martes, 21 de octubre de 2014

Rik Wright's Fundamental Forces - Red (2014)



“If you haven’t checked out his work yet, you have some catch-up ball to play.” – Jazz Now

“Wright’s compositions retain the hot and soulful feel of hard bop, while sometimes drawing on elements of third stream and/or fusion. Almost a fused tradition with unique and unexplored realms of jazz; keeping one foot in tradition, while the other foot is stepping into the future.” – Jazz Sensibilities

“Here we have a rare intersection of very accessible and very original jazz. Melodic, a bit funky, often beautiful.” – KFJC 89.7 FM

“A plethora of instruments are channeled through song structures allowing the improvisation and musicianship to flat knock you out.” – Music Morsels

“Collectively, the band isn’t afraid to take huge risks in realizing Rik’s musical vision.” – Still Water Times

“This album should serve as a wake-up call to anyone who thinks Seattle music is all about post-grunge punk or gloomy singer/songwriters, or who thinks nothing new or interesting is going on in jazz.” – Tone and Groove

“Rik Wright takes classic jazz and heaps on piles of influences from across the musical spectrum, helping to perk up ears of those tired of the same old swing.” – The Oregonian





A graph of Rik Wright’s influences would read like a wave, running a gamut from jazz to rock and back again. As a guitarist he has taken on influences—often subconsciously—as varied as Andy Summers of The Police and John Abercrombie. Compositionally speaking, Wright hangs with a different crowd altogether, mingling instead with the spirits of Mingus, Monk, and Miles. Of this alliterative trio, Miles has been a decidedly conscious influence in terms of process. And in fact, as becomes obvious once you acclimate to its flow, Wright’s improvising strikes more of an affinity with horn players than guitarists. As a relatively intervallic, melodic player he prefers his wheat brewed, not shredded.

Growing up with Jeff Beck on one shoulder and Jim Hall on the other, Wright bears the mark of a generation that burned bridges between genres. His latest album builds new bridges in their place. It marks the first time in a decades-long career that he has made music purely for its own sake. And for good reason. Several years ago, Wright suffered an injury that stopped him from gigging altogether. He realized that if he were ever going to get back into the game, then it would have to be on his terms and his alone. He was inspired to write fearlessly. In that interim, the seed of what would grow into this recording was germinated, and with it the evolution of Rik Wright’s Fundamental Forces.

Fundamental Forces has become the primary stage for its leader’s compositions, taking his sound to a deeper and, yes, more fundamental level. Fundamental, too, are the tunes themselves. Blending forward thinking arrangements with a core groove that listeners can tap their toe to, the album allures at every turn. With this release, Wright has stepped outside of himself. He has gotten out of his own way to let the music speak for itself.


1. (She's So) Fragmented
2. Yearning
3. Subtle Energy
4. Single Angularity
5. Synesthesia

Rik Wright (guitar)
James DeJoie (alto & baritone sax, clarinet, flute)
Geoff Harper (bass)
Greg Campbell (drums, percussion)


JAVI

LA TETA QUE OS FALTA



Frank Windemuller Group - Meteorite (2014)




The music of Frank Windemuller is known for its expressiveness, authenticity and intelligence. He has a unique voice, a beautiful tone and he knows how to establish a deep musical connection with his audience.

With the Frank Windemuller Quartet he plays his own compositions, pieces in which he explores form and free improvisation, rhythm and melody on different levels. His compositions as well as his playing are a kaleidoscopic landscape of all the music he feels connected to, be it jazz, classical, free improvised or rock music. The concerts are about experiencing the moment, about constant flow and magic.
 
In September 2013 the Frank Windemuller Group played for a week in the Portugese 'Harmos Plural' Festival, in and around Porto.

In May 2014 the Frank Windemuller Group played in the semi finals of the Dutch Jazz Competition in the 'Bimhuis' (Amsterdam). Unfortunately they didn't reach the finals.

In May 2014 the Frank Windemuller Group released their first CD: 'METEORITE'. It was recorded in the Fattoria Musica Studios (Osnabrück, Germany) by Stephan van Wylick.



1.Children's Song 10:51
2.Meteorite 09:57
3.Mountain Song 07:34
4.The Birds 07:58
5.Like You Didn't Know 06:52
6.Chique 04:38
7.Emma 10:03
8.The Birds (Reprise) 02:09


Frank Windemuller (piano)
David Romanello (altsax)
Tom Nieuwenhuijse (drums)
Joost Verbakel (contrabas) 



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


GAB
 

Clifford Adams - The Master Power (1998)


In perusing the liner notes to this CD, one learns that Clifford Adams has been the longtime trombonist for Kool and the Gang and that he is quite religious (which one can also surmise from his song titles). However, both facts are actually quite irrelevant when evaluating this music, for Adams is a strong, no-nonsense improviser. His sound and style are influenced most by J.J. Johnson, and the music is primarily straight-ahead and bop-oriented. While some of his originals use familiar chord changes (for example, "Master Power" is a burning run-through on "Summertime," and "Graceful Feeling" is partly reminiscent of "My Favorite Things"), the overall results are not overly predictable. Adams is a fluent and fluid player with a warm tone, and is able to sound relaxed no matter what the tempo. Pianist Kenny Barron and the rhythm section (bassist Ray Drummond, Lewis Nash and sometimes Neil Clark on percussion) are in typically fine form, while Antonio Hart (heard on alto or soprano during four of the ten selections) is a major asset, particularly on "Darshan's Love" and "Master Power." For a change of pace, Adams sings and yodels a la Leon Thomas on "Suite Elixir of Life." All in all, this is a strong debut as a leader for Clifford Adams, a trombonist who deserves to be much better known.


