martes, 30 de septiembre de 2014

Claus Ogerman / Michael Brecker - Cityscape (2003)

German-born composer and arranger Claus Ogerman, born in 1930, must rank as one of the most versatile musicians of the twentieth century. When he was at his peak in the 1970s, writing everything from ballet scores to arrangements for Brazilian composer Antonio Carlos Jobim, diva Barbra Streisand, and jazz/R&B saxophonist George Benson, there was hardly a radio station on the dial where his music wasn't heard during the course of a typical day -- and he's still quite active. The key to his success has been his ability to stay in the background behind the musician he's working with and yet create something distinctive. This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably -- his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight. The highlight of the album is a three-part suite called In the Presence and Absence of Each Other, and in its middle movement, track 5, the saxophone is silent until about a minute before the end -- yet everything in the piece leads up to this magical explosion of lyricism. The packaging describes this album as a "virtual concerto for saxophone and orchestra with jazz rhythm section," but it's a little more complicated than that -- actually, it's a concerto for jazz band, with saxophone leader, and orchestra. That creates several layers, and it is precisely in handling these layers where jazz/classical crossovers tend to fail -- and where Ogerman succeeds. A very sweet experience for listeners from either side of the divide.

Art Direction [Reissue], Design [Reissue] – Greg Allen (7)
Art Direction, Design – Simon Levy
Artwork [Cover Art] – Louis Lozowick
Bass – Eddie Gomez (tracks: 1, 3), Marcus Miller (tracks: 2, 4 to 7)
Composed By, Arranged By, Conductor – Claus Ogerman
Concertmaster – David Nadien
Drums – Steve Gadd
Engineer [Assistant] – Don Koldon, Don Wershba, Hugh Davies (2), Jason Corsaro, Michael Christopher (2)
Guitar – Buzzy Feiten (tracks: 4), John Tropea (tracks: 2)
Keyboards – Warren Bernhardt
Liner Notes – Bill Milkowski
Mastered By – Mike Reese
Percussion – Paulinho Da Costa (tracks: 2, 4)
Photography By – Suzanne Nyerges
Producer – Tommy LiPuma
Recorded By, Mixed By – Al Schmitt
Reissue Producer, Liner Notes – Richard Seidel
Remastered By – David Donnelly
Saxophone – Michael Brecker

1. Cityscape
2. Habanera
3. Nightwings
4. In The Presence And Absence Of Each Other (Part 1)
5. In The Presence And Absence Of Each Other (Part 2)
6. In The Presence And Absence Of Each Other (Part 3)

Bonus Track
7. In The Presence And Absence Of Each Other (Part 3) (Alternate Mix)


Bill Frisell - Guitar in the Space Age! (2014)

Source & Label: Okeh Records

Just when you think you’ve got guitarist-composer Bill Frisell all figured out, confident in your expectations, this American original shakes things up with an unexpected glimpse into those layers of consciousness which inform his rootsy, inclusive, oh so personal style of musical outreach.

With his new album, GUITAR IN THE SPACE AGE! (available October 7 on OKeh Records), Frisell goes back to the music that first sparked his imagination. “There’s something about being the age I’m at now,” reflects this iconic guitar hero. “I turned 63 this past spring, and after playing for more than 50 years, it just feels right to once again play some of the music which shaped my consciousness during my formative years, even to play some of it for the first time…and maybe get it right. GUITAR IN THE SPACE AGE! isn’t really an exercise in nostalgia, but about a re-commitment to keep learning, to firm up the foundation.

“On this album is some of the music I was hearing growing up in the ‘50s and early ‘60s,” notes Frisell. “There is so much history. Back and forth. Before and after. It’s impossible to pin things down. That’s the beauty. We all learn from each other. When I listen to Jimmy Bryant, I know he must have listened to Charlie Christian, and The Ventures heard Chet Atkins, and Chet Atkins listened to Johnny Smith. It’s like a kaleidoscope. You look at one piece of music, and it immediately shoots out into all these directions. All these beams of light cut through whatever words are used to try to box it in.” As a baby boomer who came of age in the 50s and ‘60s, there is an undeniably autobiographical element to the tenor and tone of the repertoire which Frisell explores on GUITAR IN THE SPACE AGE! along with long-time collaborators Greg Leisz (pedal steel & electric guitar), Tony Scherr (acoustic bass and electric bass guitar) and Kenny Wolleson (drums and vibraphone).

