martes, 25 de noviembre de 2014

Donatello D'Attoma - Watchdog (2014)


1. Eyes Around the World
2. Fascinating Berlin
3. If You Can Think and Not Make Thoughts Your Aim
4. Kick Off
5. Looking Away from Here
6. Music My Dear
7. Organik Brain
8. Watchdog


Tracks 1, 2, 3, 6, 8
Donatello D’Attoma: piano, fender rhodes
Francesco Angiuli: double bass
Domenico Caliri: guitar
Vladimir Kostandinovic: drums

Tracks 4, 5, 7
Donatello D’Attoma: piano, fender rhodes
Luca Alemanno: bass
Alex Milella: guitar
Lello Patruno: drums

Recording Data

Recording & Mix: March 2014 at International Sound Studio, Conversano (BA)
Producer: Donatello D’Attoma
Executive Producer: Marco Valente
Sound Engineer: Riccardo Tisbo
Artwork: Enzo Rosato
Photos: millaphotographer


Fabrizio Bosso & Julian Oliver Mazzariello - Tandem (2014)

Source: velvetmusic

Fabrizio Bosso e Julian Oliver Mazzariello: un “Tandem” con Fiorella Mannoia e Fabio Concato

Esce il prossimo 4 novembre Tandem, nuovo album di Fabrizio Bosso realizzato con il pianista Julian Oliver Mazzariello e che si avvale anche della partecipazione straordinaria di Fiorella Mannoia e Fabio Concato. Bosso e Mazzariello, per la presentazione ufficiale del disco, saranno il 23 novembre al Blu Note di Milano e poi torneranno in concerto a Orvieto per l’Umbria Jazz Winter, in programma dal 28 al 31 dicembre.

Tandem si può già prenotare su iTunes, ottenendo in anteprima il brano Wide Green Eyes di Bosso. La versione digitale, inoltre, contiene la bonus track Estate. “Ci sono due modi – è scritto in un comunciato – di fare le cose insieme: perseguire due strade parallele che portano alla stessa meta, oppure pedalare all’unisono. Quest’ultima è la scelta che hanno fatto Fabrizio Bosso e Julian Oliver Mazzariello e l’album ‘Tandem’ è l’approdo naturale di un rapporto artistico già rodato, di un’unione iniziata sul palco ma che trascende le regole delle classiche collaborazioni“.

Per quanto riguarda i due ospiti eccellenti, Fabio Concato propone la sua celebre Gigi “dove la tromba di Bosso e il piano di Mazzariello si fanno più lievi, come ad accompagnare, con discrezione, un testo importante che racconta un padre attraverso parole in cui ognuno può ritrovare la propria espressione del rapporto con un genitore“; la Mannoia, invece, per la prima volta interpreta il classico di Trovajoli-Garinei-Giovannini Roma nun fa la stupida stasera: “una voce elegante al servizio di uno dei celebri brani della tradizione romanesca“.

Bosso e Mazzariello interpretano grandi canzoni e temi della musica internazionale, senza distinzione di genere: da Oh Lady Be Good di George Gershwin a Luiza di Antonio Carlos Jobim, dall’omaggio al grande Michel Legrand in una versione di Windmills of your Mind al tema di Taxi Driver di Bernard Herrmann, brani che confermano nuovamente, dopo l’interpretazione di Nuovo Cinema Paradiso, l’omaggio a Nino Rota e la sonorizzazione de Il Sorpasso, la fascinazione di Fabrizio per il mondo del cinema. Spazio anche ai brani originali con Wide Green Eyes e Dizzy’s Blues di Fabrizio Bosso e Goodness Gracous di Julian Oliver Mazzariello.