Clifford Adams: Trombone
Antonio Hart: Alto and Soprano Saxophones
Kenny Barron: Piano
Ray Drummond: Bass
Lewis Nash: Drums
Neil Clark: Percussion

01. Darshan's Love
02. I Can't Get Started
03. Graceful Feeling
04. Renatyah
05. The Lord Is Always With Them (For Ravi And Farid)
06. With His Grace
07. Walkin'
08. Suite Elixir Of LIfe
09. Precious Jewel
10. Master Power

"Hearing is Everything" Peter Watkins


Domi

lunes, 20 de octubre de 2014

Alex LoRe Trio - Dream House (2014)


Source: Allaboutjazz
Label: Inner Circle Music


Dream House is the excellent debut release by the Alex LoRe Trio, nearly an hour of beautiful music from LoRe on alto sax, Desmond White on bass, and Colin Stranahan on drums. LoRe hails from Florida, and in addition to formal studies at New England Conservatory of Music and Manhattan School of Music, he's worked with a number of luminous saxophone mentors, including Lee Konitz, James Moody, Steve Wilson, and the venerable Bunky Green. LoRe has been paying his dues in New York City venues big and small, including a seat with Lucas Pino's "No Net" Nonet, which is currently in residency at Smalls Jazz Club.

The other members of the group bring their own unique background to the triangle. White hails from Australia, where he built a successful career in the jazz and rock worlds, eventually making the leap to America to attend Manhattan School of Music and join the New York scene. As for Stranahan, he is one of the finest drummers of his generation, so it's always a good sign when his name appears on the credits: he grew up in the fertile Denver jazz scene and already has numerous releases and accolades under his belt, including graduating from the prestigious Thelonious Monk Institute of Jazz. The three musicians are members of the "No Net" Nonet and have also played as a trio for several years; they've worked hard to develop their sound and meld into a musical one-mind, and this first-rate release on Greg Osby's Inner Circle Music is the fruit of their labor thus far.

One of the reasons that Dream House succeeds so well is that it is infused by a personal vision. As LoRe says in his liner notes, everyone has a dream house, a golden plan for their future, but obstacles and difficulties often destroy this imaginary world. Probably nobody knows this better than artists, especially jazz musicians trying to make a living in New York City. But clearly LoRe has embraced the challenges and persevered, even when life turned out otherwise; as he writes, "It is through this transformation that a new path emerges." Thus the music is about dreams and the way they often shatter, but it's also about the surprising beauty that can emerge on the other side.  Read more...



1. Amnesia 07:30
2. Here Comes Tomorrow 06:33
3. December Song 05:32
4. Tonight I Shall Sleep 06:58
5. Dream House 09:06
6. Too Soon 05:56
7. Forward 08:02
8. Buto 08:25
 
   
Alex LoRe - alto saxophone
George Garzone - tenor saxophone [tracks 1,7,8]
Desmond White - bass
Colin Stranahan - drums


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


GAB
 

Mammal Hands - Animalia (2014)


Source: thejazzmann

Mammal Hands are a young trio from Norwich consisting of brothers Nick Smart (piano) and Jordan Smart (saxophones) plus drummer and percussionist Jesse Barratt. The Smarts were already working as an electronica duo before encountering Barratt in April 2012 at which point their music gravitated in a more obviously jazz orientated direction. The bassless line up might suggest some kind of chamber jazz but instead the music of Mammal Hands is unexpectedly rhythmic, dynamic and exciting and also reflects the trio’s interests in electronic, contemporary classical and world music. These include Barratt’s knowledge of Indian rhythms learned during his studies with tabla master Sirishkumar, Nick Smart’s love of minimalist composers Terry Riley and Steve Reich and Jordan’s immersion in the different sound worlds of DJ culture and the spiritual jazz of Pharaoh Sanders.

Ironically it was a bassist, label mates GoGo Penguin’s Nick Blacka who recommended the trio to Matthew Halsall of the Manchester based Gondwana record label. Blacka had heard the band at the Mostly Jazz, Funk & Soul Festival in Birmingham and immediately spotted their potential. “Animalia” was recorded in Manchester in December 2013 with Halsall producing assisted by engineer George Atkins. It’s a hugely impressive début, a worthy addition to the Gondwana catalogue and a release that is likely to have the same kind of impact as GoGo Penguin’s initial offering “Fanfares”. Now also appears to be good time to congratulate GoGo Penguin on the Mercury Music Prize nomination for their second album “v2.0”, while stating that it’s perfectly possible that Mammal Hands might emulate them at some future juncture. “Animalia” is also an album that may attract the attention of adventurous rock fans.   

