Live At Smalls
By Jeff Tamarkin at JazzTimes
Pianist Harold Mabern, at age 77 more than five decades into his career, remains a regular presence at some of the city’s more intimate rooms, often in the company of his trio mates here, bassist John Webber and drummer Joe Farnsworth. He’s a remarkably agile and astute player with a penchant for taking on seemingly unlikely repertoire and molding it effortlessly to his easy-rolling postbop style. At this Smalls date, he brings depth and sophistication to Fats Domino’s R&B classic “I’m Walking” while retaining its trademark NOLA swing, and his take on Mongo Santamaria’s “Afro Blue” manages to simultaneously straddle dark and edgy and cheerfully upbeat. The Sesame Street theme is utterly transformed into a showcase for the three players, and Erroll Garner’s “Dreaming” is appropriately laconic and contemplative.
Fabio Giachino Trio
Jumble Up
By John Riley
Fabio Giachino , widely regarded as one of the greatest talents appeared on the scene in the last few years. In a short time has earned a reputation as an excellent pianist and composer excellent . His trio seems like a perfect poster for the contemporary jazz scene : The title, Jumbe up , it indicates a willingness to think outside the box while remaining anchored to the Afro-American tradition . All members of the trio have made academic studies ( Conservatory ) , they love the rock / pop and play jazz proposing standards, but at the same time inserting elements such as R & B , hip hop and other sounds coming from urban areas without losing sight of the sense of swing.
"The group is really close-knit , never falls into the obvious ... Finally a real band !
Antonio Faraò".
“JUMBLE UP”. an alchemical mix of free , fascinating and creative energy which results in Music respectful of tradition and who lives in the present with an eye to the future..
GeGè Telesforo".
In their latest record production the "Fabio Giachino Trio" has found the right balance of music, you will appreciate both the users of both jazz lovers a more contemporary sound. Check it out!
Personnel:
Davide Liberti : drums; Ruben Bellavia : doublebass; Fabio Giachino : piano
Dave Slonaker Big Band
Intrada
By Jack Bowers
Don't be put off by the name. Intrada, composer / arranger Dave Slonaker points out, is "a musical form often composed as a prelude, overture or fanfare," one whose upbeat phrases give rise to an exhilarating curtain-raiser on Slonaker's initial big-band recording. Rest assured this is a world-class ensemble and there's no doubt whose steady hand is at the helm: Slonaker wrote every number save the standard "It's Only a Paper Moon" and arranged the complete package.
If Slonaker's name is new to you, that's probably because he has spent much of his career as a composer, arranger and orchestrator in films and television. Film credits include Spider-Man, Air Force One, Oz the Great and Powerful, Alice in Wonderland and A Night at the Museum, and he has written for the TV series J.A.G., Murder She Wrote and others. Slonaker has also taught at USC and the Eastman School of Music, while his jazz works have been performed by Clark Terry, the Woody Herman and Count Basie orchestras, and many others.
All of which leads to this consistently impressive album in which Slonaker's vibrant and graceful themes are precisely and eloquently animated by a phalanx of the Los Angeles area's most talented and sought-after musicians. Noteworthy c.v. aside, it's clear from the outset that Slonaker has a jazz musician's soul and a sure command of the music's language and history. His music is contemporary in the best sense of the word, harmonically sophisticated yet always accessible thanks to an unswerving reliance on time-honored melodies and rhythms. In other words, this is big-band jazz that quickens the pulse, swings hard and enhances the tradition.
"Intrada" and "Paper Moon" are followed by eight more of Slonaker's inspired compositions, each of which provides a malleable springboard for the ensemble's resourceful soloists. Those who rise to the occasion include saxophonists Bob Sheppard, Adam Schroeder and Rob Lockart; trumpeters Clay Jenkins and Ron Stout, trombonists Bob McChesney trombone and Alex Iles, bass trombonist Bill Reichenbach, pianist Ed Czach, bassist Edwin Livingston and drummer par excellence Peter Erskine. There's no point in singling out any particular song for immoderate praise, as every one is outstanding, as is the ensemble.
The same can be said for Intrada itself, a splendid debut by an extraordinary musician who it is hoped will devote even more of his time to leading a band. Well done!
Track Listing:
Don't be put off by the name. Intrada, composer / arranger Dave Slonaker points out, is "a musical form often composed as a prelude, overture or fanfare," one whose upbeat phrases give rise to an exhilarating curtain-raiser on Slonaker's initial big-band recording. Rest assured this is a world-class ensemble and there's no doubt whose steady hand is at the helm: Slonaker wrote every number save the standard "It's Only a Paper Moon" and arranged the complete package.
If Slonaker's name is new to you, that's probably because he has spent much of his career as a composer, arranger and orchestrator in films and television. Film credits include Spider-Man, Air Force One, Oz the Great and Powerful, Alice in Wonderland and A Night at the Museum, and he has written for the TV series J.A.G., Murder She Wrote and others. Slonaker has also taught at USC and the Eastman School of Music, while his jazz works have been performed by Clark Terry, the Woody Herman and Count Basie orchestras, and many others.
All of which leads to this consistently impressive album in which Slonaker's vibrant and graceful themes are precisely and eloquently animated by a phalanx of the Los Angeles area's most talented and sought-after musicians. Noteworthy c.v. aside, it's clear from the outset that Slonaker has a jazz musician's soul and a sure command of the music's language and history. His music is contemporary in the best sense of the word, harmonically sophisticated yet always accessible thanks to an unswerving reliance on time-honored melodies and rhythms. In other words, this is big-band jazz that quickens the pulse, swings hard and enhances the tradition.