Fabrizio Bosso, trumpet & flughelhorn
Julian Oliver Mazzariello, piano

Fiorella Mannoia, vocals on "Roma Nun Fa' La Stupida Stasera"
Fabio Concato, vocals on "Gigi"

01 You Don't Know What Love Is 04:46 Fabrizio Bosso, Julian Oliver Mazzariello
02 Gigi 08:23 Fabrizio Bosso, Julian Oliver Mazzariello, Fabio Concato
03 Have You Met Miss Jones? 03:54 Fabrizio Bosso, Julian Oliver Mazzariello
04 Wide Green Eyes 04:40 Fabrizio Bosso, Julian Oliver Mazzariello
05 Dizzy's Blues 03:53 Fabrizio Bosso, Julian Oliver Mazzariello
06 Luiza 04:01 Fabrizio Bosso, Julian Oliver Mazzariello
07 Goodness Gracious 04:26 Fabrizio Bosso, Julian Oliver Mazzariello
08 Roma Nun Fa' La Stupida Stasera 04:11 Fabrizio Bosso, Julian Oliver Mazzariello, Fiorella Mannoia
09 Windmills Of Your Mind 03:49 Fabrizio Bosso, Julian Oliver Mazzariello
10 Oh Lady Be Good 01:28 Fabrizio Bosso, Julian Oliver Mazzariello
11 Taxi Driver 04:44 Fabrizio Bosso, Julian Oliver Mazzariello


Vic Juris & John Etheridge - Bohemia (1988)

This has to be highly recommended. The liner notes describes the album as 'a pure jazz guitar album for string purists',and I couldn't describe it any better, except to add that the appel will exted well beyond the guitar world. JURIS and ETHERIDGE are supberbly compatible, and their four acoustic duets are a particular delight. Just hear their thoughtful version of You've Changed " Etheridge on classical nylon string guitar and Juris on Ovation steel string" or their bossa-nova interpretation of Con Alma and you'll be hooked. The four quartet tracks demonstrate that VITOUS is a world-class bass player "listen to his arco work on Sim", though I must say that the quartet tracks, particularly "L", don't hold my interest to the same extent as the duos, if all of the album was up to the standard of the duets it would have to be considered for the end of year top 10. jazzjournal J.R. Brown 3/1989

Vic Juris on the left channel, John Etheridge on the right channel. Miroslav Vitous acoustic bass and Marcello Pellitteri drums on " There is no greater love", "L", "Georgeiana" and "Sim". Miroslav Vitous appears courtesy of ECM. Marcello Pellitteri plays Sabian Cymbals.

Vic Juris, guitar
John Etheridge, guitar
Miroslav Vitous, bass
Marcello Pellitteri, drums

1. There Is No Greater Love
2. You've Changed
3. Con Alma
4. L
5. Georgeiana
6. Chips
7. A Keen Bat
8. Sim


lunes, 24 de noviembre de 2014

Vic Juris - A Second Look (2005)

What has Vic Juris learned from a career that's put him in the professional company of the likes of Dizzy Gillespie and Phil Woods? Besides the skills and flexibility of a virtuoso guitarist, he's seemingly gained a sense of humility that leads him to disregard any impulse for the flashy stuff he could surely coax out of his ax. Even his tone-effected subtly with a haze of reverb and chorus-renders his melodies as mirages of sound, dreamy and never clamoring for attention.

On A Second Look, Juris is his usual, laidback self, and a fitting foil to the more outgoing Dave Liebman, who adds his tenor and soprano Coltrane-isms sporadically throughout. Occasionally, as in a sleepy "All the Things You Are," Juris plays his thoughtful lines on a nylon-string guitar instead of his usual electric.

Juris wrote half the tunes, and though he doesn't often strike a catchy melody of his own, his composing still intrigues because lines don't resolve as expected. He and his bandmates, bassist Jay Anderson and drummer Tim Horner, never fail to find ways to play in the crevices and imbue the music with a sense of mystery and wonder, keeping it far from the redundancy of average, head-solos-head fare.

