Sunday, December 16, 2007

Stefano Bollani Brasilia 2007

Well friends,

First here are some great cd's that Dr.Marcilio bought, you should all check it out :

- Giovanni Guidi Trio - Tomorrow Never Knows
- Vladimir Shafranov Trio - Portrait In Music
- Alessandro Lanzoni Trio - On The Snow
- Olivier Antunes Trio - Introducing
- Michele Di Toro - Il Passo del Gatto

None of the artist above I've heard before. Jazz is Alive and very well !!!!!!!!!

Well here in Brasilia, we had the chance to meet Stefano Bollani "Solo".
This one is THE MAN.
Beside playing great Jazz, he is a superb entertainer, and he truly knows more than 2000 songs.


Happy 2008 and Merry Christmas !!!!!!!!!!!!
To remember on You Tube at the sidebar, the late AND GREAT MCHEL PETRUCCIANI

Thursday, November 22, 2007

First CD's Reviews 2007

These are some reviews from others about my 2007 jazz-election. Good reading !!!!
Don't forget to check out Bollani's Video

Judy Niemack
Blue Nights

Cover (Blue Nights:Judy Niemack)

By Ken Dryden
Judy Niemack has released so many outstanding CDs that it seems unfathomable that this 2007 release for Blujazz is her first U.S. recording since Heart's Desire and only her third U.S. album overall. But she makes up for lost time with a typically adventurous outing, backed by guitarist Jeanfrançois Prins (her husband), pianist Jim McNeely, bassist Dennis Irwin, and drummer Victor Lewis, with guest appearances by saxophonist Gary Bartz and trumpeter/flügelhornist Don Sickler on selected tracks. Niemack's sassy take of Duke Ellington's "I Ain't Got Nothin' But the Blues" and her scatting in unison with Prins' guitar in a romp through "Bluesette" open the disc with a bang, but she cools things down with her intricate interpretation of Bill Evans' "Interplay," for which she supplied delightful lyrics. "A Crazy Song to Sing" has more of a vocalese quality, describing the appeal of performing Thelonious Monk's "Mysterioso," punctuated by Bartz's smoldering alto sax solo. "In a Sentimental Mood" is set up by an intriguing blend of guitar, flügelhorn, and alto sax, with Niemack delivering a captivating performance. Judy Niemack has been one of the most underrated jazz vocalists of her generation, and this brilliant effort should awaken critics who have unjustly overlooked her consistently excellent work.

Kurt Elling

Cover (Nightmoves:Kurt Elling)