“I’ve known Kenny, Tony, and Greg for a long time now,” recalls Frisell. “I learn so much from them. They are my teachers. When I first heard Tony and Kenny play together, they had their own ‘sound.’ They play together like brothers. The first time I was introduced to Greg, I knew we’d be playing together before we had played a note. Greg and I grew up during the same time. The same generation. His first electric guitar was a Fender Mustang, as was mine. Nothing needs to be said or discussed. There is understanding. He is my guitar brother. My hope is that this band plays together like a family.
“I hope people don’t think this is a joke or nostalgia. It first comes from loving this music and loving these guys. It’s about learning and getting deeper into the music, and researching where we come from. I’ve never been able to buy into the idea of there being a hierarchy in music. Like… folk music is at the bottom, then blues, rock, jazz and classical at the top… or whatever. As though one music is higher or lower or more difficult than another. It’s all difficult. It’s all beautiful. It’s all one thing.”

1. Pipeline
2. Turn, Turn, Turn
3.Messin' with the Kid
4. Surfer Girl
5. Rumble
6. The Shortest Day
7. Rebel Rouser
8. Baja
9. Cannonball Rag
10.Tired of Waiting for You
11.Reflections from the Moon
12.Bryant's Boogie
13.Lift Off

Bill Frisell - guitar
Greg Leisz - pedal steel and guitar
Tony Scherr - upright and electric basses
Kenny Wollesen - drums and vibraphone

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Mark Meadows - Somethin' Good (2014)

Source: cdbaby

Multidimensional jazz pianist, bandleader, composer, and jazz educator, Mark Meadows performs throughout the Washington D.C. – Baltimore region and across the US. During the 2014-2015 season, Mark is appearing alongside world-renowned musicians such as Warren Wolf, Cyrus Chestnut, Dontae Winslow, Kris Funn, Todd Marcus, Eric Kennedy, Chad Lefkowitz Brown, Elijah Balbed, Quincy Phillips, Gary Thomas, Paul Bollenback, & Dr. Alex Norris. He has led and has been a sideman in premier clubs in the Baltimore-Washington region including Bohemian Caverns, Columbia Station, Caton Castle, Twins Jazz, Bertha’s, The Metropolitan Club, An Die Musik, The Hopkins Club, The Jazz Loft Series, and the Strathmore. Somehow in Mark’s demanding schedule, he finds the time to teach four courses as an adjunct instructor at the Duke Ellington School of the Arts in Washington, D.C.

Son of a gospel and jazz vocalist, when Mark was three years old and living in Washington DC, his father bought him a little Casio keyboard and invited Mark to “have at it”. Mark has been “having at it” ever since, to the delight of audiences nationwide.

When Mark reached the age of five, he and his family moved to Dallas, Texas and he began studying classical piano under the stern but loving eye of Dr. Rosalie LeVant, a renowned Russian born and highly regarded classical pianist. Years later, Julie Bonk, a treasured Dallas jazz pianist and teacher of Grammy Award-winning artist Norah Jones, took the 13-year-old under her wings after hearing him play Debussy’s “Clair De Lune.”

Throughout Mark’s high school years, he performed with the Booker T. Washington Jazz Combo under Bart Marantz and the BTW MIDI Ensemble under Kent Ellingson. Some of Mark’s accolades include him being featured on “Good Morning Texas” on WFAA Channel 8 (2008), being awarded “Best Pop Rock Solo in North America” by Downbeat magazine (2008), performing at the Kennedy Center with an Ensemble under the direction of Gary Thomas (2008), releasing his first album “A Child is Born” (2008), being awarded “2nd Best Pop Rock Composition in North America” by Downbeat magazine (2007), playing for Prince Edward, The Earl of Wessex and youngest child of The Queen and The Duke of Edinburgh (2007), touring Los Angeles, CA alongside Ingrid Jenson, Lisa Henry, and BTW’s Jazz Septet (2007), and much more.

When applying to colleges, Mark took a different route than predicted. He surprised all of his friends and colleagues when he decided to attend Johns Hopkins University; not for music, but for psychology. After two years of the strenuous premed route at Johns Hopkins, Mark began to understand how much music really meant to him. He decided to complete his psychology degree, but added on a second degree in jazz piano at the Peabody Institute, all the while waking up at the crack of dawn every Sunday morning to perform as Music Director at a dynamic multiracial church in Baltimore, MD. For six years, he composed, arranged, and taught a wide array of styles to compliment the diverse and energetic congregation. In 2011, Mark earned degrees in jazz piano from The Peabody Conservatory and a Bachelor of Arts in psychology from The Johns Hopkins University.

After graduating, Mark decided for the first time in his life to focus solely on music. He received a full tuition Graduate Assistantship from The Peabody Conservatory where he completed his Graduate Performance Degree in jazz piano.