Vic Juris, guitar
Jay Anderson, bass
Tim Horner, drums
Dave Liebman, saxophone (1, 4, 9)
Kate Baker, vocals (8)

01. A Second Look
02. Barney K.
03. So In Love
04. All the Things You Are
05. Shades of Jazz
06. Very Early
07. Little Brian
08. Table for One
09. Dizzy, Trane and You
10. Indian Summer


Vic Juris - Blue Horizont (2004)

With a program of his own compositions, guitarist Vic Juris maintains a smooth concept for this dreamy project. A cool and calm sense of serenity pervades, highlighted by the blend of vibraphone and guitar timbres. Spanish classical guitar has left a significant impression as the composer paints pictures of various pastoral themes.

"889," the session's only up-tempo romp, emphasizes the leader's masterful technique and his powerful sense of swing. With Joe Locke, he lights fires along the road to straight-ahead bliss.

The remainder of the session deals with dreamier passions. Languorous in most aspects, the guitarist's smooth approach provides his audience with an overabundance of melody and harmony, while oftentimes placing rhythm in the background. Juris provides musical therapy for the soul. It's a session that can slow your heartbeat and calm your nerves.

"Labyrinth," well named for its woven melodic pattern, takes the listener on a dreamscape tour. "Kling On" drives moderately with an underlying, foot-tapping pattern, while guitar and marimba rise and fall with spontaneity. It's the album's high point. Here, both Juris and Locke have found a relaxed atmosphere that allows them to release their creative thoughts unencumbered. "Sunset on Vega" returns to a smooth, dreamy format that emphasizes the guitar's classical history, while "Uphill" churns forward to a walking bass pattern with a contemporary melodic style.

Juris, a veteran who's paid his dues many times over, has shown that his concept of modern jazz covers a lot of territory. The freedom that he has given himself here brings delight to the listener.

Vic Juris, guitars
Joe Locke, vibraphone, marimba
Jay Anderson, bass
Adam Nussbaum, drums
Jamey Haddad, percussion
Kate Baker, vocal on "Dancing Shadows"

01. Dancing Shadows
02. Soft Spoken
03. Labyrinth
04. Kling On
05. Uphill
06. Gojo Duo
07. Sunset on Vega
08. Domo Duo
09. The Spanish Horse
10. 889
11. Vjay Duo
12. Blue Horizon
13. I've Heard That Song Before


Juanma Barroso - Nairi (2012)

Source: Zona de Jazz
Label: Big Music Ediciones
Gab's Rating: ☆ ☆ ☆ ☆ ☆   

La portada, una foto de Juanma y su batería, nos dice explícitamente lo que vamos a encontrar dentro del disco: música, y de la buena.
Sin más artificios. Barroso, con ese look bohemio, mueve los brazos alrededor de su instrumento, como si fuera un druida del siglo XXI realizando su mejor pócima en un caldero. Los ingredientes para la receta druídica, el álbum, tienen que ver mucho con el título del mismo, NAIRI, una palabra formada con el nombre de sus dos hijas: Naima (NA-ima) e Íride(IRI-de). Naima es un nombre de origen musulmán que significa felicidad, de la que encontramos a borbotones en este trabajo y que transmite al oyente en la primera escucha.

En cambio Íride, nombre muy utilizado en Italia pero con raíz griega, lo traduciríamos como color, también muy bien reflejado en el disco con los distintos ritmos que podemos encontrar en él. Felicidad y color. Color y felicdad. Los dos puntales con los que Juanma Barroso construye este trabajo, que estilísticamente lo catalogaríamos como una revisión sobre el jazz de los años 60, aspecto éste que hará
las delicias del aficionado veterano al jazz, pero también con un empaque moderno, que lo hace
bastante escuchable y asimilable por cualquier profano al mundo jazzístico.

Para la ocasión, Juanma se ha rodeado de viejos amigos: Logan Ridcharson al saxo soprano y alto, Ariel Bringuez al saxo tenor y voz en el corte no 2, Jorge Vistel a la trompeta, Germán Kucich al piano y al piano eléctrico ( 5 y 8 ) , y para terminar Paco Charlín al contrabajo. Estos dos últimos junto a Barroso, formarían el magnífico trio que grabó “This is new”. Como artistas invitados tenemos a Yuviney Aguilar a las batás y prestará su voz en el tema no 2, y a Cristina Mora, voz al tema nº 5.

