall. Each track has some sort of a jazz solo – tenor, flute, piano, trumpet, etc – next to the vocal – and titles include "Aguas De Marco", "Tempo De Amor", "Blackbird", "Mas Que Nada", "Setembro", "Modinha", and "Vem Morena Vem". CD features a bonus track too – a version of "Soul Bossa Nova"!

Brad Mehldau
Live At Marciac

by Kevin Davis

In his 2000 book Fargo Rock City (Scribner), Chuck Klosterman explains a phenomenon in heavy metal that involves the critical threshold at which the speed of notes within a solo actually changes the inherent meaning of the sound. To illustrate his point, he describes a passage by ex-Kiss guitarist Vinnie Vincent that, upon crossing said threshold, "becomes the equivalent of a police whistle." This is an astute observation which extends to jazz as well: There's a point during "Mars," from John Coltrane's Interstellar Space (Impulse!, 1967), where the notes descend so rapidly that it feels less like listening to a sax solo and more like being shot with rays from an intergalactic machine gun. It's a narrow window that occurs after individual pitches shed their singular qualities but before they coalesce into legitimate chords, and it's a rare feat that escapes all but the most virtuosic instrumentalists.

Pianist Brad Mehldau is one of these instrumentalists, and rarely has his gift been displayed as centrifugally as it is on Live in Marciac, a double-shot of solo piano recorded at a French festival in 2006. It's a stunning document that somehow manages to satisfy the most basic melodic appetites while still confounding conventional understanding of human capability. Rock critics have long bemoaned the inverse relationship between melody and pyrotechnic showmanship, and indeed, Mehldau's early records (particularly the live installments of theArt of the Trio series) took their share of heat for consummate musical fireworks that at times disregarded the framework necessary for such tangents to function. But this signals one of the largest components of growth in Mehldau's playing—his heightened awareness of a song's melodic core, even (perhaps especially) in moments of dizzying technical prowess.

Comparing Marciac's reading of Cole Porter's "It's Alright With Me" to that which opened 1998's Live At The Village Vanguard; in the earlier recording, Mehldau went back and forth between nimble albeit spastic outbursts—an impressive display of individual ideas seemingly unbound by a shared purpose. But his Marciac performance moves with an agility and mellifluousness elusive to the Vanguard take, gaining a buoyant coherence while sacrificing none of the rhythmic freedom or exploratory dissonance. Most pianists play differently by themselves than they play in groups; Mehldau all but literally transmogrifies his left hand into two other living, breathing band members.

Of course, the Porter-style standard has always been but a third of Mehldau's repertoire, and across Marciac's 100 minutes he packs the rest—the originals and the modern pop tunes—full of the same sensibilities. The flurrying notes erupting in psychedelic unison, the classical lyricism at the heart of all those dreaded Bill Evans comparisons, the moments of technical precision when the piano almost sounds to be playing itself—these are all features whose sum makes Richard Rodgers and Kurt Cobain feel like torchbearers in the same line of tradition. And, in a sense, they are. But who besides Mehldau could make it seem so obvious?

Track Listing: CD1: Storm; It's Alright With Me; Secret Love; Unrequited; Resignation; Trailer Park Ghost; Goodbye Storyteller (for Fred Myrow); Exit Music (for a Film). CD2: Things Behind the Sun; Lithium; Lilac Wine; Martha My Dear; My Favorite Things; Dat Dere. DVD: Storm; It's Alright With Me; Secret Love; Unrequited; Resignation; Trailer Park Ghost; Goodbye Storyteller (for Fred Myrow); Exit Music (for a Film); Things Behind the Sun; Lithium; Lilac Wine; Martha My Dear; My Favorite Things. DVD Special Feature: transcription of "Resignation," viewable separately or onscreen while track running.

Personnel: Brad Mehldau: piano.

Tomasz Stanko Quintet

Dark Eyes

by Michael G. Nastos

Dark places can be foreboding, and also comforting or beautiful if put into proper context. Trumpeter Tomasz Stanko has always used introspection as a means for making his music, but on this recording he's all but snuffed out the candlelight, inspired by the wispy smoke that trails to the ceiling. During the 2000s he retained a regular working band of very young musicians, and for Dark Eyes he's formed a new band of promising up-and-coming players from Northern Europe, with instrumentation modified from the piano/bass/drums backup trio. The very subtle Danish guitarist Jakob Bro (from Paul Motian's band), multiple competition prize-winner Finnish pianist Alexi Tuomarila, Danish electric bass guitaristAnders Christensen (ex-Ravonettes and Motian), and drummer Olavi Louhivuori (also an accomplished pianist, violinist, and cellist) from Finland are all new names to the ECM family, playing with extraordinary reserve and even a bit of reticence. That subtle sense of territorial division between the band and Stanko marks a new, still toned-down chapter for the Polish trumpeter, beyond his previous suspended night-shaded productions. "So Nice" is certainly all that, a pristine, slow, piano-lined piece with a solemn viewpoint. Inspired by the expressionist artist Oskar Kokoschka, "The Dark Eyes of Martha Hirsch" evokes strong amounts of sunken sadness in a unison piano/guitar/trumpet line, while "Last Song" exudes a finality within the same type of democratic instrumental structure. Departing from feelings of gloom, the ambience remains, replaced with more joy during the pretty three-minute piece "May Sun" sans Stanko with Tuomarila's repeat piano lines tumbling down the stairs, while "Terminal 7" and "Grand Central," with a pedal point base, both ruminate with the flowing and always active, upbeat but never anxious metropolitan feel Stankoexperiences in his second home, New York City. Two compositions by Krzysztof Komeda are included: the pitch-black "Dirge for Europe," similar to a Miles Davis construct with Bro's guitar as a mirrored observer in the background, and "Etuida Baletowa #3," the most pleasant piece of the date, nicely drawn in an authentic jazz ballad form. As Stanko's music is very consistent, it also is for listeners who are used to his style at the outset. With the late-night aspect emphasized and the ECM precept fully realized, Dark Eyes represents yet another triumph for this extraordinary artist, who always pulls back and digs deep into the wellspring of emotion with every passing moment.

Antonio Faraò

Domi

by Harmonia

Farao was once described by Kenny Kirkland as "the best young piano player to come up for years". The multi-award-winning Italian pianist has by now left such "young prodigy" accolades firmly behind him, and has established himself as one of the finest jazz players in Italy and beyond.
A multi-award winner in Italy (New Talent Prize at XI Musical Review in 1987, Four Roses prize as Pianist-Of-The-Year in 1991), he has internationally collaborated with the likes of John Abercrombie, Gary Bartz, Billy Cobham, Ronnie Cuber, Chico Freeman, Richard Galliano, Antonio Hart, Lee Konitz, Bireli Lagrene, Didier Lockwood, Branford Marsalis (Kenny Kirkland often calls for Antonio as his substitute), Tony Scott, Buster Williams and many more.
Farao has recorded several albums for Enja and Cam Jazz, but this new title, consisting of ten original compositions and dedicated to his son Dominique, is his first for Cristal. Long time associate Andre Ceccarelli, a veteran of the French jazz scene, is once more on the drum stool, and Darryl Hall plays the bass. While Hall's career has only been 15 years in the making, he has managed to travel all over the world with the most renowned jazz artists of today, including Geri Allen, Regina Carter, Ravi Coltrane and Mulgrew Miller.