As an exciting jazz pianist, composer, bandleader, and educator, Mark is quite the dynamic musician who simply has the whole package. His versatile musical background allows him to interconnect every walk of life.

01. Come Together
02. Just Imagine
03. Rock With You
04. Somethin' Good
05. Once Upon a Purple Night
06. Less Catchy
07. Way Up Here
08. For You
09. Groovin' High
10. Get Lost
11. Lush Life

Mark Meadows: piano, voice
Paul Bollenback: guitar
Warren Wolf: vibes
Brent Birckhead: alto sax
Christine Dashiell: vocals (8,9)
Lena Seikaly: vocals (2)
Eric Wheeler: bass
Eric Kennedy: drums

"Hearing is Everything" Peter Watkins


Pete Roth Band - Circus in the Sky (2014)

Source: thejazzmann

"A worthy follow up to “Meridian” that often surpasses its predecessor via a broader range of sounds and textures and a strong and varied collection of themes." Pete Roth Band, “Circus In The Sky” (MGP Records)

The German born guitarist and composer Pete Roth moved to the UK in 2002 and has worked as a freelance guitarist with an impressive roster of names from the worlds of jazz and popular music. He is also an acclaimed educator and currently holds teaching posts at the Academy of Contemporary Music in Guildford, Chichester University and Goldsmiths University as well as writing the Q & A column in Total Guitar Magazine.

Roth came to jazz via blues and rock and this latest album also explores a growing fascination for world music styles. He cites Pat Martino and Pat Metheny as significant inspirations but no less important is the influence of fellow guitarist Nicolas Meier on whose MGP (Meier Group Productions) record label this new album appears.

Roth’s previous album for the label, “Meridian” (2010, also MGP) featured Meier extensively as the two guitarists duetted on a series of individual and collaborative compositions with the support of bassist Dave Suttle and drummer Alun Harries, both of whom made substantial contributions to the success of the album.

“Circus In The Sky”, this time credited to the Pete Roth Band sees Meier taking more of a back seat. This time round he only plays on one track although he acts as co-producer with Roth. The group has been extended to a quintet with Suttle remaining on bass and with Gabor Dornyei taking over the drum stool. Loren Hignell brings a welcome additional instrumental voice as she plays a variety of saxophones (tenor, alto and soprano) while percussionist Terl Bryant brings an element of world music exotica to the mix. While “Meridian” represented an impressive début “Circus In The Sky” takes things a stage further with a broader range of sounds and textures and a strong and varied collection of themes. The album title refers to the band’s “free spirit of improvising, creativity, dedication to our art, the love of danger and most of all the immense fun we have” 

Roth’s notes explain that most of the tunes are based on stories, often factually based but at other times fictional. As a husband and parent he appears to have a contented home life but this doesn’t prevent world events from incurring his wrath. The opening “Uprise” takes its inspiration from the “Arab Spring” and carries with it the suggestion that something of that rebellious spirit would be welcome in the quiescent West. In a sense it’s a companion piece to the anti war composition “How Does It Feel?” from Roth’s first album.

Musically it begins with the sound of Suttle’s powerful acoustic bass groove augmented by Bryant’s percussion. Roth deploys electric guitar to powerful effect and he’s complemented by Hignell’s equally forceful sax playing. Subtly prompted by Dornyei’s drums there’s a restless quality about the piece allied to a vaguely exotic feel that reflects the tune’s inspirations.“Little Mr. X”, a delightful dedication to Roth’s young son Xander, is gentler in feel and features Roth playing nylon stringed acoustic guitar. Much of “Meridian” was acoustic and the nylon guitar sound is something that both Roth and Meier very much enjoy. Hignell’s feathery soprano weaves in and out of the piece and the world music feel is encouraged by the patter of Bryant’s percussion.

“RB-School” has more of a blues feel as Roth on electric guitar teams up with Hignell’s earthy tenor. John Scofield is mentioned as another significant influence and there’s something of his style here with Roth and Hignell delivering powerful solos above crisp, hard driving, rock influenced drumming.

As the title might suggest “Morning Prayer” is altogether more pastoral in mood with Roth’s delicately picked acoustic guitar dovetailing with Hignell’s more assertive sax melody lines. The saxophonist takes the first solo, her horn soaring above a subtly propulsive rhythmic groove. The interplay between Suttle’s double bass and Roth’s nimbly picked acoustic guitar is also impressive.

“The Return” features the twin guitars of Roth and Meier and was the first piece to be written for this album and represents a kind of continuation from the earlier “Meridian”. Featuring the full sextet this languorously lilting offering includes a mix of electric and acoustic guitars with the two fretboard wizards sharing the solos.