From the outset it’s immediately apparent that Mammal Hands are a highly democratic ensemble and that the overall group sound is the paramount factor in their music with all the pieces being collectively composed.  There is little in the way of conventional jazz soloing although both saxophone and piano alternate in leading the band. Pianist Nick Smart fulfils an important rhythmic function throughout and his overall contribution is hugely impressive.

As writers Mammal Hands exhibit a strong sense of melody and there are some catchy, instantly memorable tunes on this album beginning with opener “Mansions Of Millions Of Years”, the title derived from Egyptian mythology (perhaps the same legend that inspired Van Der Graaf Generator’s “The Boat Of Millions Of Years”). Beginning with sparse piano chords and brushed drum grooves the piece also features the flowingly melodic soprano sax of Jordan Smart, his tone similar to that of Portico Quartet’s Jack Wyllie. The Portico comparison has been made by numerous reviewers and justifiably so, and it’s interesting to note that both bands started their careers as buskers – Mammal Hands first got together on the streets of Norwich while Portico used to busk outside London’s South Bank Centre . The point is that in such an environment strong, attention grabbing melodies are a must and both bands have these in abundance. However for all their accessibility there is no hint of any compromise with regard to either band’s artistic integrity, they just have the enviable gift of writing good tunes.

Following the hooky opener “Snow Bough” exhibits a gentler, more lyrical side of the band, a beautiful melancholy miniature that suggests the chilly beauty of a still winter’s day. Spacious piano chording combines with a simple, unadorned sax melody and the atmospheric colouring of the drums, a mallet rumble here, a cymbal shimmer there. It’s an appealing palette cleanser before the next hook and groove laden offering “Kandaiki” which deploys melodies inspired by Irish folk music alongside hypnotic piano and drum grooves with Nick Smart’s left hand again fulfilling a vital role, his rhythmic patterns frequently recalling the compelling percolations of Nick Mulvey’s hang drums in Portico’s early days. Subtly shifting time signatures help to ensure that the piece evolves compulsively with the listener swept up in the momentum.

The darker, moodier “Spinning The Wheel” also draws on Irish folk melody but Barratt’s broken beats and grooves owe more to the worlds of electronica and hip hop. The drummer’s contribution adds an edge that contrasts well with the plaintive, keening melodicism of Jordan Smart’s sax.

“Bustle” is aptly titled, driven by Nick Smart’s busy, odd meter piano patterns and featuring Barratt’s ticking, broken beats plus snatches of melodic sax. The piece progresses through several phases and also features Barratt on tabla as the Indian influence becomes more obvious. Israeli born bassist and composer Avishai Cohen has also been cited as another inspiration behind this piece. This is music that revels in its complexity yet never seeks to alienate the listener.

“Inuit Party” is perhaps the most episodic composition thus far, progressing from a sombre opening passage through sections of full on groove featuring Jordan Smart’s soulful tenor to a more abstract ending containing hints of free jazz dissonance.

The orchestral music of Leonard Bernstein is cited as an influence on “Street Sweeper” (maybe there’s just a hint of “America” in there). Here the trio groove even harder and faster than on “Inuit Party” and Barratt shines on a lively percussion break as he and Nick Smart combine to produce a mighty rhythmic drive.


Finally we hear “Tiny Crumb”, the lengthiest item on the record and a piece with a strong narrative arc that takes its inspiration from the music of Alice Coltrane and Joe Henderson. With Jordan Smart on tenor it is perhaps closer to straight ahead jazz in the way that it develops its theme and incorporates an increasingly impassioned sax solo. An insistent, highly rhythmic second section that owes more to contemporary developments features Barratt’s use of tabla. 

“Animalia” is a highly accomplished début from a very capable young band who have already established an enviable reputation for the quality and excitement of their live shows. Immaculately produced by Halsall it’s a compelling snapshot of their abilities with strong tunes, hugely accomplished playing and a distinctive group identity. Collectively Mammal Hands are a lean and effective unit, there’s precious little flab on this arresting and compelling CD.