En cuanto a los cortes del disco podemos decir que son composiciones originales realizadas tanto por Juanma Barroso como por Paco Charlín:

– CORUXO (Paco Charlín): Encontraremos muy sugestivo este tema debido a su sonido tradicional y moderno en partes iguales. Por momentos se puede escuchar a Miles en la trompeta de Jorge Vistel y la influencia de Ornette Coleman al saxo.

– NAIRI (Juanma Barroso): Sonidos afrocubanos para este segundo corte que dá titulo al álbum. Las batás de Yuviney Aguilar estarán presentes en todo el tema, para finalizar con unos coros de él mismo junto con Ariel Bringuez.

– VINCENT (Juanma Barroso): Es una pequeña joya perdida dentro de un joyero. Un escueto sólo de batería que nos regala Juanma y que nos sirve de introducción para el siguiente corte.

– IT’S COMING (Juanma Barroso): Para mí, la mejor pieza del álbum. Un tema muy bop en el que Vistel, Kucich y Barroso hacen un magnífico trabajo.

– BLLAD (Paco Charlín): Canto de sirenas homérico compuesto por Charlín. Por momentos vemos la influencia del “Maiden Voyage” de Hancock y del “Return to Forever” de Corea. Cristina Mora a la voz y Germán Kucich al piano eléctrico se compaginan a la perfección. Otro de los temas sobresalientes.

– TALES FROM TAJUÑA (Juanma Barroso): Batería y contrabajo impecables en este cuento de Tajuña.

– REXOB (Paco Charlín): Un iluminado Logan Ridcharson al soprano cabalga a lomos de una batería perfecta y un contrabajo atrevido. Pero sobre todo destacar la gran clase de Kucich al piano. Se nota que estos chicos saben lo que hacen. Otro de los cortes destacables.

– FELLOW (Juanma Barroso): Ridcharson, al tenor esta vez, describe un sonido ondulante a través del fenomenal fender de Kucich que realiza un sólo de matrícula de honor. Concluyendo, un disco muy esperado que no defraudará a propios ni extraños. Músicos de gran nivel y a gran nivel, que es lo
importante, con un líder, Juanma Barroso, que modera el grupo sin aspavientos ni estridencias y de una manera muy solidaria, como sólo los grades saben hacerlo.

Si tuviera que ponerle nota, le pondría un notable alto, rozando el 9. Magnífico Juanma, tan sólo me queda una pregunta, ¿para cuándo el siguiente disco? .

01 Coruxo
02 Nairi
03 Vincent
04 It’s Coming
05 Bllad
06 Tales From Tajuña
07 Rexob
08 Fellow 

Juanma Barroso – Batería
Logan Richardson – Saxos (Alto, Soprano)
Ariel Bringuez – Saxo Tenor, Coros (02)
Jorge Vistel – Trompeta
Germán Kucich – Piano, Piano eléctrico (05,08)
Paco Charlín – Doble Bajo .
Yuviney Aguilar – Batás, Coros (02)
Cristina Mora – Voz (05)

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


Hironori Momoi - Liquid Knots (2013)