“Gotta Shoot” is a second excursion into more aggressive, Scofield inspired territory with an attention grabbing opening featuring crashing guitar chords, belligerent saxes and powerful, energetic drumming. Things later develop in more subtle ways via incisive solos from Roth and Hignell but the music always retains a certain claustrophobic, urgent edge. 

Inevitably “Smile” is far more relaxed in style, the title a reference to “all the things that make us smile in daily life”, including the snatch of overheard conversation on the London tube that inspired the tune. Suitably perky and sunny it features lovely contributions from Hignell on bright toned reeds and Bryant on a variety of percussion. Together with the rest of the band, including soloist Roth, they help to create the joyful atmosphere that characterises the piece.

Fellow guitarist Giorgio Serci inspired the energetic, hard driving and frequently exotic “The Sicilian” with its driving riffs, percussion features and effervescent sax solo.

Finally we hear “Malaika” with its anthemic, Metheny like melody and mix of electric and and acoustic sounds. Suttle opens the soloing followed by Roth and Hignell, all of them creating carefully crafted statements that serve the tune admirably.

“Circus In The Sky” is a worthy follow up to “Meridian” and often surpasses its predecessor. Roth’s writing is mature and intelligent and he has produced a series of absorbing compositions that form a well balanced programme. The quality of the leader’s playing matches that of his writing and he’s also helped by a superb band that exudes a real group chemistry. Suttle’s virtues were familiar from “Meridian” and he’s in excellent form again here. Hignell’s is a new name to me but she impresses with her fluency and virtuosity throughout with some authoritative solos and some fine ensemble playing. Her rapport with Roth is particularly impressive. Dornyei’s drumming is at the heart of the band and he exhibits an exemplary balance of power and subtlety throughout, subtly prompting and propelling the soloists in a highly competent display. Similarly Bryant’s percussion which adds colour and detail but never imposes inappropriately. Suttle, Dorntei and Bryant make a great team, always supporting the music but never stepping on one another’s toes. Reports of this group’s live performances also suggest that they’re well worth hearing in that environment.

Meier’s immediate involvement is less this time round but as co-producer and label owner he still exerts a considerable influence on the music. If you like Meier’s own work (and I do) the the chances are that you’ll find much to enjoy in the music of the Pete Roth band and “Circus In The Sky”.

Pete Roth: Nylon and Electric guitar
Loren Hignell: Saxophone, Soprano, Tenor alto
Dave Suttle: Upright Bass
Gabor Dorneyi: Drums
Terl Bryant: Percussion
Nicolas Meier: Nylon Guitar on track 5

1) Uprise (8:31)
2) Little Mr. X (5:34)
3) RB-School (5.39)
4) Morning Prayer (8:13)
5) The Return (7:49)
6) Gotta Shoot (6:58)
7) Smile (5:26)
8) The Sicilian (4:22)
9) Malaika (6:06)

Recorded at The Bridge Studio London 2013/14
Recording Engineer: Luc Saint-Martin
Mixing and Mastering: Luc Saint-Martin, Oneland Studio London April 2014-04-29
 Photography: Matt Child
Cover painting: Songul Yilmaz (
Artwork: Sonja Roth

"Hearing is Everything" Peter Watkins


lunes, 29 de septiembre de 2014

Eric-Maria Couturier / Henri Roger / Emmanuelle Somer / Bruno Tocanne - Parce Que! (2014)

The idea of this collective improvisations album around Pierre SOULAGES' "Outrenoir" came by playing primarily with bass piano arpeggios and a series of held notes, causing dense harmonic and deep sound ("Immatière"). Henri ROGER invited Eric-Maria COUTURIER (Cello), Emmanuelle SOMER (English horn, oboe, bass clarinet & saxophone) and Bruno TOCANNE (Drums), to VISIT and experience these paintings on the Internet then join his piano sounds by bringing their own nuances and reflections for a recording session at Studio 26 in Antibes, November 18, 2013. Interacting with this idea and music, artist Anne PESCE created the album cover. Mixing by Maïkôl SEMINATORE at The Border Studio, February 2014. Mastering: Marwan DANOUN at Studio Galaxy. "Why black ? The only response, including reasons unknown, lurking in darkest of ourselves and the powers of the painting is: "Because !" ("Parce Que !" in French ), according to Pierre SOULAGES in 1986.