If there’s a criticism – and I don’t wish to labour the point – it’s that they still sound rather too similar to early Portico Quartet for comfort but I suspect that the resemblance will become less pronounced as the career of Mammal Hands progresses. There’s clearly great potential here and in any case sounding like one of my favourite groups of recent years is no bad thing. Overall I was highly impressed with Mammal Hands who now find themselves on my personal “bands I must see” list for the coming months.  Meanwhile high quality videos of the trio performing “Mansions Of Millions Of Years” and “Kandaiki” can be found at http://www.mammal-hands.tumblr.com


Jordan Smart: saxophone
Nick Smart: piano
Jesse Barrett: drums and tabla

1. Mansions Of Millions Of Years
2. Snow Bough
3. Kandaiki
4. Spinning The Wheel
5. Bustle
6. Inuit Party
7. Street Sweeper
8. Tiny Crumb


JAVI

Alister Spence and Myra Melford - Everything Here Is Possible (2014)


Everything Here Is Possible Alister Spence Music: ASM002
Alister Spence (Australia): Steinway D concert grand piano
Myra Melford (United States): Steinway D concert grand piano

This month we take a look at a meeting of two creative pianists from both sides of the Pacific, another stunning debut, this time from a Western Australian trio and finally a meeting of classy musicians from across the ditch. Live, we take a look at a great show from Sylvan Coda.

– Michael Prescott, Jazz Presenter 5MBS, Australia

This is a genuine meeting of like minds, two free flowing improvisatory pianists creating in real time. This project came to fruition when Melford brought her Trio 3 project to Australia in late 2012.  Spence is responsible for an excellent series of recordings for Rufus Records, including “Flux” (2003) And “Far Flung” (2012), both featuring Necks bassist Lloyd Swanton, whilst Melford needs no introduction. Although they had corresponded by email, they actually met for the first time on the afternoon of the recording and did not discuss what they would record. The resulting music is made up entirely of spontaneous improvisations for 2 pianos over 5 longish tracks. Although this is “free” music, largely devoid of structure, it is not unmelodic or unapproachable. There are many changes in timbre and form, evoking a wide range of emotional responses. It is also not frenetic meaning the whole is accessible and does not descend into a chaotic noise. Both pianists employ prepared piano on two tracks to great effect. The title of this album is very appropriate, when two creative musicians come together to improvise with a clean palette, everything IS possible and here they prove that “free” can be beautiful also.


ALISTER SPENCE

Alister is recognized as one of Australia’s most original, distinctive pianists/composers. His wide-ranging talents have led him to perform with and compose for some of the world’s most respected artists in the areas of contemporary music, improvisation, film and theatre. 

The Alister Spence Trio features Lloyd Swanton (the Necks) on double bass and Toby Hall (formerly with pianist, Mike Nock) drums and glockenspiel. The trio’s most recent CD, Far Flung (Rufus Records 2012) received a 4 star review in Jazz Journal (June 2013) and was listed in Critics Poll 2013 (January 2014). It was also listed in The WIRE 2013 Rewind - Critics' reflections by Andy Hamilton as his album of the year. fit (2009) was voted in the top 15 jazz/improv releases worldwide for 2009 by The Wire, UK. Both Mercury (2006) and Flux (2003) received ARIA nominations (Australian Record Industry Awards) in 2004, 2007. 

Festival performances for the Trio include: Melbourne International Jazz festival (2014), Vilnius Jazz Festival 2009, Luminous Festival Sydney 2009, curated by Brian Eno, Tokyo Jazz Festival 2008, International Festival de Jazz de Montreal and Vancouver Jazz Festival 2006.

Alister is a founding member of Wanderlust and a long-standing member of The Australian Art Orchestra (AAO). Alister was co-leader/composer with the internationally acclaimed group Clarion Fracture Zone for from 1990 – 2005.

Alister has performed with Satoko Fujii (Japan), Michiyo Yagi (Japan), Barre Phillips (US), Myra Melford (US), Mark Helias (US), Andy Sheppard (UK), Joe Williamson (SWE), Jim O’Rourke (Japan), Raymond MacDonald (Glasgow), Karraikudi Mani (IND), Ed Kuepper and the Laughing Clowns, Bernie McGann, Chris Abrahams (AU).


MYRA MELFORD

Raised in the Chicago area, Myra Melford gravitated early in her career to musicians associated with the AACM collective such as violinist Leroy Jenkins and alto saxophonist/composer Henry Threadgill.

She first gained attention with her brawny trio featuring bassist Lindsey Horner and drummer Reggie Nicholson. Known for her high energy, percussive attack, Melford is also a supremely lyrical player with a passion for classical Indian music (the harmonium has become an important textural element in her sound).

An inventive composer and inveterate creator of bands, she has recorded with many ensembles, including The Same River, Twice, with trumpeter Dave Douglas, cellist Erik Friedlander, drummer Michael Sarin and Chris Speed on reeds, and Equal Interest, a cooperative trio with Joseph Jarman and the late Leroy Jenkins.

In addition to the collective Trio M, with bassist Mark Dresser and drummer Matt Wilson, her other projects include Be Bread, a sextet with trumpeter Cuong Vu and bassist Stomu Takeishi, guitarist Brandon Ross, Ben Goldberg and Matt Wilson; and a duo with Ben Goldberg. Look for her new project, Snowy Egret, at the Jazz Gallery in February, 2012, presenting recently composed music with dancer Oguri.

Since 1991, she has appeared on more than 30 critically acclaimed recordings, including 20 as a leader or co-leader. Based in Berkeley since 2004, Melford is an Associate Professor of Improvisatory Practices in UC Berkeley’s Music Department.