Label: Onaka Cube Music
Gab's Rating: ☆ ☆ ☆ ☆ ☆   

Hironori Momoi was born in Tokyo, Japan on August 29, 1984. His father always played music at home, so he grew up with music. He picked up the guitar as his first instrument at age 13. At age 15, he began to play drums and also piano. Growing up playing rock until at age 18, music had been the main thing of his life, but he realized that something was missing.
After he entered Sophia University, he discovered that missing piece, jazz. It brought him to a new world. He switched playing rock to jazz, and started dedicating himself to it. Since then, he had been performing in Japan, but as an aspiring jazz musician, he naturally decided to move to NYC to know jazz deeper.
In August 2007, Hironori moved to New York and started studying jazz at The City College of New York. He studied jazz/classical theory, playing in ensembles, composing and arranging with great musicians at CCNY, such as John Patitucci and Mike Holober. While a student, he won The Ervin Drake Scholarship and The Edward Rensin Memorial Award. In May 2010, he attained BFA degree in jazz drum performance from CCNY as summa cum laude.
His passion for jazz brought him to study in MA at Aaron Copland School of Music, Queens College from fall 2010. Graduated in May 2012 and studied with great musicians such as Billy Hart, Michael Mossman,David Berkman and Antonio Hart. Hironori has been selected among the students to perform on the radio,WBGO and his composition "Showers" was featured. He has also performed at Lincoln Center for Champions of Jazz Benefit 2011.
In September 2013, he released his first album as a leader, titled “Liquid Knots” featuring Chad Lefkowitz-Brown on tenor saxophone, Nir Felder on guitar, Julian Shore on piano and Sam Minaie on bass.
Since 2014, Hironori has moved back to Japan and he is currently based in Tokyo. While he was in NYC, Hironori has performed at many renown venues such as Lincoln Center, ShapeShifter Lab, Canal Room, Bar Next Door, Bitter End, Rockwood Music Hall and many more.
In February 2014, Hironori had a 3-week tour in Europe as a drummer of Kari Antila New York Trio. He also played at the biggest jazz festival in Finland, Pori Jazz Festival with Kari Antila quintet in July 2014.
Hironori also has performed with many international acclaimed musicians such as Chihiro Yamanaka, Gilad Hekselman, Nir Felder, Chad Lefkowitz-Brown, Joe Sanders, Sam Minaie, Alexi Tuomarila and more.

1. Impending Launch
2. Showers
3. Defining You
4. Twice
5. Waiting
6. Not Lemonade
7. Wormhole
8. This Magnet
9. Strangers

Hironori Momoi (ds)
Chad Lefkowitz-Brown (ts)
Nir Felder (g)
Julian Shore (pf)
Sam Minaie (b)
Alexa Barchini (vo)

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


domingo, 23 de noviembre de 2014

Joel Silva - Geyser (2014)

Source: Joel Silva
Gab's Rating: ☆ ☆ ☆ ☆ 

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


sábado, 22 de noviembre de 2014





de la mano de


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



Source: Nate Radley
Gab's Rating: ☆ ☆ ☆ ☆ ☆   

“There are guitarists who live on the edge and guitarists who play pretty. Few, like Radley, do both.” – Thomas Conrad, New York City Jazz Record
“Nate Radley eschewed the overindulgence of most jazz guitarists, in pursuit of a soloing style that flowed with thematic movement and intent compositional logic.” -Daniel Lehner, Allaboutjazz
"Radley is a mood architect who’s able to move from states of desolation to anger to repose with relative ease." -Dan Bilawsky, AllAboutJazz
"Radley plays from his home-base in order to reference outer space." Ariel Bitran,
Nate Radley is Brooklyn-based guitarist and composer who leads his own group, can be heard with a variety of collaborative projects, and works as a sideman in numerous bands both in the New York area and around the world.
Nate’s first cd as a leader “The Big Eyes” came out in January of 2012 on the Fresh Sound/New Talent label. The cd includes nine of his original compositions performed by Nate on guitar, Loren Stillman on saxophone, Pete Rende on fender Rhodes, Matt Pavolka on bass, and Ted Poor on drums.
In addition to leading his own band Nate performs frequently with the collaborative band “Bad Touch” which includes Loren Stillman and Ted Poor, as well as Gary Versace on organ. This band has recorded one cd under its own name “Like a Magic Kiss” and a second “Winter Fruits” under the name of the Loren Stillman quartet. Together the band has toured Europe in 2011 and the U.S. in 2009.
Nate performs with a variety of groups as a sideman and since moving to New York in 2004 has recorded on over 20 cds. Some of the bands Nate has performed and recorded with include the Alan Ferber Nonet and Large Ensemble, Marc Mommaas’ “Landmarc”, the Jon Gordon group, Akiko Pavolka’s House of Illusion, the Andrew Rathbun ensemble, and the Dave Smith Quartet. Other bandleaders that Nate has performed with include John O’Gallagher, Tony Moreno, John McNeil, David Scott, Tom Beckham, Andy Statman, the Maria Schneider Jazz Orchestra, Aruan Ortiz, and Eric Rasmussen. Nate also plays regularly with the country band Hope Debates and North Forty.
Nate has recorded for labels such as Fresh Sound/New Talent, Sunnyside, Steeplechase, Artistshare, Pirouette, and Tone of a Pitch. He has performed throughout the U.S., Canada, Europe and at jazz festivals such as the North Sea Jazz Festival, the Montreal Jazz Festival, and the Atlanta Jazz Festival.
Nate studied jazz guitar and composition at New England Conservatory in Boston, MA where he received a Master’s in Music. He studied with John Abercrombie, Bob Brookmeyer, Jerry Bergonzi, and George Russell. He also has a bachelor’s degree in sociology from the University of Chicago.
Nate has over ten years teaching experience, and currently teaches jazz guitar, music theory, and jazz ensembles at the Center for Preparatory studies in Music at Queens College and at Hunter College. In addition Nate has taught clinics at high schools and universities throughout the Unites States.