By Thom Jurek
When Kurt Elling issued Man in the Air on the Blue Note label in 2003, it showcased his expansive, dream-weaving stage persona, though the album was recorded in the studio. Nightmoves arrives at a time when Elling has left Blue Note for the hopefully greener pastures of the Concord kingdom, and has been both directing and hosting festivals while also performing like crazy. For a guy who is as busy as he is, there's no doubt he has also been working on expanding his particular gift with discipline and breathtaking adventure. For starters, there is a wider array of musicians on Nightmoves. Along with longtime pianist Laurence Hobgood (an underrated and underappreciated artist of high order), players like Bob Mintzer, Christian McBride, Rob Mounsey, Willie Jones III, the Escher String Quartet, Rob Amster, Guilherme Monteiro, and Grégoire Maret are here, assisting in this ambitious set of tunes in all manner of configurations, from duet to septet. The title cut, written by Michael Franks, opens the set, with Mintzer on tenor and a pair of pianists in Hobgood on acoustic and arranger Rob Mounsey on electric, with Jones and McBride serving as the rhythm section guides. Elling keeps all the gorgeous mystery of the original and deepens it as he more assertively states the lyrics. He's got soul, blues, and the grain of the jazzman in his vocal. Hobgood underscores every line while Mounsey adds depth and dimension to the tune atmospherically, and Mintzer's solo is brief but full of the deep blues. There is a weave at work here that Elling follows in Betty Carter's "Tight." And it is. The notion of song gets stretched to the point of breakage here, and rhythmic interplay happens between Elling and the band. While keeping Carter's tune's integrity, he also pushes the lines to slip into the circular beat provided by Jones. McBride's arrangement is a swinging hard bop delight. The sense of freedom in Carter's original is captured in Elling's solo. There is a gorgeous nocturnal smoke-and-fog medley of Irving Berlin's "Change Partners" and Antonio Carlos Jobim's "If You Never Come to Me." Howard Levy adds some painterly harmonica to the tune's frame, and the band — courtesy of Hobgood's subtle and moving arrangement — plays to Elling's strength. The sense of longing and heartache is evident from outside the lyric; it comes from the pit of the belly and speaks its need before Monteiro's acoustic guitar introduces the Jobim song. Elling slips right into that rhythmic change, extending the story of the original, speaking under the gentle breeze and night sky. There is another medley here as well: Keith Jarrett's "Leaving Again" woven into the Mann and Hilliard tune (and Frank Sinatra classic) "In the Wee Small Hours." Elling extrapolated — via transcription most likely — Jarrett's original improvisation (and his extra lines in the latter tune) and wrote a vocal and lyrics for it. The performance is full of surprise and delight. Listeners will have to discover that one for themselves. One of the greatest surprises here is in Elling's reading of Randy Bachman's (of Bachman-Turner Overdrive and the Guess Who, the latter band having recorded the original) pop hit "Undun" (better known as "She's Come Undun"). The tune is transformed with help from Mounsey's arrangement. It always had a jazz backdrop, and Elling and his pals pull it over the line. The man croons and startles with the raw emotion in his voice, as Hobgood's fills offer support for the sense of drama in Elling's voice. Mintzer enters and plays between the lines and through them. Elling just seems to climb with the intensity of the band and goes over the top. Elling's composition of a song to Theodore Roethke's poem is a deeply moving duet between his voice and Amster's bass. His full range is at work here, but the feel is effortless, spiritual, dreamy, shimmering. This track offers the complete evidence of this vocalist's true gift. The set ends with a reading of Duke Ellington's "I Like the Sunrise." Backed by a trio of Hobgood, Amster, and Jones, the reverence the singer feels for the tune is evident from the moment he opens his mouth. This is a gospel song in Elling's voice, with a vocalese performance that is as moving and on the money as anyone has ever delivered. The lyric is adapted from Rumi, and Ellington's melody is in perfect balance with the lyric and rhythm. It's simply inspiring. After Man in the Air it was difficult to imagine Elling expanding further on his spirit of song. But on Nightmoves, he has not only met but exceeded all expectations.

Fred Hersch
Night and the Music

Cover (Night & the Music:Fred Hersch Trio)

By Matt Collar
His first trio album since the '90s, Night & the Music finds journeyman jazz pianist Fred Hersch, along with bassist Drew Gress and drummer Nasheet Waits, delving into an atmospheric and intimate mix of originals and standards. Hersch has always been a tasteful, harmonically adventurous, and deeply emotive musician, and that is certainly the case here. As he states in the liner notes, seven of these songs are first takes, and not surprisingly a sense of spontaneity and sensitive group interplay permeates the album. To these ends, Cole Porter's "So in Love" is given a deeply expansive touch that finds Hersch washing various harmonic colors around the melody. Similarly engaging, his takes on such lesser-played standards as Thelonious Monk's "Boo Boo's Birthday" and Irving Berlin's "Change Partners" are gleefully playful and adventurous. However, it is on the darker, more melancholy moments that Hersch truly shines, and his brooding version of "How Deep Is the Ocean" and his own "Heartland" are devastatingly moving ballads.