1. Why Say Dreams Are White?
2. A Bird Translates
3. The Houses Of The Fishes
4. Circular Dispersion of Tones
5. Everything Here Is Possible

Recorded by the ABC in Eugene Goossens Hall, Sydney, 9 November 2012
Engineered and mixed by André Shrimski
Mastered by Paul Bryant at the Chapel of Sound, Sydney, 15th January 2014
Design Cheryl Orsini
Producer Alister Spence
Music copyright Alister Spence (control), Myra Melford (GEMA and BMI)


JAVI

domingo, 19 de octubre de 2014

Jim Head - Zoetrope (2014)


Source: Cdbaby


On his latest recording jazz guitarist/composer Jim Head explores new ground alongside New York modern jazz heavyweights John O'Gallagher on alto saxophone (The Anton Webern Project, Joe Henderson Big Band), bassist Johannes Weidenmueller (Kenny Werner Trio), and Juno award nominated drummer Owen Howard (Drum Lore, Benedikt Jahnel Trio), as well as acclaimed Canadian pianist Chris Andrew (2013 Montreal TD Grand Prize winner).

Recorded in New York at renowned Systems Two Studios, Zoetrope showcases Head's richly detailed, lush, unpredictable, and adventurously melodic compositions. In a decided move away from the guitar-centric writing style that characterizes much jazz guitar music, Head’s compositions explore the possibilities of the ensemble as a whole. While building on influences like masters Lennie Tristano and Wayne Shorter, contemporaries such as Aaron Parks, Mark Turner, and Jonathon Kreisberg, and classical composers including Bartok and Brahms, Head has forged a style and sound that is forward looking and distinctly personal.

Highlights include the high energy title track, Zoetrope, the gradual unfolding of melody and form in Shambhala (featuring a memorable solo by altoist John O’Gallagher), the ballad For The Grace Of You, and the driving, shifting rhythms of Hairbender.





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


GAB
 


Brian Charette - Good Tipper (2014)



Barely six months after issuing his for album for Posi-Tone Records, B3 maestro Brian Charette returns with Good Tipper, another small-combo excursion expected out October 7, 2014 from Posi-Tone Records. Returning with Yotam Silberstein (guitar) and Mark Ferber (drums) for four tracks, Charette works with another guitar/drums combo of Avi Rothbard and Jordan Young for the remaining eight.

Charette doesn’t slow down for this one, he hops to it right out the gate with his original, the title song, a lively tune with the leader playing bop sax lines on his B3. And on “Standing Still,” another one of his compositions, he takes this waltz and manages to make it groove.

Rothbard does more than play guitar, contributing two tunes (“Another Quarter” and “One And Nine”). “Another Quarter” is a 60s-style boogaloo, where Charette’s stinging tone for his solo is another instance of him doing a something a little unexpected. Joe Sucato guests on “One And Nine,” a Brazilian shuffle, and his tenor sax portrays Stan Getz’s own approach to this style. Rothbard’s guitar is no slouch, either; his clean and supple lines makes a good better (check out Richard Rodgers’ “Spring Is Here” for proof).

The covers, which comprise of more than half of the album, makes Charette’s interpretive skills a major focus on this album, and interestingly, he draws heavily from the mid-to-late 60s pop canon. Yep, “Wichita Lineman” is in here, as is another Jimmy Webb classic, “Up Up and Away.” On the former, the song begins to truly soar when Rothbard takes over in the last two and a half minutes, and Silberstein and Charette harmonize well together on the latter. The Zombies hit “Time Of The Season” was also a good choice because it’s an organ-heavy Rod Argent song. Argent is nearly as key of the development or the organ in rock as Jimmy Smith in jazz, and Charette sets himself apart from most jazz organists by drawing from that important influence in equal measure.

Charette adds pizzazz to the Al Martino Brazilian ditty “Cuando Cuando Cuando,” but Silverstein steals the show with his funky technique and comping that is very perceptive of what Charette is doing on organ. The hard swinging “The Kicker” makes it two albums in a row where Charette tips his hat to the later tenor sax giant Joe Henderson. On this one, the last track, Charette sets the place on fire with his right hand runs, and the proceedings are capped off by Young’s hard driving drum solo.

Good Tipper is a return back to organ jazz basics for Brian Charette, who still can’t help putting a refreshingly different spin on things. Nevertheless, he demonstrates here that he’s got the fundamentals down, as he roots down for yet another satisfying outing.