James JOHNSON-SWEENEY, directeur du musée Guggenheim à New York de 1952 à 1960, a déclaré que "Une peinture de Pierre SOULAGES, ça n'est pas une mélodie, c'est l'accord plaqué sur le clavier et tenu.". L'idée de "Parce Que !", cet album d'improvisations collectives autour de la période "Outrenoir" ddu peintre, est venue en jouant principalement avec les graves du piano sur des arpèges et des séries de notes tenues, provoquant une "immatière" harmonique dense et profonde. Henri ROGER a invité Eric-Maria COUTURIER (Violoncelle), Emmanuelle SOMER (Cor anglais, hautbois, clarinette-basse & saxophone) et Bruno TOCANNE (Batterie) à visiter et ressentir ces tableaux sur Internet. Puis à se joindre à ses sons de piano en y apportant leurs propres nuances et reflets pendant une journée au Studio 26, à Antibes, le 18 novembre 2013. En interaction avec cette idée et la musique, l'artiste Anne PESCE a crée la pochette de l'album. Pourquoi noir ? La seule réponse, incluant les raisons ignorées, tapies au plus obscur de nous-mêmes et des pouvoirs de la peinture, c'est "Parce que !", Pierre SOULAGES en 1986.

Eric-Maria Couturier : cello
Emmanuelle Somer : english horn, oboe
Henri Roger : piano 
Bruno Tocanne : drums

1. Traces ouate
2. Coulures apprences
3. Signe banquise
4. Ratures brumes
5. Griffures du fond

"Hearing is Everything" Peter Watkins


Pat Metheny Group - We Live Here (1995)

The Pat Metheny Group reconvened in 1995 to release the album We Live Here, six years after their previous studio album. Following the release of the album, the group embarked on a world tour during which this concert was filmed in Japan. Many of the tracks from the We Live Here album are included along with others from their various eighties albums. This was the first of a set of three (Quartet, 1996 and Imaginary Day, 1997) that the band referred to as the “triptych.”

The full line-up for this show boasted the talents of Pat Metheny (guitar, guitar synths); Lyle Mays (piano, keyboards); Steve Rodby (acoustic & electric bass); Paul Wertico (drums); David Blamires (vocal, various instruments); Mark Ledford (vocals, various instruments); Armando Marcal (percussion). Included in the DVD are short interview segments with the band members inserted between some of the songs which give an insight into the creation of the album and life on the tour.

1.- Here To Stay
2.- And Then I Knew
3.- The Girls Next Door
4.- To The End Of The World
5.- We Live Here
6.- Episode d’Azur
7.- Something To Remind You
8.- Red Sky
9.- Stranger In Town

Pat Metheny: guitars, guitar synths
Lyle Mays: piano, keyboards
Steve Rodby: acoustic and electric basses
Paul Wertico: drums
David Blamires: vocals
Mark Ledford: vocals,whistling, flugelhorn, trumpet
Luis Conte: percusion

Recorded at Hit Factory, NYC 1994


Tommy Igoe - The Tommy Igoe Groove Conspiracy (2014)

The debut release from Tommy Igoe and the Groove Conspiracy- a 14-piece supergroup based in San Francisco. The TIGC is your personal playlist, creating gasp-inducing surprises that only top-shelf musicians can bring. Once you hear the TIGC, you’ll never think about music the same way again. They are fearless rule breakers, but not just for the sake of it. But because they believe that by pushing the limits, they can provoke people into opening their minds. Their unmatched experience across stage, studio & classroom gives them vast reserves to tap into so they can deliver a performance that defies convention. The TIGC shatters people’s perceptions about music. Their mind-blowing performances every Tuesday at the legendary Yoshi’s Jazz Club leave novices and hardcore fans alike wanting more.

Featuring Guest Conspirers: Randy Brecker, James Genus, Michael League from Snarky Puppy, Drew Zingg, Karl Perazzo and Kenny Washington.

Tommy Igoe: drums, programming
Dewayne Pate: bass
Colin Hogan: piano
Drew Zingg: guitar
Louis Fasman: trumpet, flugelhorn
Steffen Kuehn: trumpet, flugelhorn
Dave Len Scott: trumpet, flugelhorn
Nick Ciardelli: trumpet, flugelhorn
John Gove: trombone
Jeanne Geiger: trombone
Mike Rinta: bass trombone
Marc Russo: alto saxophone, soprano saxophone
Tom Politzer: tenor saxophone
Alex Murzyn: tenor saxophone, alto saxophone
Aaron Lington: baritone saxophone

Randy Brecker: trumpet (9)
Kenny Washington: vocals
James Genus: bass (1)
Michael League: bass (10)
Karl Perazzo: Latin pecussion (8, 10)
Scott Kettner: Brazilian percussion (5, 7)

01. Mercy Mercy
02. Friday Night At the Cadillac Club
03. Jazz Crimes
04. Let the Good Times Roll
05. Aquele Um
06. Jessica's Day
07. Caprichosos De La Habana
08. I Didn't Know What Time It Was
09. Plan B
10. Quarter Master