Manu Katché

Cover (Neighbourhood:Manu Katché)

By Richard S. Ginell
The superb French/Ivory Coast drummer Manu Katche, long a backing force on many ECM sessions, steps out on his own for the first time on this label and comes up with a gem — with a little help from some of the ECM stars. Indeed, "Neighbourhood" is a very appropriate title, for there are several interlocking orbits of personnel within this album. For a start, the CD marks another collaboration between trumpeter Tomasz Stanko and saxophonist Jan Garbarek, the latter whom Katche has been backing on and off since the early '90s. Moreover Stanko brought along part of his Polish rhythm team, pianist Marcin Wasilewski and bassist Slawomir Kurkiewicz, for the session. Michel Petrucciani is clearly on Katche's mind, for not only is the album dedicated to the late pianist, the reflective, ardently lyrical mood of Katche's compositions — and Wasilewski's piano work — are quite reminiscent of Petrucciani at his most relaxed. And Katche can write; his tunes are often wistful and thoughtful, his percussive backing crisp yet subtle, carefully filling in the cracks while keeping just enough of a gentle pulse. The best of the lot, the simple angular tune of "Good Influence," grabs you by the throat, tugs at your heart, and doesn't quit the memory — sure signs of greatness. By contrast, "Lovely Walk" kicks up the tempo behind an ostinato bass while "Take Off and Land" brings in a touch of fatback funk. If there is a single wellspring behind this music — besides Petrucciani of course — Herbie Hancock's acoustic combo recordings of the late '60s come closest in terms of ambience and harmony. Call this album an inspired descendant two generations and an ocean away.

Roger Cicero & After Hours
There I Go

Cover (There I Go:Roger Cicero)

By Hermann Mennenga
Auf seiner bei JAZZsick erschienenen CD „There I go“ ist Roger Cicero im Verbund mit der Gruppe After Hours zu hören, und dieses Zusammentreffen kann man getrost als reinen Glücksfall bezeichnen. Im Gegensatz zur CD „Good morning midnight“ mit der Pianistin Julia Hülsmann, hat Cicero hier die Möglichkeit sich nach Herzenslust in seinen Ausdrucksmitteln frei zu bewegen...
Roger Cicero & After Hours - "There I go"
War „Good morning midnight“ eher ein Konzeptalbum mit Gedichtvertonungen, so ist „There I go“ gerade das Gegenteil: von Hardbop à la Clifford Brown über die Beatles bis Abdullah Ibrahim, alias Dollar Brand, über Jean „Toots“ Thielemans bis Kurt Elling ist hier ein Stilmix vorhanden, von dem man auf den ersten Blick meinen könnte, das passe nicht zusammen.
Es liegt aber an den großartigen Musikern um Roger Cicero, aus diesem Silberling mehr zu machen als ein Schaulaufen durch die Jazzgeschichte. Dass dies gelingt, ist – wie schon gesagt – ein Glücksfall und eine Sternstunde für den deutschen Jazz zugleich.

By Jason Ankeny

German jazz vocalist Roger Cicero interpreted the sound and spirit of the swing era for contemporary audiences, upholding the family traditions established by his father, renowned jazz pianist Eugene Cicero. Born in West Berlin on July 6, 1970, Cicero grew up surrounded by jazz and its practitioners, and at age 11 made his professional debut in support of singer Helen Vita. He later studied voice, piano, and guitar at the Hohner Conservatory, and from 1989 to 1992 served as a regular member of the Eugene Cicero Trio while moonlighting with the German youth jazz orchestra Bundesjugenjazzorchester. After his father's 1997 death, Cicero joined the groups Jazzkantine and Soulonge, making his recorded debut on the latter's 2003 release The Essence of a Live Event. That same year, he founded the Roger Cicero Quartet as well as an 11-member big band, both of them adherents to traditional jazz idioms but with lyrics in their leader's native German tongue. After releasing the 2006 album Good Morning Midnight in collaboration with pianist Julia Hülsmann, Cicero issued his solo debut, Männersachen, later that same year. Buoyed by the hit single "Ich Atme Ein," the LP reached number three on the German charts.