Brian Charette - organ
Avi Rothbard - guitar
Jordan Young - drums
Joe Sucato - tenor sax on 10
Yotam Silberstein - guitar on tracks 2, 4, 7 & 9
Mark Ferber - drums on tracks 2, 4, 7 & 9

01. Good Tipper (3:24)
02. Time Of The Season (4:31)
03. Spring Is Here (3:53)
04. Cuando Cuando Cuando (4:18)
05. Another Quarter (4:11)
06. Standing Still (4:08)
07. You Only Live Twice (3:55)
08. Wichita Lineman (6:28)
09. Up Up And Away (4:49)
10. One And Nine (7:17)
11. To Live In Your Life (5:24)
12. The Kicker (5:13)


JAVI

Mace Francis New York Nonet - Land Speed Record (2012)

Source: Australianjazz.net


We all love big band jazz. We all love small group jazz. But I also have a very soft spot for those little-big bands in between – those eight, nine, ten piece outfits (which go by the beautifully alien appellations of octet, nonet, decet).
In many ways the smaller ensembles produce a more ‘jazz’ sound than the big bands. The contrasts between solo and ensemble passages is not as jarring as in a big band – the whole thing seems cut from the same cloth. Just by dint of pure logistics, the medium sized group is going to breathe better as a unit and allow for more telepathy and magic to happen. (Look at Birth of The Cool for a place where the medium is the message).
There is a lot of magic on Mace Francis’ recent album Land Speed Record recorded with his New York Nonet – named for the NY natives and Oz ex-pats that make up the nine.
In his liner notes, alto player Jon Gordon mentions that the group only had a short time to rehearse prior to recording in New York. In one way, you can’t tell (it is as tight as you would want). in another, you can; each piece leaps from the speakers with an immediacy and life that shows all players had their antennae right out. Gordon also writes of the ‘depth and searching quality’ in Francis’ music – and he is right-on there.
Opener ‘Rosé’ sets up an impressionistic veil of horn textures over a languid ostinato groove. Tenor player Dan Pratt solos in and out of horn groupings (or are they moving in and out of his solo?) The whole thing lattices and meshes beautifully – this is smart horn writing, and the transparency in sound of the smaller group allows all the voices to stand out in high relief.
The organic nature – the ‘breathing’ of the group – is evident on the title piece, ‘Land Speed Record’. A suspended Mat Jodrell trumpet intro leads into a thicket of time-signatures, the band accelerating and moving as one until a free-blown section opens up into a typically inventive and astringent Sean Wayland solo. It sounds like a lot is going on, but Francis’ writing never spends too much time gazing at its own navel. It flows instinctively because the writing and the playing have a lot of humanity – a lot of soul.
The moody ‘Pandora’s Mood’, the gorgeous brass choir intro to ‘Samsara’, the driving mutant bossa of ‘Orla’ all show the heart in this music, which extends to the soloists; Alan Ferber’s joyous trombone solo on ‘Orla’, Jon Gordon’s bopalicious alto fun on ‘Samsara’ (big kudos to the rhythm of Matt Clohesy on bass and drummer Mark Ferber, too!), the surreal bass clarinet of Doug Yates on the resigned ‘Well… Maybe Someday’.
The track that leaped out to me was ‘Why A?’ which features guitarist Nate Radley. (I am guessing the title is a question from the Bb and Eb horn guys, the answer being that A is guitar friendly, dudes). Over an A pedal, descending guitar chords are soon reflected by the horns before a snap, crackle and popping swinging solo from Radley. He is one to watch.
Mace Francis is one to watch too. On the strength of Land Speed Record, I will be watching (and listening) – I cannot wait to see what he comes up with next.



1. Rosé 06:10
2. Land Speed Record 07:05
3. Pandora's Mood 08:19
4. Samsara 07:11
5. Orla 06:04
6.Why A? 08:03
7. Well, Maybe Someday 08:19
    

Jon Gordon - Alto Saxophone
Dan Pratt – Tenor Saxophone
Douglas Yates – Bass Clarinet
Mat Jodrell – Trumpet
Alan Ferber – Trombone
Nate Radley – Guitar
Sean Wayland – Piano
Matt Clohesy – Bass
Mark Ferber - Drums


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


GAB
 

    


Samo Salamon, Manu Codjia & Mikkel Ploug - Ives (2014)


SAMO SALAMON, MANU CODJIA & MIKKEL PLOUG: Ives (Samo Records, 2014) 
featuring 14 compositions and 3 amazing guitarists!!!!