Claudio Filippini Trio
The Enchanted Garden

by Monica Leggio at www.RomaInJazz.it

Ormai concordemente riconosciuto come uno dei protagonisti dell’attuale scena jazzistica italiana, Claudio Filippini torna a dare prova di straordinaria capacità espressiva e di inesauribile vena creativa con il suo nuovo lavoro, settimo album di una già nutrita discografia che, nonostante la giovane età del pianista pescarese, porta le firme di collaborazioni di prestigio, tra cui Max Ionata, Giovanni Tommaso e Francesco Bearzatti.
Prodotto dalla Cam Jazz, “The Enchanted Garden” rappresenta il frutto maturo della particolarissima alchimia generata dalla solida formazione classica e jazzistica di Filippini nell’incontro con le sue straordinarie doti creative e capacità espressive. I tredici brani che compongono il disco, quasi tutti inediti, ad eccezione di alcune meditate citazioni da Lins a Skrjiabin, tessono un filo ininterrotto, eppure straordinariamente variopinto, attraverso generi e sonorità diversi, in un gioco sapientemente equilibrato tra composizione e improvvisazione. Elemento cardine e fattore d’unione di questo percorso apparentemente eterogeneo è l’originalissimo linguaggio personale del giovane pianista, che tanto nella creazione quanto nella reintepretazione, tanto nei brani più lirici quanto nelle sonorità più ruvide e taglienti, si caratterizza per esiti di grande qualità. Ad accompagnare Filippini nel suo giardino incantato, una sezione ritmica che vede Luca Bulgarelli al basso e Marcello di Leonardo alla batteria, una formazione ormai consolidata che consente al piano di muoversi agevolmente attraverso la grande varietà di soluzioni espressive esplorate.
Tutto lo spessore del lavoro si intuisce fin dal brano di apertura, “Il fiore purpureo”, in cui la delicata intro dagli echi classici del piano si fonde alla ritmica con mirabile naturalezza in un vivace swing. Più liriche e intimiste sono invece le atmosfere di “Verso Sera”, “Coralli e “Waterfalls”. La rilettura di “Art Of Survival” di Lins si avvale dell’ottimo contributo del basso di Bulgarelli, mentre l’incalzante batteria di Marcello Di Leonardo fa da imprescindibile cornice a brani quali “Flying Horses” e “The Beast Instinct”. Si apre su un lungo periodo dalle atmosfere malincoliche e sospese la reinterpretazione di “You Must Believe In Spring”, cui segue una delicata e raffinata citazione da Skrjiabin, “Feuillet d’Album Op. 45 n. 1”, una piccola perla del solo piano di Filippini di poco più di un minuto. Alla essenziale ed elegante melodia di “Under That Sky”, segue la ritmica sostenuta di “13 Death March”, brano tutto costruito intorno al perfetto interplay e alla fluidità di discorso tra i tre musicisti. Dopo le atmosfere intense ed evocative di “Wise Wolf”, l’album si chiude con l’ultima delle cinque cover, una sinuosa versione della splendida “Django”.
Un progetto intenso e onesto, denso di idee e ricco di sfumature espressive, che fa ben sperare nelle capacità e nelle possibilità della nuova musica, nonostante le ben note difficoltà che inevitabilmente oggi l’accompagnano. Citando le note di copertina di Enrico Pieranunzi:
“Ci vuole infatti tanto coraggio per un ragazzo di 28 anni a sfidare i luoghi comuni delle mode dominanti e sfornare oggi, in Italia, una musica di tale densità e intensità. Perché in una situazione poco allegra per l’arte e per la cultura del nostro Paese come l’attuale, quella di Claudio è una sfida incredibile, che conforta chi nella musica non-spettacolo, cioè nella musica-musica continua a credere”.

JASON MARSALIS STATEMENT

2011-12-04T23:00:00.000-02:00

By Claudio Botelho

On the Facebook, the other day, Mr. Jason Marsalis said:

“For those jazz musicians that debate innovation, the average listener doesn't care about it nor do they have an historical context to know what it is.”

Our editor, in reply, sent to him:

“ Jason I do agree that most listeners are what I call "casual", but Jazz Listeners are in another level, we do know what we are hearing, so don't be afraid to bring to us something new, I do celebrate our past masters, but every day I checkout if there's a new CD from your father Ellis Marsalis, because I do like every new CD out in the market. This is a good debate ! Keep Jazz Alive !!!! “

After this, Mr. Jason explained himself:

“Hi Leonardo. My point was less about new music being released by musicians. It was more about musicians (or critics) who dismiss music because it isn't "innovative". They forget whether or not the music was enjoyable or not.”

I can’t help but agree entirely with this last statement: the primary reason of music (or art as taken in a whole) is to please the senses; to enchant the soul; to put tears of emotion in one’s eyes; to enlighten life…

It comes to my mind Bill Evan’s rendering of “The Dolphin”, by Brazilian pianist Luiz Eça. Released in his “From Left to Right” album, in 1970, it became the quintessential performance of that song. As far as I know, there isn’t any other comparable interpretation of it. Both “before” and “after” versions are the epitomes of what can be called “inspiration”!

Another case is João Gilberto’s “Estate”, with Claus Ogerman, from his album “Amoroso” of 1977, or, if you know Elis Regina, her “O Bêbado e o Equilibrista”, by João Bosco, from her album “Essa Mulher”, of 1979: arranged by her then husband César Camargo Mariano, this rendering of Bosco’s song, from that day on, became paradigmatic and has been unsurpassed to these days. Its original form, as conceived by João Bosco, was abandoned altogether and, from then on, anyone who has ever tried this song obliged himself to start from Mariano’s arrangements and, to be honest, working without taking much distance from it, otherwise…

These are three examples of pure INSPIRATION; something that arrived in the mind of those TALENTED arrangers and grabbed ours senses with the iron fist of pure gorgeousness! Not any revolutionary technique were used; only plain competence…

Just to give an example: In 1921, Arnold Schoenberg devised a twelve-tone technique which was named “dodecaphony” and was adopted by some of his countryman composers for the next 20 years. (By the way, his creation inspired the same Bill Evans, many years later, to compose a song named “TTT”, or “Twelve Tone Tune”).

Before Schoenberg discovery, there was something named “nondodecaphonic serial composition” which was used, among others, by Alexander Scriabin, etc.

Then, Ask I: Do these creations (or discoveries) guarantee any sort of superiority when used in a musical composition if the intent is to please the listeners; to display beauty; to inflict emotions?

Should music be, first and foremost, a kind of competitive stuff in which composers strive to achieve the highest step in some gender of competitive ladder or should it be intended to communicate as wide as possible with all sort of listeners?

Of course some composers are naturally sophisticated and their pride and taste will prevent them from producing anything easily assimilated by the people in general. But it is a choice of them and they know their work will not be understood by many. But they want it to be like this.

Anyway, their work is not necessarily better than others more easily assimilated. Everyone knows some two or three songs, many of them of public domain, which are exemplary in their beauty and unsurpassed in simplicity and emotion. Some based on the plainest of compositional theories. Likewise, there are most sophisticated tunes, also assented in the simplest chord changes which have crossed the centuries and will go on forever…

So, Mr. Jason Marsalis is right on the target: music is primarily a task of inspiration and good taste; irrespective of which path its composer decided to follow.

I wish we had more musical critics akin with musical beauty…

PAUL MOTIAN 1931 - 2011

2011-11-22T15:58:00.001-02:00

By BEN RATLIFF NY Times

The cause was complications of myelodisplastic syndrome, a bone-marrow disorder, said his friend, Carole d’Inverno Frisell.Paul Motian, a drummer, bandleader, and composer of grace and abstraction, and one of the most influential jazz musicians of the last 50 years, died early Tuesday morning at Mount Sinai Hospital in NewYork. He was 80 and lived in Manhattan.

Mr. Motian was a living connection to some of the groups of the past that informed what jazz sounds like today: he had been in Bill Evans’s great trio in the late 1950s and early 1960s, playing on the albums “Waltz for Debby” and “Sunday at the Village Vanguard,” and in Keith Jarrett’s American quartet during the 1970s. But it was in the second half of his life that Mr. Motian found himself as a composer and a bandleader, and his own work took off.

He worked steadily, and for the last six years or so almost entirely in Manhattan, with the support of the record producers Stefan Winter and Manfred Eicher, who streamed out his albums, and Lorraine Gordon of the Village Vanguard, who eventually booked his groups for up to four or five weeks per year.

Then there were the many musicians he played with regularly, including the saxophonist Joe Lovano and the guitarist Bill Frisell, with whom he kept a working trio; the pianist Masabumi Kikuchi and the saxophonists Greg Osby and Chris Potter, with whom he played in trios and quartets; the members of the Electric Bebop Band, with multiple electric guitars, which in 2006 became the Paul Motian Band; and dozens of other musicians, from young unknowns to old masters.

For almost all of his bands, his repertory was a combination of terse and mysterious originals he composed at the piano, American songbook standards, and music from the bebop tradition: Bud Powell, Thelonious Monk, Charlie Parker, Charles Mingus.

Selected Discography
Windmills Of Your Mind (Winter & Winter 2011)
Lost In a Dream (ECM 2010)
On Broadway Vol 5 (Winter & Winter 2009)
Live At The Village Vanguard I, II, III (Winter & Winter 2006)
Time and Time Again (ECM 2006)