Anthony Wilson Nonet
Power Of Nine

Cover (Power of Nine:Anthony Wilson)

By Scott Yanow
Anthony Wilson is a superior straight-ahead guitarist who is also a very talented arranger-composer. His nonet plays in the Los Angeles area, performing his arrangements and mostly Wilson's compositions. Filled with some of Southern California's best and most versatile musicians, the Anthony Wilson Nonet interprets his colorful and atmospheric charts flawlessly. On Power of Nine there is a four-part suite ("Quadra") which has guest mandolinist Eva Scow interacting with Wilson's guitar on two of the sections. That moody work, dedicated to Brazil, has its intriguing moments but some of the other individual pieces are actually the high points. An infectious version of Duke Pearson's "Make It Good," Diana Krall's guest vocal on a nostalgic waltz by Jimmy Rowles ("Looking Back"), a stirring tenor solo by Matt Otto on "Amalgamation," the jubilant "Melatonin Dream" and the gradual building up of passion on "Hymn" are memorable. In addition there is a "hidden" twelfth selection, a Monk-ish "Bird in a Basket" which has an intense baritone solo by Adam Schroeder. Other solo stars along the way include trumpeter Gilbert Castellanos, and pianist Donald Vega. Recommended.

Nancy King & Fred Hersch
Live At Jazz Standard

Cover (Live at Jazz Standard:Nancy King)

By Ken Dryden
It's no wonder that Fred Hersch had the confidence to tape his initial meeting with Nancy King. King is one of the best jazz vocalists of her generation, though she is unjustly not as widely recognized as a number of major-label artists who don't begin to compare with her. King and Hersch put together a wide-ranging program at the Jazz Standard, frequently extending their interpretations well beyond the expectations for a vocal/piano duo. Hersch, who has long since proved his abilities as a solo accompanist for singers (especially Janis Siegel), is never less than brilliant throughout the evening, though the singer is equally impressive, an adventurous spirit who is unafraid of taking chances. King's expressive voice is full of humor in the swinging take of "Ain't Misbehavin'," while she scats up a storm in Antonio Carlos Jobim's neglected gem "If You Never Come to Me." She's equally inspired as she revives once popular standards that have fallen out of favor like "There's a Small Hotel" and "Everything Happens to Me." But the finale clearly steals the show as King devours "Four" whole, throwing caution to the wind as she playfully adds her own twists to Jon Hendricks' vocalese setting of Miles Davis' famous tune. This beautifully recorded set is a tribute to the musicianship of both artists, as well as the foresight of Fred Hersch to request that the soundboard operator record it without notifying Nancy King in advance.

Sunday, November 18, 2007

Dear Friends,

New at the sidebar, the great Stefano Bollani.

What are your 2007 favorites ?

I think E. Pieranunzi's CD is going for the most "best 2007" votes.



Thursday, November 08, 2007

New at the sidebar, vocal of the year Judy Niemack.

Sunday, November 04, 2007


Dear Friends & Caros Amigos,
Following a ancient tradition these are the winners of "Jazz 2007":

CD DO ANO 2007 - Ettore Carucci " Forward "
VOCAL 2007
- Judy Niemack "Blue Nights"
TRACK 2007
-"I Wanna Hold Your Hand" by Roger Cicero & After Hours "Here I Go "


- Pieranunzi,Johnson,Baron - "Live In Japan"
- Bill Carrothers - "Keep Your Sunny Side Up"
- Fred Hersch Trio - "Night & The Music"

Anthony Wilson Nonet - "Power of Nine"
- Kurt Elling "Nightmoves"


Manu Katché "Neighbourhood"
Nancy King & Fred Hersch" Live At Jazz Standard"

- Marcin Wasilewski & Stefano Bollani

Greetings to all my Jazz Friends: Roberto,Claudio,Augusto,Dr.Leo,Lucius,Marcilio,Carlinhos,Marcio,Renato
Feliz resto de 2007 e que venha 2008
São Paulo eh Penta
Não esqueça de ver os Enrico Pieranunzi's videos no side-bar.Leonardo

Thursday, August 02, 2007

Hi folks,

Sorry but so little time left !
I did receive some new cd's, and as soon as I finish listen, a review will be written.
For the moment, check the new videos from Brad Mehldau.

See you soon.

Tuesday, June 19, 2007

Metheny and Mehldau 2007

Have a nice week !!!
Well, on the sidebar there's Eliane Elias on YouTube !!!!
Last year there was a new Cd:
It was not a good release from both musicians, I was not happy with the results.