"Hearing is Everything" Peter Watkins


Hank Mobley - Roll Call (1960)

1.-  Roll Call
2.-  My Groove Your Move
3.-  Take You Pick
4.-  A Baptist Beat
5.-  The More I See You

Freddie Hubbard, trumpet
Hank Mobley, tenor sax
Wynton  Kelly. Piano
Paul Chambers, bass
Art Blakey, drums

Recorded  at the Van Gelder Studio, New Jersey on November 13, 1960


domingo, 28 de septiembre de 2014

Peripheral Vision - Sheer Tyranny Of Will (2014)

Source: Criticalijazz

 Toronto is a hot bed for up and coming improvisational groups and Sheer Tyranny of Will announces Peripheral Vision's addition to this very exclusive club. At first glance, a band with influences including Wayne Shorter, Kurt Rosenwinkel, and The Bad Plus screams train wreck. Good thing being wrong works for me on occasion. Peripheral Vision displays an amazing cohesion of sound as the cut a wide harmonic path that perhaps only a dozen other bands in North America could touch. Genres are transcended and boundaries are smashed.

Describing sounds can be a daunting task when it comes to looking at new acts. Imagine a hard swinging post bop combined with an edgy contemporary statement of lyrical intensity. These are more than tunes on the cutting edge, these are melodic explorations of give and take. A true collective where each members voice makes a unique and dynamic statement. Post bop rhythm and groove. When a new release is this good sometimes the critic needs to back off and let the music speak for itself.

Innovative, cutting edge and fearless finds Peripheral Vision as one of the most creative new ensembles emerging on the scene today. Brent Black

1. Robbed And Ridiculed 06:58
2. Wiretap 07:28
3. Charleston Heston 05:54
4. Sheer Tyranny Of Will 11:22
5. Neurosis And Everyday Life 03:58
6. Cement Watchers 08:00
7. Backbone 06:01
8. The Ill Conceived Plan 03:25
9. Cadmium Thumb 06:49
10.Patina 10:24

Don Scott, gutar
Michael Herring, bass
Trevor Hogg, saxophone
Nick Fraser, drums
"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Dizzy Reece - Star Bright (1954)


01. The Rake
02. I’ll Close My Eyes
03. Groovesville
04. The Rebound
05. I Wished On The Moon
06. A Variation On Monk

Dizzy Reece Trumpet
Hank Mobley Tenor Saxophone
Wynton Kelly Piano 
Paul Chambers Bass (3)
Art Taylor Drums

Dizzy Reece Bio From  AMG:
Dizzy Reece is a fine hard bop trumpeter who has been overshadowed by the innovators of the style. He started on trumpet when he was 14 and moved to Europe in 1949. It was while he was based in England (1954-1959) that he achieved some recognition through a series of recordings with top English musicians, plus a 1958 date with Donald Byrd. He moved to New York in 1959 but, after a few notable recordings and a bit of publicity, Reece seemed to largely fade away despite remaining active. He was with the Dizzy Gillespie's orchestra in 1968 and the Paris Reunion Band in 1985.


sábado, 27 de septiembre de 2014


Contenido de calidad, con mucho gusto y swing en la propuesta de RONALDO ALBENZIO para esta nueva edición de JAZZ by JAZZ. 



de la mano de


Todos los Domingos a las 19:00h. (hora Brasil)

Charles Lloyd Quartet - Mirror (2010)

01. I Fall in Love Too Easily (For Lily)
02. Go Down Moses
03. Desolation Sound
04. La Llorona
05. Caroline, No
06. Monk’s Mood
07. Mirror
08. Ruby, My Dear
09. The Water Is Wide
10. Lift Every Voice And Sing
11. Being And Becoming, Road To Dakshineswar With Sangeeta
12. Tagi

Charles Lloyd tenor, alto saxophone, voice
Jason Moran piano
Reuben Rogers double-bass
Eric Harland drums