Paul Motian Band, Garden of Eden (ECM Records, 2006)
Frank Kimbrough, Play (Palmetto, 2006)
Enrico Rava, Tati (ECM Records, 2005)
Bobo Stenson Trio, Goodbye (ECM Records, 2005)
Paul Motian Trio, I Have the Room Above Her (ECM Records, 2005)
Tony Malaby, Adobe (Sunnyside, 2004)
Marilyn Crispell Trio, Storyteller (ECM Records, 2004)
Paul Motian, Rarum: Selected Recordings XVI (ECM Records, 2004)
Enrico Pieranunzi, FelliniJazz (CamJazz, 2003)
Paul Motian and the Electric Bebop Band, Holiday for Strings (Winter & Winter, 2002)
Marilyn Crispell/Gary Peacock/Paul Motian, Amaryllis (ECM Records, 2001)
Paul Motian and the Electric Bebop Band, Europe (Winter & Winter, 2001)
Russell Lossing, Dreamer (Double-Time Records, 2000)
Paul Bley/Gary Peacock/Paul Motian, Not Two, Not One (ECM Records, 1999)
Paul Motian, Trio 2000 + One (Winter & Winter, 1999)
Marilyn Crispell/Gary Peacock/Paul Motian, Nothing Ever Was, Anyway: Music of Annette Peacock (ECM Records, 1997)
Keith Jarrett/Gary Peacock/Paul Motian, At the Deer Head Inn (ECM Records, 1994)
Paul Motian, On Broadway, Vol. 3 (JMT, 1992)
Paul Motian, In Tokio (JMT, 1992)
Paul Motian, On Broadway, Vol. 1 (JMT, 1989)
Paul Motian, Monk in Motian (JMT, 1988)
Paul Bley Quartet, Paul Bley Quartet (ECM Records, 1988)
Paul Bley, Fragments (ECM Records, 1986)
Bill Frisell, Rambler (ECM Records, 1985)
Paul Motian Trio, It Should Have Happened a Long Time Ago (ECM Records, 1985)
Charlie Haden, The Ballad of the Fallen (ECM Records, 1983)
Paul Motian Band, Psalm (ECM Records, 1982)
Paul Motian Trio, Le Voyage (ECM Records, 1979)
Paul Motian Trio, Dance (ECM Records, 1978)
Keith Jarrett, Eyes of the Heart (ECM Records, 1979)
Keith Jarrett, The Survivors' Suite (ECM Records, 1977)
Paul Motian, Tribute (ECM Records, 1975)
Keith Jarrett, Death and the Flower (ABC Impulse, 1975)
Paul Motian, Conception Vessel (ECM Records, 1973)
Keith Jarrett, Expectations (Columbia, 1972)
Carla Bley, Escalator Over the Hill (JCOA Records, 1971)
Charlie Haden, Liberation Music Orchestra (Impulse, 1969)
Keith Jarrett, Life Between the Exit Signs (Vortex, 1968)
Mose Allison, Wild Man on the Loose (Atlantic, 1966)
Bill Evans, Trio 64 (Verve, 1964)
Martial Solal, Martial Solal at Newport '63 (RCA Victor, 1963)
Bill Evans Trio, Moonbeams (Riverside, 1962)
Bill Evans Trio, Waltz for Debby (Riverside, 1961)
Bill Evans Trio, Sunday at the Village Vanguard (Riverside, 1961)
Bill Evans Trio, Explorations (Riverside, 1961)
Bill Evans Trio, Portrait in Jazz (Riverside, 1960)
Bill Evans, New Jazz Conceptions (Riverside, 1959)
Eddie Costa Quintet, Eddie Costa Quintet (Mode Records, 1957)
George Russell, Ezz-thetic (RCA, 1957)

BAPTISTE TROTIGNON - Brasil Tour 2011

2011-11-13T10:46:00.001-02:00

by Leonardo Barroso

Sexta-feira, 11 de novembro de 2011, Teatro Nacional de Brasília/ Sala Martins Pena, tivemos o prazer de ver e ouvir o pianista Baptiste Trotignon, um dos integrantes do novo Jazz francês (como Jean-Milchel Pilc, Franck Avitabile ). Baptiste veio ao Brasil tanto para apresentar-se tanto em uma formação Trio como Solo. Seu repertorio foi formado por suas composições originais e os standards "Ne Me Quitte Pas" e "Smoke Gets In Your Eyes". O concerto começou com sua Suite, onde pode mostrar aos que não o conheciam, seu total controle, virtuose e swing. Nas interpretações dos dois standards ele pode se soltar e colocou no piano Yamaha todo lirismo que este musico possui.
Ir a este concerto, foi como estar em "filme noir", o teatro amplamente carpetado (acho que o mesmo desde 1980) e com isso, tornando-se um grande armázem de fungos e bactérias. Esta foi uma situação que muito me incomodou, mas com a presença de Baptiste e um piano livre de amplificação, pude deixar tudo de lado, e me deixar envolver no prazer de ouvir um grande musico de jazz. Merci Mr.Trotignon.

THE TOOMUCHNESS OF TODAY’S CD’s CONTENTS

2011-11-13T10:33:00.001-02:00

Rainbow Studios-Oslo,Norway

by Claudio Botelho

One thing I miss about vinyl records: they couldn’t last more than some forty-five minutes or so. The 80 min. recording capacity of CD has been hard pressing musicians into “filling it up”all the time and surely this has been detrimental to the quality of their art.

Rarely do I listen to all the songs of a CD in one take: the quality is often at stake and boredom always prevails at some instance: seventy or eighty minutes of inspiration is a bit too much… For them, if you gather what I mean…

To make it double is jeopardize still further. I never buy a double CD, even if my excuse is the flimsiness of their jewel cases or the awkwardness of their cardboard enclosures. I always find a reason not to do…

Music is not grain, salt or sugar, which are quantity valued; music is art and five minutes of subliminal inspiration certainly is much more treasured than eighty minutes of a lesser effort. So, the artist would better invest in quality as opposed to quantity, but, it seems to me, they’ve been much obliged to write lots of songs each time they decide to make a new work.

I count not the number of unlistened last-songs CD’s I possess. This is aggravated to some extent If one takes into account that (it seems to me), other than an inaugural carefully chosen songs (mostly in faster tempi), the remaining are arranged at random. So, I would not be lying if I said I have some very secret treasured canned songs at home. You know, I’m included in the bunch of their non listeners…

The tried and tested method of distributing the songs in CD’s is to alternate slow and fast tempo ones; there’s no mistake and it’s no use trying differently, as this is in accordance to human nature which, you may know, will never change. Otherwise, boredom arrives and, in a short time, the listener finds himself indulging in other things…

So, please, musicians, producers and sound engineers: don’t overstuff the product of yours. You’d better reshape the good into turning it better; the better into turning it excellent and the excellent into turning it exceptional. Those of us – mere humble consumers – will thank you forever!

2 Sem 2011 - Part Fifteen

2011-11-13T10:29:00.003-02:00

Monty Alexander
Harlem-Kingston Express LIVE!

by Rick Anderson

Some may be surprised to know that reggae music actually has deep roots in jazz. Ska, reggae's stylistic precursor, came into being as a fusion of Jamaican mento, calypso, and American R&B, but some of its earliest and best players were Kingston jazz musicians, and early ska tunes were very often characterized by swinging rhythms and walking basslines. Ska eventually slowed down and its rhythms shifted, resulting first in the short-lived "rocksteady" style before it slowed further and became reggae, which dominated the island's music scene for a decade and a half before eventually being supplanted by the more raucous dancehall style. Pianist Monty Alexander has been bringing jazz back to reggae music (and vice versa) for decades; Harlem-Kingston Express finds him in a live setting, continuing to explore the connections between traditional reggae and straight-ahead jazz while also forging new ones. An example of the latter approach is his strange but intriguing take on the dub reggae classic "King Tubby Meets the Rockers Uptown." The original tune was a dub remix of Jacob Miller's "Baby I Love You So," mixed by the legendary producer King Tubby and embellished by Augustus Pablo's melodica; it is considered by many to be the finest example of 1970s dub ever recorded. Alexander starts out playing the tune more or less straight, taking the melodica part himself -- then suddenly, the ensemble erupts into a frantic Afro-Cuban middle section before modulating and coming back to the original theme. Elsewhere, he delivers a brisk but unexceptional take on "Sweet Georgia Brown," a partly successful reggae adaptation of the jazz standard "Freddie Freeloader," and a surprisingly perfect arrangement of Bob Marley's "No Woman No Cry." Alexander continues to be a highly effective ambassador between two once-fraternal musical styles that have sadly lost touch with each other since childhood. Here's hoping he plans to do a Jackie Mittoo tribute album at some point.

Terrell Stafford

This Side Of Strayhorn

by Matt Collar

Trumpeter Terell Stafford's 2011 effort This Side of Strayhorn features the hornman performing a series of classic and lesser-known compositions from Duke Ellington's longtime collaborator Billy Strayhorn. Born out of his week-long participation the "Celebrating Billy Strayhorn" fest in Dayton, OH, the album is an urbane and well-crafted affair that finds Stafford wringing much joy improvisationally and otherwise out of these superb compositions. Joining Stafford here are such similarly adept players as saxophonist Tim Warfield, pianist Bruce Barth, bassist Peter Washington, and drummer Dana Hall. To these ends, tracks like "Smada" showcase Stafford's longstanding love of trumpeter Lee Morgan's bluesy and propulsive style, while "Little Brown Book" is a warm, cup-muted number. Elsewhere, the burnished slow-burn blues "Multicolored Blue" and the laid-back and sultry midtempo ballad "Lana Turner" are easily some of the best small group interpretations of Strayhorn you could ever find.