Metheny & Mehldau

Cover (Metheny Mehldau:Pat Metheny)

by Thom Jurek
The collaboration between Pat Metheny and Brad Mehldau is something that must have been written in the stars. Fans of both men have wondered if it would ever take place, and the end result on the Nonesuch release of Metheny/Mehldau is the confirmation that it was destined. Hyperbole? Put it on and listen before you offer that remark seriously. Of the ten cuts here, eight are duets; the other two feature Mehldau's rhythm section, bassist Larry Grenadier and drummer Jeff Ballard. Metheny wrote seven of these tunes, and Mehldau wrote the other three. Each man's compositional style is evident from the word go. There's the luxurious counterpoint that extends form the haunting melody of "Unrequited." Further, there is the natural extension of rhythm and swing on "Ahmid-6." But the real accomplishment here is the ease with which these men play such sophisticated and engaging music that is, perhaps on paper, difficult. But its expansive sense of lyricism and yes, rhythmic interplay, is continually surprising; there is no competition in these tunes, they flow, one into the other with a language being made on the spot. On the quartet tunes, such as Metheny's "Ring of Life," the influence of postmodern drum'n'bass -- à la electronica -- is heard in the tough breakbeats played by Ballard and the counter-rhythmic invention of both Mehldau and Grenadier. It is Metheny's melodic voice, his continually approaching the euphoric, that holds it all together and makes something utterly moving out of it. The gentle swing of "Say the Brother's Name" (also by Metheny) takes Mehldau's sense of the phrase and expansive left-hand technique as it finds harmonic invention in the middle register as the key to unlocking the track's mystery. Mehldau's typically understated solo splits the seam and allows the genuine intensity of the cut to come through. Rhythmically there are breaks here too, but not as pronounced or as forceful as on the earlier selection. Indeed, when all is said and done, the listener is left wanting -- more that it. One wishes that a double album would have been made, one with the duet -- so full of startling moments it's impossible to list them all -- and quartet, whose genuine sense of extrapolative swing is not only inherent, but infectious.

This year came out the rest of the tracks from that session:
What a good CD !!!!
How can I explain the difference ?? Who cares ???
Just enjoy !!!!!!!

Metheny/Mehldau - Quartet

Cover (Quartet [2007]:Pat Metheny)

by Thom Jurek
Guitarist Pat Metheny and pianist Brad Mehldau created a stir in 2006 with their wonderful duet recording. On that set, two of the album's ten cuts featured Mehldau's rhythm section of bassist Larry Grenadier and drummer Jeff Ballard. Quartet is a mirror image: seven of these 11 cuts are full quartet sides. The musical magic established by that collaboration sets the stage for the pair to dig deeper here. It's true that melodic and harmonic invention is the root of each of the tunes here, though that doesn't mean there isn't room to move.Metheny's Way Up recording offered ample of evidence of how compositional sophistication could accomplish virtually anything. There, the players had written parts, but also had room for improvisation within that framework. The same happens here, though the pieces are shorter. Partial evidence of this is the disc's second selection, "The Sound of Water," which has a nearly pastoral theme. But Metheny uses counterpoint on a 12-string guitar to meet Mehldau's chordal investigation. One need only go one cut further in on "Fear and Trembling," by Mehldau, to see how quickly the two can step outside their bonds while retaining their commitment. The knotty playing with distortion by Metheny moves toward the rhythm section, which establishes the kind of fluidity his sense of time requires.Mehldau's own post-bop modal solo works through the lyric frames in the tune's structure and cuts through them, finding their densities and spaces. Grenadier's elasticity as a bassist allows the time to float and shift -- seemingly -- without ever losing the harmonic thread even when Metheny moves outside toward the end of the cut.
The duet ballad "Don't Wait," with Metheny on acoustic guitar, comes together with all the warmth and textured lyric sensibility that their debut displayed. These two men are not at all self-conscious here; they seem to hear each other in both solo and chorus with equally gentle ears. The shimmering piano on "Towards the Light" finds Mehldau exploring those gorgeous multi-note phrases he loves so much, with Metheny reacting sparely and creating a virtual shimmering in the cut. Ballard is very impressive here as he shades his beats with cymbals and rim shots, and gives the entire cut something earthy to hang onto. There are two Latin-tinged (barely) tunes, "En la Terra Que No Olvida" (Metheny) and "Santa Cruz Slacker" (Mehldau). The former is knottier and less obvious, but the meter is one Brubeckemployed a lot in the early '60s and perhaps it serves as a model here. The latter cut is more languid on the surface, but Ballard's drumming is simply out of this world as he skitters and scampers all over and in front of the band throughout. There is perhaps no surprise at how well these two communicate -- especially with a rhythm section as wonderful as this one is. If there is a feeling that some tunes run together, they don't; this is not a suite, but a solid amalgam of brilliant musicianship, with a humble approach that is elegant and dignified. These guys have come up with a gorgeous and sexy creation, and listeners should be delighted to spend some time with it.