The project Ives by SAMO SALAMON, MANU CODJIA & MIKKEL PLOUG features some of the best young jazz guitarists in the world. The leader of the group is according to the magazine Guitar Player one of the hottest 10 new guitarists in the world - SAMO SALAMON (SLOVENIA), accompanied by two amazing guitarists – MANU CODJIA (FRANCE) and MIKKEL PLOUG (DENMARK), both amazing composers and leaders on their own. The music is all originals written mainly by Samo Salamon, but also by Mikkel Ploug and Manu Codjia. The music is a mixture of composed music and improvisation, modern jazz at its best! Samo Salamon is »one of the most talented young guitarists and composers to emerge on today's jazz scene« (Allmusic.com). So far he has recorded and played with many great jazz musicians like John Scofield, Paul McCandless, John Hollenbeck, Mark Turner, MichelGodard, Tim Berne, Dominique Pifarely, Donny McCaslin, Nguyen Le, Drew Gress, Tony Malaby, Mark Helias, Tom Rainey, Dave Binney, Josh Roseman, Gerald Cleaver, Julian Arguelles, John Hebert, Loren Stillman, John O'Gallagher, Carlo DeRosa, Tyshawn Sorey, Bruno Chevillon, Manu Codjia, Mikkel Ploug, Alex Machacek, Matt Brewer, Luciano Biondini, Dejan Terzic, Roberto Dani, Rudi Mahall, and others. So far he has recorded more than 160 original compositions that were released on 16 albums as a leader for labels, such asSteeplechase, Fresh Sound New Talent and Splasch Records.SOME CRITICS:"An adventurous guitarist who continues to find new ways to challenge his instrument by providing new contexts that expand his sound and compositions." (Jakob Baekgaard, AllAboutJazz 2014)"One of the most interesting guitarists in modern jazz who continues to stretch the boundaries of music." (AllAboutJazz 2013)"Much like his contemporaries Kurt Rosenwinkel and Ben Monder, Salamon is forging ahead with a new standard of jazz guitar that is accessible and beyond established categorizations." (John Barron, Jazz Word 2011)"Salamon's music is expanding the framework of the modern guitar trio, whereby Salamon is one of the most interesting guitarists in Europe."

Samo Salamon - guitar
Manu Codjia - guitar
Mikkel Ploug - guitar

01. Ives (take 1) (Salamon)
02. Devil's Darling (Salamon)
03. Barren (Salamon)
04. 1000 Bears (Short Version) (Salamon)
05. There's a Gheko In the House (Salamon)
06. Perplexity 1 (Salamon)
07. Seagulls In Maine (Salamon)
08. Ives (take 2) (Salamon) 
09. Kei's Secret Revealed (Salamon)
10. Al Blade (Codjia)
11. 1000 Bears (Long Version) (Salamon)
12. Duo (Salamon)
13. Logicunlogic (Ploug)
14. Perplexity 2 (Salamon)

"Hearing is Everything" Peter Watkins


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sábado, 18 de octubre de 2014

RONALDO ALBENZIO: JAZZ by JAZZ



ESCUCHEN Y DISFRUTEN!!!

JAZZ by JAZZ

de la mano de

RONALDO ALBENZIO

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


RONALDO ALBENZIO - JAZZ by JAZZ


Julián Argüelles - Circularity (2014)


Another star in the British jazz world has joined CAM JAZZ. After his contributions to John Taylor’s and Kenny Wheeler’s recordings, “Circularity” is Julian Argüelles’s debut album with this label.  Eight original pieces, all bearing the leader’s signature and performed with a tried and true quartet: Argüelles on tenor and soprano sax, Dave Holland on double bass, Martin France on drums and, obviously, John Taylor on piano.

Argüelles’ artistic path is that of a musician who has kept moving forward, looking for new expressive forms as well as sonic and textural shades for his tunes. On stage for nearly thirty years (even though he is still under 50), the British saxophonist released his first record as a leader in 1991. Since then, ongoing growth and development have made him a musician who is never the same but, nevertheless, clearly recognizable. In the opening track, “Triality”, his sax relies on the introduction by the rhythm section, then quickly launching into a long solo that shows Argüelles’ great improvisational verve. Enchanting “Circularity”, driven by a groove revealing a strong empathy within the quartet. On the other hand, with the exception of Holland (Mick Hutton used to be on bass), it is the same combo that recorded “Phaedrus” in 1991 and the title of both the above piece and the entire album most likely also refer to the closing of an artistic and  human circle. Then there is “A Simple Question”, with its hypnotic introduction by John Taylor; exotic “Unopened Letter” and gentle “Wilderness Lane”, up to the soft closing track, “A Lifelong Moment”. This is an excellent album to best celebrate a new artist joining CAM JAZZ’s team.

Recorded at the Curtis Schwartz Studio in Ardingly, West Sussex, and mixed at Bauer Studios in Ludwigsburg.

Liner notes by Brian Morton


Julián Argüelles ( Soprano & Tenor Sax )
John Taylor ( Piano )
Martin France ( Drums )
Dave Holland ( Double Bass )

1. Triality
2. Lardy Dardy
3. Circularity
4. A Simple Question
5. Unopened Letter
6. Wilderness Lane
7. Another Escapade
8. A Life Long Moment


JAVI

Chico Freeman - The Emissary (1996)



TRACKLIST:
 01. Spirit Catcher 
 02. Mandela 
 03. The Emissary 
 04. Murcia 
 05. La-La (Means I Love You) 
 06. Come on With It 
 07. The Streets Got Me Weeping 
 08. Guitar 
 09. I'll Write a Song for You 
 10. Seven Steps to Heaven 
 11. Jikele Maweni 
 12. Dun Dum Ba