The New Gary Burton Quartet

Common Ground

by Ken Dryden

Once Gary Burton retired from his duties at Berklee, he began to scale back his touring with a full-time quartet. In 2010, he assembled a new band with the phenomenal young guitarist Julian Lage (who first sat in with the vibraphonist at the age of 12), veteran bassist Scott Colley, and drummer Antonio Sanchez, all of whom have recorded as bandleaders themselves. Six of the CD's ten tracks were contributed by the quartet's members, starting with Colley's intricate "Never the Same Way," which incorporates a Latin flavor in its tricky 7/4 meter. Sanchez contributed the infectious cooker "Common Ground" (featuring great solos all around and capturing the spirit of Burton's earlier quartets), and "Did You Get It?" a lively blues with a playful call-and-response between Lage and Burton in its introduction. The leader frequently dismisses his efforts as a composer, but his bittersweet, melancholy ballad "Was It So Long Ago?" is further proof that he needs to spend more time writing; his infectious tango is a lyrical work. Lage is just as promising a songwriter as he is a guitarist. His challenging "Etude" evolved from a study piece he uses with his students; the intricate, rapid-fire introduction segues into a Spanish-flavored midsection that showcases his formidable chops. Burton also revisits songs from his past. Lage introduces "My Funny Valentine" with a well-disguised improvisation that doesn't state its well-known theme until the full band joins him near the halfway mark, then both Burton and Colley take solos, backed by Sanchez's soft but effective percussion. Burton also revisits Keith Jarrett's "In a Quiet Place," blending reflective moments with a bluesy air at times. Common Ground stands alongside the many landmark albums in Gary Burton's vast discography.

Matt Nelson Trio

Nostalgiamaniac

By Alex Mariany

According to The Oxford English Dictionary, nostalgia is defined as "a sentimental longing or wistful affection for the past," and a maniac is "an obsessive enthusiast." Chicago pianist Matt Nelson embodies both qualities onNostalgiamaniac. The sentimentality of his ballad playing and the keen musical citation of past generations of jazz musicians clearly display the conversation he's having with his own past, and his dedication to music.

Without losing momentum in his constant foray into modernity, Nelson manages to remain firmly rooted in the rich tradition of jazz piano playing, at times sounding like a 1960s-era Herbie Hancock and at other times sounding like a current-day Brad Mehldau. He also accomplishes this by finding a stable blend of more contemporary sounding, ECM-like tunes ("Lady Luna," "Revisited") and straight-up, hard-swingin' tracks ("Compliments," "Dave's Blues"). Nelson maintains the balance by revealing his personal side through "Matthew My Boy," a song that his father wrote for him many years ago, and the maniac side with the opening track, "Infatuation."

At a superficial glance, Nostalgiamaniac can seem to get bogged down by Nelson playing nearly every moment of this lengthy album. Further review, however, reveals a continual reinvention of his playing, in order to remain compelling from start to its finish. While his accompaniment can, at times, be distracting, such as behind Graham Czach's bass solo on "Lady Luna," it's always extremely sympathetic to the soloist's cause.

With the trio's obvious command over its more delicate playing, it's easy, at times, to overlook the unbelievable technique on the more rhythmically agitated tunes like "Infatuation" or "The Epitome." Czach and drummer Matt Nischan seem to have no problem keeping the beat elastic and playful even at brisk tempos. Not only do they weave a supportive fabric for Nelson to rest on for his own improvisations, each of them also adds their own imaginative solo work, Nischan especially so on "Dave's Blues."

With this debut, Nelson and his trio have carved out a nice spot for themselves in the Chicago jazz scene. By remaining true to the tradition of jazz, they have managed to find fertile ground for their growth and expansion into what looks like a promising future.

Track Listing: Infatuation; Closing the Door; Quiet Love (and Sunshine); The Epitome; Lady Luna; Longing For...; Revisited; Compliments; Matthew My Boy; Dave's Blues; Alternate Antioch; The Art of Suppression.

Personnel: Matt Nelson: piano; Graham Czach: bass; Matt Nischan: drums.

2 Sem 2011 - Part Fourteen

2011-11-13T10:27:00.000-02:00

Michel Camilo
Mano a Mano

by Ken Dryden

Michel Camilo has excelled in every project he has conceived, ranging from solo piano, small groups, big band, and working with a symphony orchestra. For this session, he returns to a trio setting with the infectious Puerto Rican percussionist Giovanni Hidalgo and bassist Charles Flores. Opening the disc is "Yes," the pianist's reworking of the familiar "Indiana" chord changes, recast as a lively Latin jazz original. The brilliant improvised introduction is a sensational duo performance by the leader and the conga player, setting up their terrific flights as the theme is revealed, with Flores providing an inventive undercurrent. Camilo's recasting of Lee Morgan's "The Sidewinder" keeps its funky edge with Hidalgo's capable percussion providing a hip flavor. John Coltrane's "Naima" is often played so seriously that no one seems to think of taking this lovely ballad in another direction. Camilo initially stays the course, though bursts free as he works into his inventive improvisation, while Hidalgo and Flores are anything but sedate with their formidable accompaniment. Camilo's interpretation of "Alfonsina y el Mar" is a moving performance of the Argentine ballad, with his shimmering piano conveying its emotion as Hidalgo and Flores provide a subtle background. There are several additional Camilo pieces of note, especially the lush ballads "You and Me" and "About You," the latter an elegant solo piano performance that wraps this delightful CD.

Bill Anschell

Figments

by Adam Greenberg

One of the more prolific exponents of the Northwest jazz sound, pianist Bill Anschell has figured in any number of excellent recordings, both as a bandleader and as an accompanist. In Figments, he takes a turn at solo piano, running through songs from pop, jazz, and the American songbook and reworking them into wandering (he describes it as stream of consciousness) arrangements that sometimes provide jazz underpinnings for classic pop, and sometimes explode the pieces into their atomic elements, looking for interesting tidbits in the debris. "Alice's Restaurant" weaves between ragtime, nightclub jazz, and deeper introspective chunks. Joni Mitchell's "Big Yellow Taxi" is actually performed on prepared piano (a piano with objects placed in/on the strings to change their sounds), and heads toward a sort of acoustic electronica. The thing that sets Figments apart from the now-standard jazz performances of pop classics is the ease with which Anschell wanders away from tunes, finding interesting motives in them and expanding on them freely, eventually to return to the main melodies. As he wanders around the songs, Anschell shows off a striking facility with different styles of play -- he can touch on stride piano (fittingly) in "Honeysuckle Rose," he can twinkle through arpeggios in "Desperado," and he can move to the ethereal in "Ask My Why." The music is rarely bouncing on Figments, but it remains catchy despite itself. The real key here is Anschell's ability to avoid adapting the songs into a simple piano jazz format and to come up with something both remarkably new and still recognizable. An excellent set.

Iro Haarla Quintet

Vespers

by Something Else!

With nearly 1,800 posts under our belt, we at SER have covered a whole lot of different styles, players and instruments, but based on a cursory search, I haven't found a single piece where a harpist is the featured musician. We now have that covered: meet Iro Haarla.

Actually, one of Finland's finest is a pianist too, as well as a composer and arranger. Her most recent album, Vespers, is a showcase to all of these aptitudes, which doesn't make it so much a harp album as it does a “Iro Haarla" album. Haarla first gained the big props as a key member in percussionist Edward Vesala's bands, working as arranger and orchestrator. Her close relationship eith Vesala culiminated in their marriage, and she dedicated her career working with him until his death in 1999.

Vespers, her second for the ECM label, carries over the same quintet used for the first ECM,Northbound (2006). Mathias Eick, whose own fresh new ECM record was given a look over just yesterday is on trumpet, as well as Trygve Seim, his saxophone partner in crime onManu Katché's phenomenal Playground (2007). Former Vesala Sound & Fury band mate Ulf Krokfors mans the acoustic bass and ECM hall of famer Jon Christensen is on drums. Indeed, this is a group of Scandinavian all-stars.

These nine songs of hers are all rubatos, in the “free ballad" form that Vesala and Christensen helped to instigate with Jan Garbarek decades ago. Avant paced but lyrically flowing, Haarla has become a master of this style, and her harp is a great accessory to this style; she could have easily played it on more than the three of four tracks that she did. Krokfors' pivotal role at bass taking charge of the flow of the song with Christensen, makes Haarla's piano, which is mostly in the background, nearly superfluous. Eick and Seim carry over that great rapport from the Katché project, pouring out aching notes that assures the Norwegian jazz legacy is in good shape for the next generation.

The capacious Nordic jazz sound is in good shape for years to come, too, thanks to torch bearers like Iro Haarla. Vespers was released last April 12.

Cedar Walton
The Boucer

by Matt Collar

Continuing in his tradition of stellar Highnote label albums, pianist Cedar Walton's 2011 release, The Bouncer, features the journeyman hard bopper leading a fine quintet of like-minded individuals. Once again featuring the talents of saxophonist Vincent Herring, who appeared on Walton's 2009 effort, Voices Deep Within, The Bouncer also showcases trombonist Steve Turre, as well as longtime associate bassist David Williams, drummer Willie Jones III, and percussionist Ray Mantilla. This is urbane, no-nonsense, straight-ahead acoustic jazz, the kind that Walton has based his career on since the '60s. To these ends, listeners get the jaunty, midtempo opener, as well as the lilting pretty waltz "Halo" and the Jones-inspired "Willie's Groove," which finds both Jones and Williams showing their improvisational stuff. Elsewhere, Walton and company tackle J.J. Johnson's "Lament"; rework Walton's "Underground Memoirs" from 1996's The Composer into a stylish, roiling Latin-tinged number; and keep the Latin vibe going on Trinidad native Williams' grooving "Got to Get to the Island."