Sunday, June 10, 2007

Don't forget to check my favorite singer KURT ELLING, on youtube,it's on the sidebar.

Grant Stewart / Marc Johnson 2007

Well nothing new inside my CD player.
I've received yesterday the recent release of tenor sax:

Grant Stewart
In The Still Of The Night  - SharpNine Records 1038-2.

Cover (In the Still of the Night:Grant Stewart)

At first hearing a good strong session. He is a very good sax player, no bull shit involved.

by Ken Dryden
This is hardly tenor saxophonist Grant Stewart's first recording as a leader, but his earlier CDs were for various European labels. In the Still of the Night is the release that set his career afire, as he joins forces with three of New York's in-demand musicians in his rhythm section: the hard-driving pianist Tardo Hammer, everyone's first call bassist Peter Washington and the talented drummer Joe Farnsworth. Right of the box, the big-toned Stewart makes his presence known with an up-tempo rendition of "In the Still of the Night" that makes one stand up and take notice. Stewart and Hammer dive head first intoThelonious Monk's "Work" (not exactly one of the pianist's more frequently recorded numbers), with Washington and Farnsworth fueling their spirited solos. But Stewart is also no slouch playing ballads, as his dreamy take of "Autumn in New York" and haunting treatment of "Lush Life" display a profound lyricism. Stewart's astute choice of Richard Rodgers' "Loads of Love" uncovers another gem that is rarely recorded, his sizzling solo will invite comparisons to Dexter Gordon. Even Burt Bacharach's often blandly played "Wives & Lovers" is rejuvenated with Stewart's lighthearted but aggressive interpretation. Highly recommended!

Marc Johnson
Shades of Jade " ECM 1894. 


Cover (Shades of Jade:Marc Johnson)

I do love Eliane Elias playing, but I do Hate when she sings. STOP SINGING !!!!!!!!
A friend(Lucius) burned this CD ( soulseek, e-mule ) with no indication of whom the players were,
but one thing was sure, it was Eliane's beautiful playing; but then came a fantastic tenor sax
but I didn't know who it was, my surprise, JOE LOVANO.
This recording is very good, two masters at their prime, but wait the CD is not from any of them, is from another master MARC JOHNSON(ex-Bill Evans Trio, Eliane's husband ).