01. Sunset Stomp 5:24
02. Glow 6:03
03. Dots and Rhythm 6:29
04. Travis 6:24
05. Forced Fun 6:30
06. Ramble 7:50
07. Long Notes 9:36
08. Mechanics 7:37
09. Squirelly 4:44

Nate Radley (g)
Loren Stillman (as, ts)
Matt Pavolka (b)
Ted Poor (d)

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


Marc Copland & Vic Juris - Double Play (2001)

This warm duo collaboration between pianist Marc Copland and guitarist Vic Juris is a textbook example of a well-planned and executed studio date. Starting with an imaginative treatment of "Who Can I Turn To," the chemistry between the two musicians is apparent in their support of each other's solos as well as in the crisp interplay. Other standards, such as "I Loves You, Porgy" and "Stella By Starlight," also display a freshness even though they have been recorded countless times by many other jazz artists. The originals by each man deserve attention as well; both Copland's brooding "Dark Territory" and Juris' "Vaults" have a haunting sound, while the breezy bop of the guitarist's "Twenty Five" is pure joy. Nat Adderley's "Jive Samba" takes on a darker tone in their intriguing arrangement, and the last-minute suggestion of Dizzy Gillespie's "Con Alma" proves to be the perfect closer, with Copland's lush chords accompanied by Juris on acoustic guitar in a very deliberate performance. This outstanding session deserves to be ranked alongside any of the landmark piano/guitar duo recordings one can name. ~ Ken Dryden

Marc Copland, piano
Vic Juris, guitar

01. Who Can I Turn To (When Nobody Needs Me)
02. I Loves You, Porgy
03. Dark Territory
04. Stella By Starlight
05. Vaults
06. Jive Samba
07. I Concentrate On You
08. Blackbird
09. Twenty Five
10. Con Alma


viernes, 21 de noviembre de 2014

Bob Gingery - Traveler (2014)

Source: Bob Gingery
Gab's Rating: ☆ ☆ ☆ ☆ ☆  

Since his arrival to New York in 1999 Bob Gingery has been performing with some of the city's top musicians including Eliot Zigmund, Joe Beck, Buddy Williams, Alan Harris, Ron Afif, Brad Shepik and Lou Volpe. He has played at the Blue Note, Birdland, the Hartford International Jazz Festival, Joe's Pub and the Knitting Factory. Maintaining a busy schedule as both a sideman and band leader, he is at home with many styles of music and has performed and recorded with jazz, rock, pop, r'n'b and latin artists, musicals and symphony orchestras.