RAMBERTO CIAMMARUGHI - UmbriaJazz/Brasilia

2011-11-02T18:46:00.002-02:00

by Leonardo Barroso

Ontem, 01 de novembro de 2011, as 20:00h no Teatro Eva Hertz na Livraria Cultura/Shopping Iguatemi, fui ouvir mais um grande jazzman italiano, promovido pela Umbria Jazz/CAIXA. O musico em questão é o pianista Ramberto Ciammarughi. Ao chegar no palco apresentou-se e mostrou qual seria a ideia para o concerto: foi um show baseado em temas de filmes/cinema, musicas que ele amava e se indentificava, indicou que seria uma noite de Tributos aos grandes compositores da sétima arte.

Sentou-se ao piano de cauda K. Kawai (Japão) e pediu para que as palmas fossem reservadas para o fim do espetáculo.

A única vez que ouvi Ramberto antes deste show foi no CD "Another Day" com um quarteto liderado pelo gaitista Luigi Ferrara, acompanhado do pianista, o baixista Gabriele Pesaresi e o grande baterista Massimo Manzi. Uma das coisa que mais me tinha agradado era o piano, conforme minha anotação neste blog http://worldjazz.blogspot.com/2009/07/novidades-do-jazz-em-julho2009.html.

Foi realmente uma belíssima noite. Lamentei que muitos amigos não puderam estar lá, pois o repertório teve musicas que eu ( e vários amigos, principalmente Marcio Távora ) consideramos como maravilhosas, Ramberto tocou o mais puro Jazz em temas como: Smile, When You Wish Upon a Star, Maria e em nos tributos a: Ennio Morricone, Nino Rota, Leonard Bernstein, John Williams, Walt Disney e aos pianistas dos antigos filmes não-falados. Ramberto grazie per il piacere di una notte di ricordi bellissimi e il suo Jazz.

Pedro Martins Trio at UmbriaJazz/Brasilia

2011-11-02T18:17:00.000-02:00

by Leonardo Barroso
Abrindo o concerto UmbriaJazz/CAIXA, tocou o guitarrista Pedro Martins com seu Trio, formado por Felipe Viegas - Teclados e Renato Galvão - Bateria.
Foi um show que se mostrou alem das minhas expectativas, o Trio se manteve bem coeso com composições bem tocadas, inclusive tive a clara certeza de ver um grupo
( lembrou-me Pat Metheney & Lyle Mays ) com grande potencial ! Parabens Pedro !

Qualquer contato com o artista atráves: www.myspace.com/pedrinhomartins

2 Sem 2011 - Part Thirteen

2011-10-30T18:31:00.003-02:00

Janette West Group
Snapshot

By Christopher Loudon

Seattle-based vocalist Janette West has been working up and down the West Coast for nearly four decades, variously fronting R&B, smooth-jazz and big-band outfits. Never, though, has West been better served than with her recently formed quartet comprising her husband, drummer Marty Tuttle, plus keyboardist Eric Verlinde, bassist Chuck Kistler and percussionist Ricardo Guity. This is a remarkably tight unit, rivaling the tautness of the Tierney Sutton Group. West is a first-rate swinger, comparable in style and gusto to Ernestine Anderson, though the warmth of her ballads is more reminiscent of Natalie Cole. Each group member is given plenty of room to stretch out and shine.

West is exceptionally gracious about sharing the spotlight. Verlinde demonstrates a masterfully elegant touch on “Only Trust Your Heart” and “I’m Glad There Is You,” and, on Hammond E, ably assists West in finessing an exuberant “Willow Weep for Me.” Tuttle and Guity steer a shimmering treatment of Stevie Wonder’s “Bird of Beauty.” But the two tracks that best showcase the group’s solidity are a gorgeously lithe “You Go to My Head” and a scintillating Afro-Cuban canter through “Love for Sale.”

Gerald Wilson Orchestra
Legacy

by Ken Dryden

Gerald Wilson demonstrates that age is only a number with his outstanding composing and arranging for these big-band sessions. Having celebrated his 92nd birthday around the time that he made this recording, Wilson offers a diverse program, though his deteriorating vision requires Eric Otis (his grandson) to notate the leader's music from his oral instructions as he composes at the piano. Three of his pieces are derived from famous classical works. "Variations on a Theme by Igor Stravinsky" is taken from the composer's famous early 20th century ballet The Firebird, a robust cooker that serves as a brief introduction. "Variations on Clair de Lune" gives Claude Debussy's well-known work a slow, bluesy air at first, showcasing pianist Renee Rosnes and son Anthony Wilson on guitar, though it soon transforms into a breezy setting. "Variations on a Theme by Giacomo Puccini" takes one of his most beloved moving arias ("Nessum Dorma") and gives it an uplifting bop flavor. Wilson's "Yes, Chicago Is…" consists of a seven-part suite, highlighted by the boisterous "Riffin' at the Regal" and the snappy "Cubs, Bears, Bulls, and White Sox" (a bluesy vehicle with numerous potent solos). Anthony composed and arranged "Virgo," while Eric penned "September Sky," further evidence that the apple doesn't fall far from the tree as far as music is concerned in the Wilson family. The supporting cast includes some of the most in-demand musicians on the New York City jazz scene, including bassist Peter Washington, drummer Lewis Nash, saxophonists Antonio Hart, Dick Oatts, and Gary Smulyan, and trumpeters Jeremy Pelt, Sean Jones, and Freddie Hendrix, along with trombonists Douglas Purviance and Alan Ferber, among others. This outstanding recording adds to the already substantial discography of the great Gerald Wilson.

Dave Miller Trio

Rapture

By Bill Milkowski

Pianist Dave Miller teams with fellow jazz vets Mario Suraci on bass and Bill Belasco on drums for a set of lightly and politely swinging mainstream jazz. From the opening strains of Gerry Mulligan’s jaunty “Line for Lyons” to Jimmy Van Heusen’s harmonically rich “I Thought About You,” Terry Gibbs’ sprightly “Peaches” and Duke Ellington’s coy “Just Squeeze Me,” the course is strictly straight-ahead. Some surprises here include a poignant reading of the Lennon-McCartney ballad “In My Life,” an interpretation of Harold Land’s Afro-Cuban-flavored “Rapture” and a clever 4/4 take on Sammy Fain’s waltzing “Alice in Wonderland,” a Disney tune closely associated with Dave Brubeck.

On this sixth CD there are revealing marks of artistic ripening and impressive blend of immutable confidence and solid pianism. Dave's excellence is uniform across varied domains.

The repertoire reflects how well he addresses the wide arc of diversity. His style postured with taste and finesse plus a range of timbres whether he plays ballads or swingers. His fingers capture the heart and sould of each tune.

The rich trove of selections on this CD offers an uplifting, absorbing listening experience.

- Recorded Fantasy Records in Berkley, on Sept. 30th and Oct. 27, 2009

- Photography: Michael Collopy

- Engineered by: Adam Munoz

- Mastered by: Ken Lee

Phil & Bill

Woods & Mays

by Ken Dryden

Long one of the dominate alto saxophonists in jazz, Phil Woods meets his regular pianist Bill Mays for this intimate duo session recorded in September 2010. Both musicians have a vast repertoire and a gift for inventive improvising. They explore several songs by top-notch songwriters, including a loping, lyrical treatment of Jimmy Van Heusen's "All This and Heaven Too," a breezy, playful setting of Irving Berlin's "The Thing for You Would Be Me," and an overlooked Richard Rodgers gem, "Do I Love You?," which was featured in a Cinderella television special in the late '50s, featuring a bubbly Woods solo that is well complemented by Mays' elegant piano. Woods unveils two new originals for musicians who had passed away prior to the record date: "Blues for Lopes," a spunky bop vehicle that honors Joe Lopes, an old friend and mentor, along with "Hank Jones," a gorgeous ballad that salutes the brilliant pianist whose career spanned seven decades. This enjoyable duo date adds another important chapter to the already vast discography of Phil Woods.