By Michael McCaw
Marc Johnson long ago cemented his abilities as a bassist since his involvement in Bill Evans' final trio. His career as a leader in his own right, though, has been a lttle more questionable. Released periodically over the span of a quarter century, his albums have run the gamut in quality from his excellent early ECM dates featuring Bill Frisell and John Scofield to the somewhat lackluster feel of Sound of Summer Running (Verve, 1998). Nonetheless, all this changes with Shades of Jade. Here, Johnson and his longtime collaborators have cultivated a sound that listeners will find themselves coming back to over the years for well more than a simple cursory listen.
Johnson's concept hasn't necessarily changed over the years. He has tread similar ground on his previous albums in various forms, but what has changed are the results he elicits from everyone—including here the stunning Eliane Elias. Recorded and presented in absolute pristine color, the two account for nine of the ten compositions and share a rapport based on their consistent involvement in each other's projects that the rest of the musicians are able to balance their own performances upon. Completing the equation are Joey Baron (drums), Alain Mallet (organ on a few songs, including the dirge-like closer), Scofield (guitar), and
Joe Lovano (tenor saxophone).
This group cultivates a warm sound that carries the album through its many moods, but the pervasive quiet beauty is the real sound stage for the musicians. Lovano's tenor in particular sounds even more subdued and relaxed than on his recent songbook albums with Hank Jones, and although Scofield or Lovano's name may inspire a majority of listeners' attention when they first listen to Shades of Jade, Elias will certainly usurp it.
Elias performs with an understated beauty that belies expectations. While her output as a leader commonly focuses on themes that have tended to pigeonhole her as an interpreter of Brazilian jazz crossovers, here her talents are laid bare. An incomparable asset to this recording, she guides the momentum and feel of the music throughout, just as she does on her own "Aparecu, where she builds and embellishes the melody behind Lovano, accenting his spaces and keeping pace with every turn of phrase. With a sound reminiscent of Evans, she hardly needs to prove her talents, but it is also impossible not to notice them.
Marked by the measured nuances in every phrase, these pieces are songs more than anything else, and to call them tunes would seem almost insulting. And while the title of Shades of Jade is a reference to Evans' first great trio bassist, Scott LaFaro, the results are more in line with Evans' trio as a whole, where everyone contributes individual characteristics to create a sound that's greater than the sum of its parts. Finally Johnson has created an album with a timeless feel, one that marks a highpoint in the ECM catalog, and something listeners will undoubtedly come back to explore time and again.
Track Listing:
Ton Sur Ton; Aparaceu; Shades of Jade; In 30 Hours; Blue Nefertiti; Snow; Since You Asked; Raise; All Yours; Don't Ask of Me.
Joe Lovano: tenor saxophone; John Scofield: guitar; Eliane Elias: piano; Marc Johnson: double-bass; Joey Baron: drums; Alain Mallet: organ.

See you soon,

May the force of jazz be with you !!!

Sunday, June 03, 2007

The Jazz CD of May 2007

After Battaglia, Bollani & Rea there is a new pianist from Italy,

Ettore Carucci Trio - Forward
Dodicilune Dischi ed. 224 - 2006

Forward, Ettore Carucci Trio

This is a very good recording, made in Lecce, with Ben Street/bass & Adam Cruz/drums.
You must hear this.

There is an italian( French ? ) drummer that has been around for a long time, was ( is ?) married to Dee-Dee Bridgewater, and has released two very good CD's:

André Ceccarelli Trio
Avenue des Diables Blues

Cover (Avenue des Diables Blues:André Ceccarelli)

by Ken Dryden/ All Music Guide
During his long career, André Ceccarelli has recorded sporadically as a leader, but this studio affair should open a few doors. Accompanied by the talented Gypsy guitarist Bireli Lagrene and organist Joey DeFrancesco, the drummer puts together a wide-ranging set, delving into standards, swing, bop, jazz fusion, and more. His approach to Duke Ellington's gorgeous "Sophisticated Lady" is soft, as he provides minimal brushwork to back his musical partners. The decades-old chestnut "Summertime" slowly simmers in a thoughtful arrangement honoring the organist's mentor, the late Jimmy Smith. The leader finally cuts loose with the brief "Prelude," which segues into a romp through "April in Paris," while Jaco Pastorius' "Three Views of a Secret" showcases both Lagrene's lyrical side and his virtuosity.

The other one is a new CD:

André Ceccarelli
Golden Land

Cover (Golden Land:André Ceccarelli)

with our great Enrico Pieranunzi, Hein Van de Geyn, Dvaid el-Malek.