Bob is also active as an educator. He is a faculty memeber at Concordia Conservatory in Bronxville, NY. Working with the nonprofit organization Music Crossing Borders, he helps to teach students about the music of cultures from around the world. He has also been a clinician for the Westchester Community College's Jazz Master Class since 2001.

Originally from the San Francisco bay area, he began playing the saxophone at age 10 but the sounds of James Jamerson, Rocco Prestia, and Jaco Pastorius inspired him to pick up the bass guitar. He was soon gigging with local rock bands and playing in his high school's jazz band. At age 18 he began studying the upright bass. He holds undergraduate degrees in music from Berklee College of Music and California State University, Chico and a Masters Degree in music from the City College of New York where he studied with Ron Carter, John Patitucci, and Geri Allen.

01. Second Nature
02. Wheeling
03. Boot Hill
04. Traveler
05. Inland Empire
06. Three Legged Dog
07. Past Lives
08. Cadence

Bob Gingery (b)
Jon Irabagon (ts)
Mike Baggetta (g)
Mark Ferber (d)

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


Alex Mendham and His Orchestra - Whistling In The Dark (2013)

Can a recreation of an original replicate it? The short, quick answer is NO!, especially for popular and improvised music. However, the longer, more thoughtful, answer is YES!, especially this music from the twenties and thirties as performed by leader Alex Mendham and his Orchestra. Whistling In The Dark is that rare creation where everyone involved has taken extraordinary measures, from recording techniques used, to the use of original arrangements to bring to the listener something approaching the feeling of being in a dance hall in 1929 (or so).

Yes, there are issues: the performers and the music in some sense cannot be separated from the time. Jazz, hot or not, was in extraordinary ferment in the years of 1920 through 1940. One can hear it change almost month to month, as players were experimenting, listening to each other and gaining experience in improvising, while at the same time entertaining the paying audience. The usual lens through which this music is discovered is CD reissues of 78 rpm, three-minute-per-side recordings, and, to tell the truth, part of the charm is to hear the music through the pops and crackle and the primitive acoustical (and early electrical) recording techniques. There was no post-processing—either the performance was accepted or rejected (and to possibly try again). What you hear is what happened then and there, with any chances taken exposed for everyone to hear.

It is in this feeling that Mendham and his Orchestra (NOT a band!) shine. The use of but two microphones in a live space allow each note to come alive with a thrust and forward momentum that carries their energy directly to the soul. Every player obviously loves this music and has gotten inside of it, to the extent that anyone who didn't live through the period can.

The pace of the show is wonderful, using mostly lesser-known tunes, each of which has its own charms, as do the interspersed announcements. Two achingly beautiful tunes, "Home," and "Lullaby of the Leaves" are standouts and ought to become better known. There are light-hearted tunes like "'Tain't No Sin (To Dance Around in Your Bones" as well as hot tunes like the driving opener, "Choo Choo," and "Bugle Call Rag." The arrangements give room for improvising here and there, all of which is quite admirable.

Get out from in front of your TV, put on your tuxedo, get into your ballroom gown, place Whistling In The Dark in your player, and fox trot around the floor, smiling all the while.

Alex Mendham (leader, vocals, alto saxophone)
Angus Moncrieff (trumpet)
Geoff Bartholomew (trumpet)
Chris Lowe (trombone)
Nick Charles (soprano saxophone, alto saxophone, clarinet)
Simon Marsh (tenor saxophone, clarinet)
Orpheus Papafilippou (violin)
Matt Redman (banjo, guitar)
Tevor Wensley (piano)
Marc Easener (tuba, string bass)
Nicholas D. Ball (percussion)
Mark Phillimore (Announcer)