Lynne Arriale

Convergence

by Ken Dryden

Lynne Arriale has made her mark with a number of CDs of her own during her career. This predominantly trio date with bassist Omer Avital and drummer Anthony Pinciotti, adding tenor saxophonist Bill McHenry on several songs, mixes originals and covers of pop songs. Arriale's songwriting skills match her chops at the piano. The driving post-bop vehicle "Elements" provides a solid opener for Arriale's trio, with the pianist's unpredictable blues constantly shifting. Her rambunctious Irish jig "Convergence" features McHenry's powerful tenor and Arriale's furious solo. "The Simple Things" is a low-key, lyrical ballad played by the trio. The infectious "Here and Now" draws from multiple musical influences from around the world, showcasing McHenry's wailing tenor. The Middle Eastern-flavored "Dance of the Rain" includes an unidentified oud player, with Pinciotti presumably being playing the hand percussion. Arriale also shines with her fresh interpretations of the Beatles' "Here Comes the Sun," Sting's "Sister Moon," and the Rolling Stones' "Paint It Black." Only Nine Inch Nails' "Something I Can Never Have" never manages to gain traction.

Corea, Clarke & White

Forever

by Thom Jurek

This double-disc set documents Return to Forever's unplugged tour of 2009. Its 19 tracks consist mainly of rearranged RTF tunes and jazz standards for piano trio, though there are wonderful surprises on disc two. Disc one is taken directly from concert appearances across the globe. The standards work well -- considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo. "On Green Dolphin Street," "Waltz for Debby," and "Hackensack" all swing, though they do feature moments of RTF's requisite knotty counterpoint. Originals include Clarke's new tune, the beautiful "La Canción de Sophia," as well as "Bud Powell" and "Windows" from two Corea solo recordings, and "Señor Mouse" and "No Mystery," both RTF tunes, round it out. The small complaint is that these three play so stridently and "perfectly" that they sound more like a studio band instead of a quick-thinking live unit. Everything is exceptionally played and recorded. The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter. Corea dons his Rhodes and other keyboards for an excellent version of "Captain Marvel" and a fully fused-out “Señor Mouse,” “Space Circus,” and “After the Rain,” all with original RTF guitarist Bill Connors playing his ass off with his former and future bandmates (Frank Gambale will assume guitar duties on tour). Violinist Jean-Luc Ponty will also join the new band formally in 2012, and he begins in that role here, appearing on "Armando's Rhumba" (he played on the original off Corea's My Spanish Heart LP), his own "Renaissance," a fine rendition of "I Loves You, Porgy" (one of two tunes with Chaka Khan on vocals), "After the Cosmic Rain," and "Space Circus." The other two surprises on disc two are a very soulful duet between Corea (on acoustic piano) and White on John Coltrane's "Crescent" and a stellar acoustic trio version of RTF's standard "500 Miles High," which was recorded at the Monterey Jazz Festival and contains plenty of fire. With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers.

Roger Davidson & David Finck

Umbrellas & Sunshine: The Music of Michel Legrand

by Alex Henderson

In popular culture, Michel Legrand (who turned 79 on February 24, 2011) is best known for his accomplishments as a composer. But people who really know their jazz also respect the Paris native for his work as an acoustic pianist, and on Umbrellas & Sunshine: The Music of Michel Legrand, fellow acoustic pianist Roger Davidson pays tribute to both Legrand the composer and Legrand the pianist. Forming an intimate duo with upright bassist David Finck, Davidson salutes Legrand's pianistic style, but does so on his own terms. In other words, Davidson acknowledges elements of Legrand's playing, but isn't actually trying to emulate him; the lyrical Davidson still sounds like himself. And he tackles an intriguing variety of Legrand pieces on this 2009 recording. Many of the songs are well-known standards, including "You Must Believe in Spring," "Watch What Happens," "The Summer Knows," and "What Are You Doing the Rest of Your Life?" (which is part of a medley that also includes "The Easy Way"). But Davidson makes his share of less obvious choices as well. Among them: "His Eyes, Her Eyes" (from the 1968 film The Thomas Crown Affair), "The First Time" (which was heard in Falling in Love Again, a romantic comedy from 1980), and the obscure "Look." Many people who are big admirers of Legrand are unfamiliar with "Look," and the very fact that Davidson included that rarity shows that he wasn't afraid to do his homework. So even though Umbrellas & Sunshine has its share of well-known standards, Davidson obviously didn't want this 52-minute CD to have an all-standards-all-the-time approach. Davidson is hardly the first jazz musician to pay homage to Legrand, and he certainly won't be the last. But his sense of adventure makes Umbrellas & Sunshine one of the more memorable Legrand tributes of the 2000s.

2 Sem 2011 - Part Twelve

2011-10-30T16:42:00.004-02:00

Ron DiSalvio
Happily Evans After

By Bill Milkowski

Ron Di Salvio has a knack for conjuring up clever arrangements for his flexible piano trio, a skill he demonstrated on 2007’s Essence of Green: A Tribute to Kind of Blue. Here he summons up the spirit of pianist Bill Evans on the delicate waltz-time title track and “Carol’s Waltz,” both featuring highly interactive support from bassist Tom Knific and drummer Keith Hall. “Child’s Play” incorporates themes from The Wizard of Oz along with “London Bridge Is Falling Down” and “Pop Goes the Weasel.” The serene “My Space” is a chamber-jazz offering that opens with a quote from Beethoven’s “Sonata in D Minor” before segueing into a spirited Keith Jarrett-ish romp. Other direct influences can be heard on the Afro-Cuban-flavored “Montuno for Monty” and the off-kilter blues “Monk’s Sphere,” which quotes liberally from “Little Rootie Tootie.”

Cyrus Chestnut Trio
Journeys

by Ken Dryden

Cyrus Chestnut's approach to piano is a mix of his gospel roots, effortless swing, lively bop, and lyrical ballad playing. His formative years included a stint with Jon Hendricks and the demanding Betty Carter, although here, accompanied by bassist Dezron Douglas and drummer Neal Smith, his session focuses on his original works -- aside from a playful romp through the standard "Lover." His breezy bop vehicle "Smitty's Joint" showcases each member of the trio in turn and is destined to be a perfect set opener. Smith switches to brushes for Chestnut's delicate jazz waltz "Eyes of Angel," a spacious number that shimmers. "Journeys" deceptively opens in a subdued manner, building from a soft ballad setting into an intense climax without ever losing its lyricism. "Goliath" combines various influences from Chestnut's background, incorporating a familiar classical theme and his church pianist roots in a meditative yet gently swinging setting. Cyrus Chestnut's journeys have taken him to many musical destinations, yet he remains a distinctive original pianist whose work has continued to grow.

Bill Charlap & Renee Rosnes

Double Portrait

by Ken Dryden

Pianists Bill Charlap and Renee Rosnes married in 2007, so the had plenty of time to practice for this duo piano date, since they have twin grand pianos in their apartment and have played a few gigs together as well. Both of them have long résumés as leaders and in support of other musicians. Recorded at the 92nd Street Y in New York City (where Charlap took over the reins from Dick Hyman for Jazz in July series a few years earlier), the husband-and-wife team put together a wide-ranging set list. Their arrangement of fusion keyboardist Lyle Mays' "Chorinho" is a brilliant opener, crackling with its infectious Brazilian rhythm. The soft emotional setting of "My Man's Gone Now" proves haunting; the quiet interpretation of Gerry Mulligan's tender ballad "Little Glory" suggests parents watching a sleeping infant; their rendition of Wayne Shorter's "Ana Maria" shimmers with a subtle energy; and Rosnes' "The Saros Cycle" sounds as if it were written for film, suggesting a journey. Although some writers and musicians dismiss two piano meetings as a mere gimmick, this session by proves that two pianists who are in sync with one another's thoughts can produce timeless music. No time should be wasted in scheduling a follow-up.

Richie Beirach Trio

What Is This Thing Called Love ?

by Melodius Thunk

Although somewhat underrated, Richie Beirach is a consistently inventive pianist whose ability to play both free and with lyricism makes him an original. After studying classical piano, Beirach switched to jazz. He studied at Berklee and the Manhattan School of Music, and took lessons with Stan Getz, Dave Holland, and Jack DeJohnette.
His classical training can sometimes be heard in his more advanced improvisations, along with the sensitivity of a Bill Evans and this disc nicely covers those bases. But its Richie's reharmonisations of these standards that one notices the most. The opening track is a driving, urgent take of the original, Nardis full of tension, Autumn Leaves is wonderfully rhapsodic. As expected with such great sidemen of George Mraz and Billy Hart this CD doesn't just showcase Richie's talent, there's plenty of space to hear their musicianship too.

Roseanna Vitro
The Music Of Randy Newman

by Ken Dryden

Vocalist Roseanna Vitro has had big ears when it comes to looking for material for her jazz record dates, investigating songwriters overlooked by others. This Randy Newman songbook is obviously a labor of love, interpreting the veteran composer's lyrics, whether sentimental or sardonic. Her band includes the seasoned rhythm team of pianist Mark Soskin (who also provided arrangements), bassist Dean Johnson and drummer Tim Horner, along with the promising young violinist Sara Caswell (who often adds a sublime touch). The rich-voiced alto's rendition of "Sail Away" showcases Caswell to good effect. Vitro has a lot of fun with Newman's hilarious description of attending a pot party in "Mama Told Me Not to Come," with Caswell's whimsical licks complementing the leader's playful, outgoing vocal. The singer captures the essence of Newman's sardonic "Baltimore," though she transforms it with a brisk setting, adding guitarist Steve Cardenas. Vitro's dramatic interpretation of "In Germany Before the War" is also a high point. Jazz fans who grew up listening to Randy Newman will be particularly interested in Roseanna Vitro's novel approach to his music.