Playtime: 72:56
Recorded December 2009

Review by Thom Jurek

When Charles Lloyd showcased his quartet in a live setting on 2008's Rabo de Nube, it was one of the more exciting, free-flowing dates of that year. It was physical, full of intense engagement and fiery energy. On that date, he performed a number of tunes he'd recorded before, along with new compositions. Mirror, recorded with the same band -- drummer Eric Harland, pianist Jason Moran, and bassist Reuben Rogers -- in a Santa Barbara studio, is, as the title suggests, a mirror image of the previous outing. Here too, the saxophonist revisits some older material with, thanks in large part to his sidemen, new ears. The material is mostly gently swinging ballads and outr? investigations showcasing an even more spiritual side to Lloyd's playing and arranging. But it also displays the great intuitive nuances this band is capable of. While the set opens with an elegant and gently swinging reading of the standard "I Fall in Love Too Easily," it's the follow-up, the spiritual "Go Down Moses," that showcases the group's persona with its modal, questioning concerns, while keeping the tune firmly in the church. The title track appeared on 1989's Canto, and is here performed with the kind of deep commitment and sense of interdependent energy only time and wisdom can impart. Another tune from that album, "Desolation Sound," while still a ballad, features a lot more engagement from the players here: Moran's solo looks in and through the changes to find a way outside and gets there. Harland's shimmering breaks add more crackle than on the original. Likewise, "The Water Is Wide" and "Lift Every Voice and Sing" are performed, in their restrained way, more energetically than they were on their respective albums. One of Mirror's great surprises is a tender reading of the Beach Boys' "Caroline, No." While the melody is inescapable, Lloyd very quickly transforms it into a jazz ballad of haunting, romantic beauty. On a pair of Monk tunes here -- "Ruby, My Dear" and "Monk's Mood" -- Moran's own musical personality is given free rein. He expresses it with his deft senses of rhythmic and harmonic intuition, underscoring unexpected phrases and elaborating on others. Ultimately, Mirror is another Lloyd triumph. It may not shake the rafters with its kinetics, but it does dazzle with the utterly symbiotic interplay between leader and sidemen.


Wadada Leo Smith - Red Hill (2014)

There is a sense of mystery, majesty and daring surrounding this remarkably deep studio session, the first of its kind for the adventurous renegade label RareNoiseRecords.

Each piece resounds with such compelling, conversational, in-the-moment playing that it sets a new standard in collective improvisation. “I believe it raises the bar for what improvised music can achieve on record,” says pianist Jamie Saft of Red Hill, the group's mesmerizing debut on the RareNoise label.

Fueled by the urgent high note blasts and expressive muted trumpet work of avant-garde icon Wadada Leo Smith and underscored by an uncanny group-think of RareNoise stalwarts Jamie Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New Standard) on keyboards, Joe Morris (Plymouth, Slobber Pup, One) on acoustic bass and Balazs Pandi (Obake, Metallic Taste of Blood, Slobber, Pup, One) on drums, Red Hill is a kind of clarion call for the new avant-garde.

REDHILL 600600 72DPIPandi's sensitive, highly interactive brushwork and coloristic cymbals underscore Smith's lyrical muted trumpet playing on the sparse opener, “Gneiss.” And yet, when that piece builds to a turbulent crescendo near the end, the drummer is right there to fuel the frantic proceedings.

With mallets, Pandi engages in a conversational duet with Smith at the outset to “Janus Face,” a piece that evolves from slow, open rubato statements to dense explosions of tumultuous free jazz sparked by Saft's Cecil Taylor-esque attack on the piano. Saft switches to Fender Rhodes electric piano to attain another color on “Agpaitic,” a conversational romp that features some aggressive bowing on the bass by Morris. And Pandi supplies the rolling free pulse beneath Morris' trance-like bass ostinato and Smith's edgy trumpet excursions on “Tragic Wisdom,” which also has intrepid improvisor Saft plucking strings inside his piano.

Silence is the watchword on “Debts of Honor,” a thoughtful improvisation which evolves gradually over the course of nine minutes from zen-like tranquility to intense crescendo paced by Pandi's relentless drumming and Saft's spiky piano comping and is highlighted by some of Smith's most powerful blowing of the session. The trumpeter begins the closing number, “Arfvedsonite,” with a high-note blast before Morris enters with some insistent arco work to create an edgy texture. Pandi's rolling pulse with mallets and Morris' resounding bass tones quickly establish a solid launching pad for Wadada's stratospheric improvisations on trumpet, bringing this spell-binding collection to a ferocious conclusion.

Wadada Leo Smith - trumpet
Jamie Saft - piano / fender rhodes
Joe Morris - acoustic bass
Balazs Pandi - drums

1. Gneiss (12:20)
2. Janus Face (14:33)
3. Agpaitic (7:51)
4. Tragic Wisdom (12:44)
5. Debts of Honor (9:35)
6. Arfvedsonite (9:16)


viernes, 26 de septiembre de 2014

Jerome Sabbagh - The Turn (2014)

Source: sunnysidezone

Longevity is a word rarely associated with jazz ensembles these days. The difficulty in retaining a long lasting musical relationship with any one collaborator is hard enough, let alone trying to keep a quartet together.

An ensemble that has weathered the obstacles and remained a cohesive unit should be celebrated. Saxophonist/composer Jerome Sabbagh has led his tremendous quartet for ten years, a rare display of stability in jazz today. Over the years, the band has developed a unique sound, which stems in no small part from the high level of musicianship involved.