01. Choo Choo
02. Let's Fly Away
03. Home
04. Red Lips, Kiss My Blues Away
05. Treat Me Like A Baby
06. 'Tain't No Sin (To Dance Around In Your Bones)
07. Bend Down, Sister
08. Lullaby Of The Leaves
09. Roll On, Mississippi, Roll On
10. Keep Your Undershirt On
11. South American Joe
12. Our Big Love Scene
13. Going Hollywood
14. Little Girl
15. I'll Never Have To Dream Again
16. I Heard
17. Weep No More My Baby
18. Love Thy Neighbor
19. Bugle Call Rag
20. Whistling In The Dark


Majamisty TriO - Love (2014)

"Maja" refers to pianist and composer Maja Alvanović, "misty" is a nod to Erroll Garner, one of her influences. Love is the second album from the trio, based in Novi Sad, Serbia. The trio—Alvanović, bassist Ervin Malina and drummer Istvan Cik—are superb players. Alvanović is melodic, crafting single note runs that are gentle, percussive, romantic in turn. Cik is a positive, economical, drummer and the imaginative Malina is particularly strong on arco bass. The combination of their playing and the pianist's compositions has produced another dazzling album.

Four tracks feature guests, leaving six tunes performed by the Trio on its own. Of the trio outings, "Bloomin'" is irresistibly cheery, Cik's drums jumping and skipping beneath Alvanović's sparkling piano lines (Alvanović closes with a few bars of "Blue Moon"'s familiar theme). The flowing melody of "Careless Moment," co-written by Alvanović and Vesna Grčić) mixes melancholy with a sense of forward movement. "Coolah Trance" (written by Alvanović and guest vocalist Aleksandra Drobac) switches between upbeat positivity and high drama—the switchover announced by the arrival of Malina's arco bass and the disappearance of Cik's percussive click and clack. Malina's soft-toned and fluid pizzicato bass is at the core of "Suddenly Japan," a slow burner of a tune that threatens to break out at any time, yet retains its ultimately unresolved tension throughout.

Drobac guested on Mistyland and returns for four songs on Love. Her most distinctive appearance is on "Little Cosy Keysy House." Her weird, wordless, vocal lends an other-wordly vibe to Alvanović's bright, endearing, melody. On a bright, sunny day this eccentric song sounds cheerful and happy—on a wet and stormy night the strangeness might seem much darker.

Three songs find the trio augmented by additional instrumentalists. On "Rain Dots" percussionist Uroš Šecerov joins the band in support of Drobac's sprightly (and spritely) vocal—a friendlier and more comforting other worldliness than the one she creates on "Little Cosy Keysy House." On "Mustard Fields" Gisle Torvik's guitar and Bunford Gabor's alto saxophone add depth and tonal variation to the front line while Uroš Šecerov adds understated percussion to the rhythm section. Alvanović and Drobac contribute wordless vocals, matching Alvanović's piano melody. The result is, like "Careless Moment," melancholy: but this theme seems to resolve to a more hopeful ending. For the album's title track Drobac is joined by Alvanović, Cik and Malina on vocals and by Damir Bacikin, whose eloquent muted trumpet has immediate impact, setting the mood for this intense and sensitive tune.

Mistyland (Self Produced, 2012) was a five star debut. Love is the sound of a composer who's becoming ever more ambitious and a band that's growing in confidence. It's a five-star second album, with some of the loveliest melodies of the year.

Maja Alvanović: piano, vocal (5,10)
Ervin Malina: double bass, vocal (10)
Istvan Cik: drums, cajon, vocal (10)

Aleksandra Drobac: vocal (3, 5, 8, 10)
Gisle Torvik: guitar (5)
Damir Bacikin: trumpet (10)
Bunford Gabor: saxophone (5)
Uroš Šecerov: percussion (3, 5)

01. Thin Moon
02. Suddenly Japan
03. Rain Dots
04. Chat With Gagarin
05. Mustard Fields
06. Coolah Trance
07. Careless Moment
08. Little Cosy Keysy House
09. Bloomin'
10. Love


Majamisty TriO feat. Aleksandra Drobac Cik: "The Queen of Fruit" from Majamisty on Vimeo.