2 Sem 2011 - Part Eleven

2011-10-30T16:26:00.001-02:00

Gordon Goodwin's Big Phat Band
Swingin' For The Fences

by Scott Yanow
Saxophonist Gordon Goodwin (heard on this CD on alto and soprano) has loved big bands since he was a child. He arranged all of the music for his 18-piece big band's release, contributing nine of the ten compositions (all but Bach's "Two Part Invention in D Minor") and getting several notable guest soloists to make appearances. The music is mostly modern mainstream, swinging while utilizing some advanced harmonies. There are a few departures including "Sing Sang Sung" (a number based a bit on "Sing Sing Sing"), the Bach selection, a couple Latin jazz pieces, and the funky "There's the Rub" and "A Few Good Men." Among the main soloists from the orchestra are Goodwin, trombonist Andy Martin, pianist Tom Ranier, and tenorman Dan Higgins. The guests (on two songs apiece) are trumpeter Arturo Sandoval, clarinetist Eddie Daniels, and altoists Eric Marienthal and Brandon Fields. Fans of contemporary big bands will find much to enjoy on this fun set.

Gonzalo Rubalcaba
Faith

By Dan McClenaghan
Cuban-born/Miami-based pianist Gonzalo Rubalcaba boasts a discography of some 25 albums, including a dozen discs for the esteemed Blue Note label. Having established star status for himself with numerous Grammy nominations and two wins, Rubalcaba steps out with the first release on his independent 5Passion label, Fe...Faith.
Over the course of his career, Rubalcaba has worked with some of the best modern jazz players, including Joe Lovano, Michael Brecker, Charlie Haden, Paul Motian, but introduces his new record company with a solo outing--an eighty-minute jazz prayer. The music is graceful and refined, largely introspective and deeply reverential in tone, with the pianist's technical prowess on full display in a meditative and often economical fashion.
Rubalcaba's brief “Derivado 1” opens the set with a short declaratory note, drifting into the spare and sacred mood of another original, “Malerefun lya Lodde Me,” a beautifully ruminative exploration of the spirit of the music of the Cuban Santeria religion. “Improvisations 2 (based on Coltrane),” features the pianist at his most virtuosic, as he invites the soul of the ever-spiritual saxophonist John Coltrane into the mix.
Rubalcaba also delivers two versions of Dizzy Gillespie's “Con Alma” that are tranquil, fluid examinations of its familiar melody. There are also two takes of the Miles Davis/Bill Evans classic, “Blue in Green.” Both have a melancholy feeling, as if they are prayers of mourning, before and after the set's more joyful moment, “Oro,” inspired by the Santeria religion, and a gorgeous and reverential triptych of tunes celebrating Rubalcaba's children,”Joan,” “Joao” and “Yolanda Anas.”
Rubalcaba revisits Coltrane with “Improvisation 1 (based on Coltrane),” to add a sparkle to the set, and closes out with another brief original, “Derivado 3,” a delicately pretty “amen” of sorts, to Rubalcaba's most personal of records.
Track Listing:
Derivado 1; Maferefun Iya Lodde Me; Improvisation 2 (based on Coltrane); Derivado 2; Con Alma 1; Precludio Corto #2 (Tu Amor Vera Falso); Blue in Green 1; Oro; Joan; Joao; Yolanda Anas; Blue in Green 2; Con Alma 3; Improvisation 1 (based on Coltrane); Derivado 3.
Personnel: Gonzalo Rubalcaba: piano.

Giovanni Mirabassi Trio
Live @ The Blue Note, Tokyo

by Choc Classica – Jean-Pierre Jackson
An exceptionally precise and dynamic sound recording. After the release of the two outstanding albums Terra Furiosa in 2008 and Out of Track, last year, the new album by the same trio recorded between 21st and 23rd April at the Blue Note in Tokyo is a great success. This is first due to the melodic and rhythmic richness of the nine compositions of the CD’s répertoire, displaying in turn pianist Giovanni Mirabassi’s elegiac and lilting style (My broken heart, World changes) and the swing and energy that characterize him (NY#1, It’s us). The rich improvisations with their brilliant internal logic are always followed by poetical undulating efflorescences, which are typical of the pianist’s style.
The success of this new album is also due to the trio itself, in perfect osmosis, with exceptional Leon Parker’s impressively precise drum playing and Gianluca Renzi, who constantly creates bass lines which do not only provide the melodic and rhythmic foundations of the phrasing, but can also approach what can sound like the human voice , when playing solo. This new album of remarkable sound quality which is a legendary characteristic of all CDs under Japanese label Vénus, renders Giovanni Mirabassi’s musical generosity when playing in concert, and certainly has the polished touch of all great classics.

Jean-Michel Pilc
True Story

by Ken Dryden
Jean-Michel Pilc has established himself as one of the major jazz pianists to emerge from Europe around the beginning of the 21st century. Joined by Mingus Big Band bassist Boris Kozlov and veteran drummer Billy Hart, Pilc mixes creative arrangements of several familiar songs with his demanding originals. His take of Cole Porter's "My Heart Belongs to Daddy" is full of humor (adding a quick dash of "You and the Night in the Music") while retaining a sensual undercurrent and a sense of adventure with his wild variations, with potent solos all around. Pilc's adaptation of "Try to Remember" (from the long-running Broadway musical The Fantastiks) incorporates dissonant bass chords and several twists that keep it from getting overly sentimental, while the haunting "Relic" is a reworking of a Franz Schubert theme. The high point of Pilc's compositions is his five-part suite "True Story," which incorporates many contrasting styles in its brief segments. Although many jazz journalists have high regard for the work of Jean-Michel Pilc, he remains a treasure awaiting discovery by many American jazz fans.

Karrin Allyson
'Round Midnight

by Matt Collar
Vocalist/pianist Karrin Allyson's 2011 effort 'Round Midnight is a smoky, afterglow affair that builds upon the singer's noted skill for interpreting jazz and pop standards. Conceptualized around the classic Thelonious Monk title track, the album plays like a darkly cool nightclub set -- not dissimilar to the kind of live performances Allyson is known for. Backing Allyson here is a superb lineup featuring guitarist Rod Fleeman, bassist Ed Howard, and drummer Matt Wilson, as well as saxophonist Bob Sheppard and harmonica player Randy Weinstein. Together, Allyson and her ensemble deliver intensely dramatic and romantic takes on such standards as the leadoff "Turn Out the Stars," the mid-album "Spring Can Really Hang You Up the Most," and of course the title track, which Allyson performs starkly with just bass accompaniment. Elsewhere, Allyson gives a sweetly moving take on Paul Simon's "April Come She Will" and goes against the usual uptempo style of "I'm Always Chasing Rainbows," instead delivering a ruminative, impressionistic slow-ballad version that allows her to reveal the nuances of Gene Lee's lyrics. Ultimately, it's Allyson's emotive voice and her ability to bring out these soft, bittersweet nuances in every track that makes 'Round Midnight such a listenable and heartfelt album.

LOOSE QUESTIONS TO TEASE YOU

2011-10-21T16:53:00.001-02:00

BY CLAUDIO BOTELHO

1- Does singing along with, say, Alan Broadbent, Marc Johnson and Joey Baron a jazz singer make?

2-    Can someone who sings strictly following what was written on the charts, with only minor changes in rhythm, be called a jazz singer?

3-    Aside from the likes of Dianne Reeves, Diana Krall, Roberta Gambarini, Cassandra Wilson, Tierney Sutton, Nancy King, Janis Siegel, Jay Clayton, Jane Monheit, Carol Sloane, Judy Niemack and a handful few others (not counting that friend of yours who sings in that bar around the corner, of course), do you think there exists, today, much more? Don’t you think many a jazz magazines are a bit too much populated by animals of other natures than reasonable expected?

4-    Have you ever seen some pop singer taken erroneously as a jazz one and – worse still – earning prizes as an artist of this gender of music?

5-    Heard about a so-so piano player who became a wonderful singer, without abandoning the piano?

6-    Conversely, heard of a wonderful piano player who became a so-so singer, also without firing her playing instrument? Who are they?

7-    The greatest pop singer of all time was a jazz artist? Would his Jobinian “shah.bah.dah.bah.dah” qualify him as such? Or, for instance, his rendering of “I’ve Got You Under My Skin” would suffice? What about his colleague Tony Bennett?

8-    How would they compare (in their “jazziness”) to the great Kurt Elling and the no less important Mark Murphy? And speaking of these two, which one would you stay with, if improvisation skills were the main concern?

9-    Wouldn’t you agree some scats could help a lot to forge a real jazz vocalist and could , as well, distinguish men/women from boys/girls?