Together with guitarist Ben Monder, bassist Joe Martin and drummer Ted Poor, Sabbagh has recorded his third album as a leader, The Turn: a terrific reminder of the incredible results that can be achieved by a group of dedicated and talented musicians in complete rapport.

The Turn was recorded live to analog tape by the acclaimed engineer James Farber (Brad Mehldau, John Scofield and Joshua Redman) and mastered by the legendary Doug Sax (Pink Floyd, Diana Krall, Ray Charles and Sonny Rollins), yielding a sound that is clear, natural and warm, highlighting the band’s sonic signature.

As a saxophonist, Jerome Sabbagh is an heir to the jazz tradition along with being a part of the eclectic and vibrant New York jazz scene of today. His attachment to lyricism has helped him forge a distinctive identity as a tenor player.

The members of the quartet are equally versed and accomplished. An inspired soloist with a knack for creative harmonic textures, Ben Monder (himself a noteworthy bandleader, composer, and sideman with Maria Schneider, Paul Motian and Lee Konitz) shows once more why he is one of the great guitarists of our time. Joe Martin is a first-rate bassist with a facile ear and has worked with the likes of Mark Turner and Chris Potter. Drummer Ted Poor provides a steady groove that eschews unnecessary effects. He shapes the music with the creativity and with a sure-footedness that has earned him the trust of Kurt Rosenwinkel and Aaron Parks.

The compositions on the recording are all originals, except “Once Around the Park,” a tune written by the recently deceased master drummer and composer Paul Motian. Sabbagh was one of the last saxophonists hired by Motian and played in the drummer’s “New Trio” alongside Ben Monder at the Village Vanguard in New York in 2011. The band’s take on Motian’s piece is done in tribute to this extraordinary figure.

As a composer, the French saxophonist, a New Yorker since 1995, favors strong melodies and crafts compelling moods. The recording features a variety of songs, ranging from a pop/rock influence (“Electric Sun” and “Banshee”) to the more mysterious (“Cult” and “Ascent”). The cohesiveness is found in the improvising and the strength of the band’s sound.

The recording begins with “The Turn,” with its dirge like beginning eventually exploding with a bright, uptempo flair. “Long Gone” follows with Monder and Sabbagh’s lush tones floating on this tender ballad. The aggressive attitude of “Banshee” (featuring wicked solos from both the leader and the guitarist) is balanced by its polar opposite, “Ascent,” a calm, warm-hearted piece and palate cleanser.

The mildly twangy but completely swinging “The Rodeo” hearkens back to the simpatico between guitarist Jim Hall and saxophonist Sonny Rollins on their classic 1950s recordings. “Cult” is a dark and subtle piece with ominous shadings. Motian’s “Once Around The Park” follows with the composer’s lyrical singsong melody over a slightly jaunty rhythm section. The recording concludes with “Electric Sun,” with its backbeat driven, rock tune pulse and open Western sky optimism.

On his new recording The Turn, Jerome Sabbagh explores new material and reunites with the band that he first assembled upon arriving on the New York jazz scene, a band that has matured into a fantastically expressive working group.

Jerome Sabbagh - tenor sax
Ben Monder - guitar
Joe Martin - bass
Ted Poor - drums

1. The Turn 06:15
2. Long Gone 07:27
3. Banshee 06:18
4. Ascent 06:45
5. The Rodeo 07:13
6. Cult 11:14
7. Once Around The Park 04:56
8. Electric Sun 05:57

Released 16 September 2014

"Hearing is Everything" Peter Watkins


Pete Robbins - Pyramid (2014)

Pyamid represents a flourishing of my long-standing musical relationships with bassist Eivind Opsvik and drummer Tyshawn Sorey, as well as my long-hoped-for collaboration with MacArthur Fellow and pianist/composer extraordinaire Vijay Iyer. We recorded “Pyramid” in 2012 and I finally released it on my Hate Laugh Music label in January, 2014. The recording is a mixture of my original compositions and my reinterpretations of songs by such artists as Nirvana, Guns N’ Roses, Stevie Wonder, and Leonard Cohen, which influenced and affected me earlier in my life and in my musical development.

Pete Robbins – Alto Saxophone, compositions
Vijay Iyer – Piano
Eivind Opsvik – Bass
Tyshawn Sorey – Drums

1. Sweet Child O' Mine
2. Hallelujah
3. Vorp
4. Wichita Lineman
5. Intravenous
6. Lithium
7. Equipoise
8. Too High
9. Pyramid

"Hearing is Everything" Peter Watkins