Line Up:
Geoff Brennan     Bass (Acoustic), Bass (Electric)
Stanley Franks         Guitar (Acoustic), Guitar (Electric), Vocals (Background)
Chico Freeman            Clarinet (Bass), Producer, Sax (Soprano), Sax (Tenor), Vocals (Background)
Norman Hedman Conga, Percussion
Josh Jones            Drums, Percussion
Babou Sagna            Drums (African), Percussion
Scheherazade Stone Vocals, Vocals (Background)
Andrienne Wilson Arranger, Flute, Vocals, Vocals (Background)



Chico Freeman showed a great deal of potential in the 1970s when the young tenor saxophonist recorded frequently. His profile has been a lot lower since that era, but he is still quite capable of playing rewarding music as he shows on this project, The Emissary, from 1995. Teamed with a group of San Francisco Bay-area musicians who form the Josh Jones Latin Jazz Ensemble, Freeman plays quite well on tenor, soprano, and bass clarinet. The music ranges from Latin jazz to world music, with a touch of reggae and pop, and a relatively straight-ahead "Seven Steps to Heaven." Since the Josh Jones group is essentially a rhythm section, Freeman is the main voice throughout and he comes up with plenty of creative ideas throughout this fairly accessible set.


RAZ

Alex Baboian - Curiosity (2014)


Source: Alex Baboian


Alex Baboian is an Armenian-American guitarist, composer, and teacher from Boston, Massachusetts who has been described by music educator Hal Crook as a "Future major voice in jazz" and in a review from Allaboutjazz.com as "Forward thinking." Alex graduated from Berklee College of Music in 2012 duel majoring in Performance and Electronic Production and Design and being awarded the guitar department achievement award twice. He has performed extensively at venues and festivals in America, Asia, and Europe. Some of the wonderful teachers Alex has studied with include Dave Tronzo, Hal Crook, Jon Damian, Dave Fiuczynski, David Gilmore, Phil Wilson, Greg Hopkins, Jamey Haddad, and Simon Shaheen.

Projects he has been involved with include Classical/Jazz crossover trio Piano Bench which released their debut album in 2012 followed by a European tour. Ludmila Stefanikova's quartet which released their debut album "Be Beautiful" in 2011 followed by a European tour. And Rafael Aguiar's quintet who's debut album is anticipated to be released on Greg Osby's Inner Circle record label Fall 2014. His debut album as a leader entitled "Curiosity" will be released in Fall 2014 and features his original compositions and arrangements for jazz trio and quintet.
Alex also produces music and has composed music and sound design for independent films and animations as well as written scripts and musical scores that have been performed in Boston. As a side project he creates acoustic/electronic guitar music under the Psudonym of his Japanese nickname "Babo". 'Curiosity' is his debut release.




1. Spurs 06:30
2. Mulatu 09:30
3. Mysteries 04:33
4. Girl (Lennon/McCartney) 05:32
5. Streetlights 08:51
6. Mouse 06:36
7. A Dreamer's Holiday (Wayne/Gannon) 05:46
8. Alberto Balsalm (James) 06:36
9. Rockwell 08:22
10.Tree Rings 06:50
    

Alex Baboian- Guitar
Dylan Coleman- Bass
Tom Wandell- Drums
Rafael Aguilar- Alto Sax (2, 5, and 10)
Michael Sachs - Alto sax, clarinet, bass clarinet (2, 5, and 10)



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


GAB
 
 

Junior Mance - The Soulful Piano of Junior Mance 1960 (Remastered 2013)


When it comes to playing soulful jazz, few are in the same league as pianist Junior Mance (b. 1928), a master not only of blues but bebop.

Born in Chicago, Mance began playing piano when he was ten. He spent his early years working in Chicago with Gene Ammons (1947-1949). Mance performed with Lester Young and the Gene Ammons–Sonny Stitt Quintet before he was drafted. After his discharge he was the house pianist at the Bee Hive in Chicago, worked for a year with Dinah Washington, was a member of the first Cannonball Adderley Quintet, during 1958-60 was in Dizzy Gillespie’s group, and spent a few months with the Eddie “Lockjaw” Davis–Johnny Griffin quintet.

After leaving the Davis-Griffin band, Mance was mostly a leader of his own trios (other than a period working as Joe Williams’s accompanist). Sweet and Lovely reissues both The Soulful Piano of Junior Mance and Big Chief, a pair of trio dates from 1960-1961 that feature an appealing mixture of blues, hard bop, and ballads.

The Soulful Piano of Junior Mance is an album by jazz pianist Junior Mance which was recorded in 1960 and released on the Jazzland label.




Bass – Ben Tucker
Drums – Bobby Thomas
Engineer – Ray Fowler
Piano – Junior Mance
Producer – Orrin Keepnews

01. The Uptown
02. Ralph's New Blues
03. Main Stem
04. Darling, Je Vous Aime Beaucoup
05. Playhouse
06. Sweet and Lovely
07. Oo-Bla-Dee
08. I Don't Care
09. Swingmatism

Recorded in New York City; October 25, 1960

"Hearing is Everything" Peter Watkins


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