10- Why is it there’s much more jazz and “jazz” female vocalists than their male counterparts?

11- Which singer (non American) is the only one in the scenes today who resembles, at the same time,   Ella, Carmen and Sarah?

12- I agree Miles Davis was really great, but what about helping living jazz musicians feed their children?

2 Sem 2011 - Part Ten

2011-10-16T18:13:00.003-02:00

Jean-Michel Pilc
Essential

by Ken Dryden

Jean-Michel Pilc emerged as one of the rising young European jazz pianists, recording a number of CDs on the Continent, though he had long since become a naturalized American. He makes his debut for a U.S. label with his live solo piano album Essential, a striking mix of fresh interpretations of widely recorded songs and his innovative originals. It would be interesting to imagine what Duke Ellington would say about Pilc's reworking of "Caravan," a playful mix of dramatic chords, uptempo lines, and hand-muting of strings without losing the essence of this timeless composition. He utilizes a disguised introduction to "Someday My Prince Will Come" that incorporates a childlike singing bassline with a piercing staccato chord in his right hand, though he transforms it into a musical daydream that ventures far from the expected route. Pilc's choppy setting of "Take the 'A' Train" also detours onto a new path, incorporating licks from earlier piano giants and adding tricks of his own. It is almost impossible not to laugh aloud hearing Pilc's comic twists in his deliberate arrangement of "Mack the Knife." Pilc has long established himself as a promising composer as well. His six movement "Etude" is a versatile suite that touches on many musical bases. "Essential" suggests a late-night set-closing blues, though the jagged, dark chords accompanying its warm melody quickly change that feeling. Pilc's "Sam" is a pretty ballad with just a touch of melancholy in its brief two minutes. Those who quickly bypass Jean-Michel Pilc's Essential, believing it to be a compilation of earlier recordings, will miss one of the gems of 21st century jazz piano.

Matija Dedic Trio

MD in NYC

By Dan McClenaghan

Pianist Matija Dedic's MD in NYC tiptoes into existence on a delicate rhythm, joined in short order by a sprinkling of crystalline notes in the melody, with a whisper of brushes and spare but assertive bass lines. "Her Name" is one of the pianist's five originals in the set, and has a wistful reverence that speaks, perhaps, to a yearning infatuation, bringing to mind the artistry of Bill Evans and Herbie Hancock.

The Croatian-born musician has created a superb piano trio outing, a pared down approach that he augments very adeptly with synthesizers. "Slawenskya," another original, features a subtle electric cool breeze undertone enhancing the harmony, leading into the brightly-swinging trio tune,"Update."

Hancock's much-covered "Maiden Voyage" has never been covered better. It is a spare and understated rendition from Dedic and his trio mates, with eerie hints of synthesizer washes huffing like wind blowing through the eaves, a sound leaning just over the edge of conscious perception. The longest tune of the set at just over ten minutes—with its deft trio interplay and a brief-but- marvelous bass solo—it is the CD's centerpiece and masterpiece.

Miles Davis's "Blue in Green" opens at a slow and deliberate pace, piano trio only, until Dedic brings a lush string arrangement into the mix, making a Kind of Blue (Columbia Records, 1959) "with strings" outing seem a very interesting potential project.

Dedic's "Cheekee Chicks" features a funky dance groove and electric piano; and Sting's "Fragile" is another trio affair, a floating six minutes of loveliness and trio cohesion, followed by the more stately and muscular Dedic-penned "Jungle Blues." Concluding the CD, Toby Gad's "If I Were a Boy," with it's whirring synthesizer orchestration, has the feel of a soundtrack to a movie with a pastoral backdrop.

MD in NYC introduces a very talented and versatile artist in Matija Dedic.
Track Listing:
Her Name; Slawenskaya; Update; Maiden Voyage; Angst; Blue in Green; Cheekee Chicks; Fragile; Jungle Blues; If I Were a Boy.
Personnel:
Matija Dedic: piano, keyboards, Fender Rhodes; Vincente Archer: bass; Kendrick Scott: drums.

Aaron Goldberg and Guillermo Klein

Bienestan

By Raul D´Gama Rose

There might actually have been a universe called "Bienestan" and it may have existed for as long as Guillermo Klein. The rich sonic topography of this undiscovered place is just emerging. It is a place of oceans of sound, with energetic waves that make their rhythmic way to lap upon a shore that glistens with all manner of richly harmonized melodies. The very air on this universe is thick with reports of complex rhythms bounced across many interstellar regions from the Africa of earthly consciousness. These rhythms are gloriously intertwined with Latin ones that once swept ashore on the hot and golden Iberian coastline, many historic ages ago and were refined by velvet gentlemen as far removed as Madrid and Andalusia was from Paris and Milan. The operatic sweep of these rhythms somehow made it into the majesterium that is presided by Klein, with his sponge-like sensibility. The existence of Bienestan is as fortuitous as all of the music that comes from its presiding grace, Klein himself. Bienestan, the album, has been happily finished somewhere on earth, with the unbridled genius of pianist Aaron Goldberg and a cohort of other fine musicians.
This is a brooding, dense album, which is the reason why it is so unique and enjoyable, unlike many albums where the density of constantly changing rhythmic enchantment mingles with even denser harmonies. It is not hard to wrap the mind around these harmonies, but it certainly is amazing to note that these have been created by just two keyboards, an occasional saxophonist or two and a percussion colorist as wise beyond his years as Eric Harland. This is evident as much on the stunning recasting of Charlie Parker's "Moose The Mooche" as it is on the dark beauty of the magical and mysterious "Manhã de Carnaval." Of course Klein's arrangements are superb and mostly the reason why this album is destined to become a classic. Klein appears not only to have sensibility where a myriad of labyrinthine harmonies converge, but he and Goldberg seem to have found a way to navigate their way through the lush hinterland of such exquisite songs as "Burrito," "Human Feel" and of course the sublime "Implacable" and the languorous beauty of "Airport Fugue." And if further reassurance of the musicians' ability to negotiate Klein's enigmatic modulation of the "three" and "four" rhythmic sequences is really required, there is always the two versions of "Manhã de Carnaval." Finally there are the moving colors that the sextet uses to interpret "Yellow Roses," which is wonderful because they so embellish the title's monochromaticism.
This is an impressive album, not least because it is fired up by the alternate brilliance of Aaron Goldberg, who has interpreted Klein's music on Bienestan with utter genius, indeed.
Track Listing:
All The Things You Are; Implacable; Moose The Mooche; Burrito; Human Feel; Anita; Blues for Alice; Manhã de Carnaval (Black Orpheus); Airport Fugue; Manhã de Carnaval (Orfeo Negro); Yellow Roses; Impresion de Bienstar; Amtrak/All The Things You Are.
Personnel:
Aaron Goldberg: piano; Guillermo Klein: Fender Rhodes; Matt Penman: acoustic bass; Eric Harland: drums; Miguel Zenon: alto saxophone (3, 5-7, 11); Chris Cheek: tenor saxophone (5, 6), soprano saxophone (11).

Danilo Rea

Piano Works X: A Tribute To Fabrizio De André

By John Fordham

Italy's Danilo Rea (an accompanist on occasion to Chet Baker and Lee Konitz, among others, who's sometimes compared to local piano giants Stefano Bollani and Enrico Pieranunzi) is the kind of pianist who seems to believe that improv needs singable melodies set in orderly structures. He's also been active in Italian pop, and this unaccompanied concert from Bavaria's Schloss Elmau last January is dedicated to the radical singer and songwriter-poet Fabrizio de Andrè, who died in 1999. All the pieces here are variations on De Andrè's affecting melodies, save for two Rea originals, and a rapt and romantic account of Rodrigo's Concierto de Aranjuez. Rea is an ornate and showy performer, whose long expositions can leave you feeling as if you're trapped by a non-stop talker, but amid these whirling waltzes, jaunty swingers, movie-epic ballads and Corea and Jarrett inflections (Ave Maria has a distinctly Köln Concert atmosphere), there's an evangelical virtuosity that's undeniably gripping.

Manuel Rocheman
The Touch Of Your Lips: Tribute To Bill Evans

by System Records

Manuel Rocheman is one of France’s finest jazz pianists and his latest CD honours the hugely influential Bill Evans who passed away in 1980. However it’s clear from the outset of this recording that Rocheman is never seeking to imitate and instead aims to evoke all the music that Evans has inspired within him.
Bill Evans’ favoured context was, of course, the piano trio where interaction with the rhythm section was paramount. It’s fitting, therefore, that Rocheman is joined by two very creative musicians on this recording - bassist Mathias Allamane and drummer Matthieu Chazarenc. Like Evans, Rocheman places a great deal of value on the interpretation of standards and performs a highly personal take on the title track, a tune immortalized by his predecessor. Also included are two originals by Evans, Johnny Mandel’s “Theme from M.A.S.H.” (from Evans’ “You Must Believe in Spring” album) and four new compositions from Rocheman himself.