By Ken Dryen
André Ceccarelli has long been one of Europe's premiere jazz drummers and since the new century began he is getting additional opportunities to showcase his talent as a bandleader and composer/arranger as well. His band includes the brilliant pianist Enrico Pieranunzi, veteran bassist Hein Van De Geyn and the promising tenor saxophonist David El-Malek.Ceccarelli excels at driving a band and is equally at home in driving post-bop numbers like the pianist's "Five Plus Five," his own angular "Free Three" and his solo feature "1er Novembre." Van De Geyn contributed the haunting ballad "Though Dreamers Die," which features El-Malek's emotional solo. Vocalist Elisabeth Kontomanou is added for "Golden Land" (which she co-wrote with the leader, while it is also heard in instrumental form) and the standard "I'm Through with Love." This rewarding session will easily stand the test of time.

Thanks to my friend DR. Marcilio for showing all these CD's.
Great Jazz !
Question: Is Jazz dead ?????
I don't think so !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

News 2007 - Is Jazz Dead ?

Sorry I've been away so long.
But I'm back.
2006 had some good jazz music:

- Danilo Rea
- Francesco Cafiso

and some good reading:

Is Jazz Dead? (Or Has It Moved to a New Address) 
By Stuart Nicholson 

By Thomas Conrad 
This book should not be judged by its ugly cover, its clumsy title or its numerous typographical and other errors. Nicholson's thesis is important, and he supports it persuasively. His argument is that all the significant changes in jazz have come out of the United States--until now. Nicholson claims that today, "it is non-Americans who are taking the lead." A corollary argument is that "the people who are not discussing the effects of globalization on jazz are Americans."
Nicholson believes that the pendulum began to swing away from America in the 1980s, when "neoconservativism" stifled innovation. His book contains one of the most devastating indictments of the "Young Lions" fad in jazz literature. But Nicholson also acknowledges that, in the new millennium, the art form has become fresh and restless and diverse again (notwithstanding its economic challenges), both inside and outside U.S. borders. As jazz globalizes, new tributaries enrich the mainstream, and influences flow in all directions, including back and forth across the Atlantic.
It is in explaining this globalization (and "glocalization," wherein artists incorporate their own national imagery and folklore and culture into the language of jazz) that Nicholson is best. For ethnocentric Americans who need help finding great, style-making jazz beyond our shores, Nicholson's guidebook is invaluable.

By Chris Kelsey
I'm sure Stuart Nicholson didn't intend to make me want to hang myself. Unfortunately, his writings on jazz's recent reactionary past, fragmented present and uncertain future have practically that effect. Nicholson's thesis--that America's inclination to treat jazz primarily as a business has resulted in artistic petrifaction--hits the mark. Case in point: the recent plethora of pretty boys and girls singing Tin Pan Alley tunes, and a concomitant decline in industry resources devoted to nurturing originality. Rampant conformity in the guise of Wynton Marsalis, Jazz at Lincoln Center and cookie-cutter jazz education are also taken to task.
On the bright side, Nicholson finds much to like about jazz overseas; he clearly believes (with good reason, perhaps) that the European cultural tradition makes the continent a more fertile ground for growth. In the process, however, he underestimates the state of the music in the U.S. Nicholson has a superficial grasp of American jazz: If it ain't on a major label or otherwise a part of the mainstream jazz biz, it essentially doesn't appear on his radar.

By Mike Shanley
Gary Giddins once opined in these pages that "Jazz is dead" ranks as one of two stories that jazz scribes can easily sell to glossy magazines--second place going to "Jazz is back!" So naturally turning the first statement into a question offers the perfect starting point for a book that supposedly "is bound to be controversial among jazz purists and musicians."
Stuart Nicholson actually devotes more time to his subtitle, concluding that this American-born music is stagnating at home while, around the world, it continues to follow its natural course and evolve, thanks to musicians who add their regional influences to the musical brew and governments that put artistic merit before profit. Two chapters are devoted to an honest critique of Wynton Marsalis: one for his music, the other for his work with Jazz at Lincoln Center. Nicholson also explains the shortcomings of jazz education and the way European musicians "glocalize" jazz, by adapting it through local influences.
The book makes some valid points, but many of them get lost among the laundry lists of European players and longwinded sentences that seem like Nicholson is still working through ideas. Further, the answer to the title is never in doubt from page one, making it seem like a cheap publicity ploy than a serious question.