"Intrada" and "Paper Moon" are followed by eight more of Slonaker's inspired compositions, each of which provides a malleable springboard for the ensemble's resourceful soloists. Those who rise to the occasion include saxophonists Bob Sheppard, Adam Schroeder and Rob Lockart; trumpeters Clay Jenkins and Ron Stout, trombonists Bob McChesney trombone and Alex Iles, bass trombonist Bill Reichenbach, pianist Ed Czach, bassist Edwin Livingston and drummer par excellence Peter Erskine. There's no point in singling out any particular song for immoderate praise, as every one is outstanding, as is the ensemble.
The same can be said for Intrada itself, a splendid debut by an extraordinary musician who it is hoped will devote even more of his time to leading a band. Well done!
Track Listing:
Intrada; It’s Only a Paper Moon; Nite Lites; Nowhere Is a Sometime Thing; Point of Departure; Timelessness; Labyrinth Suite, Part 1 (Labyrinth); Labyrinth Suite, Part 2 (Flight Time); If and Only If; Remembering.
Personnel:
Personnel:
Dave Slonaker: composer, arranger, conductor; Wayne Bergeron: trumpet, flugelhorn; Dan Fornero: trumpet, flugelhorn (1-4, 7, 8, 10); Rick Baptist: trumpet, flugelhorn (5, 6, 9); Clay Jenkins: trumpet, flugelhorn; Ron Stout: trumpet, flugelhorn; Bob Sheppard: alto, soprano sax, flute, clarinet; Brian Scanlon: alto sax, flute, piccolo, clarinet; Rob Lockart: tenor sax, clarinet; Tom Luer: tenor sax, clarinet; Adam Schroeder: baritone sax, bass clarinet; Alex Iles: trombone; Bob McChesney: trombone; Charlie Morillas: trombone; Bill Reichenbach: bass trombone, bass trumpet; Ed Czach: piano; Edwin Livingston: bass; Peter Erskine: drums.
Larry Fuller
By Dan Bilawsky
Bassist Ray Brown sure knew how to pick his pianists. While each player who manned the 88s in Brown's trio displayed a different personality, all had Swiss watch timing and shared an affinity for the blues and effulgent swing. It didn't take more than a few seconds to hear that when Gene Harris was on the bench, delivering church-y proclamations and earth-shaking tremolos, and it was equally noticeable when Benny Green put his hands to good use, displaying the Oscar Peterson-esque athleticism that remains his calling card. And while there isn't very much recorded evidence to cover pianist Larry Fuller's time with Brown, it's clear that he possesses all of those traits that Brown looked for in a pianist.
Fuller's time with Brown was relatively short—lasting a bit over two years, from the dawn of this century until the bassist's passing in the summer of 2002—but he made an impact on Brown's music during that time. More importantly, Brown made an impact on him. So much so, in fact, that Fuller's two leader sessions to date are essentially made from the Ray Brown Trio mold. The first—Easy Walker (Pony Boy, 2005)—found Fuller working with a trio that included Brown and drummer Jeff Hamilton, who worked extensively in Brown's trio and employed Fuller in his own trio during the '90s. The second—this eponymous date—finds Fuller delivering wonderfully showy material balanced out by thoughtful breathers. For this one, he teams up with veteran bassist Hassun Shakur and drummer Gregory Hutchinson, another Ray Brown Trio alum.
The opening salvo of "At Long Last Love," "Parking Lot Blues" and "Daahoud" immediately makes it clear that Fuller doesn't mess around. Chops, class, and in-the-pocket ensemble play are all on full display. There's plenty to marvel at on those three, with Fuller's sprinting right hand runs, commanding left hand, and mastery of independence running high on the list. And just when it seems that this is a date built on full-out swing and high-spirited romps, Fuller starts throwing change-ups. Joni Mitchell's "Both Sides Now" gives everybody a chance to calm down and reflect; "Django," starting and ending in semi-MJQ fashion, really swings in the middle; and "C Jam Blues," which follows an appropriately-measured "Reflections In D/Prelude To A Kiss," is a rollicking solo piano showcase.
There's virtually nothing missing here. Looking for something poignant and romantic that still manages to move along? Try "Close Enough For Love." Want to hear some burning bop? Look no further than the album-ending "Celia," a smoking performance that gives Hutchinson some well-deserved space to shine and finds the leader in fine form. Ray Brown may be gone, but the legacy of his trio is safe in the hands of people like Larry Fuller.
Track Listing:
At Long Last Love; Parking Lot Blues; Daahoud; Both Sides Now; Django; Hymn To Freedom; Reflections In D/Prelude To A Kiss; C Jam Blues; Old Folks; Old Devil Moon; Close Enough For Love; Celia.
Personnel:
Larry Fuller: piano; Hassan Shakur: bass; Greg Hutchinson: drums.
Larry Fuller
By Dan Bilawsky
Bassist Ray Brown sure knew how to pick his pianists. While each player who manned the 88s in Brown's trio displayed a different personality, all had Swiss watch timing and shared an affinity for the blues and effulgent swing. It didn't take more than a few seconds to hear that when Gene Harris was on the bench, delivering church-y proclamations and earth-shaking tremolos, and it was equally noticeable when Benny Green put his hands to good use, displaying the Oscar Peterson-esque athleticism that remains his calling card. And while there isn't very much recorded evidence to cover pianist Larry Fuller's time with Brown, it's clear that he possesses all of those traits that Brown looked for in a pianist.
Fuller's time with Brown was relatively short—lasting a bit over two years, from the dawn of this century until the bassist's passing in the summer of 2002—but he made an impact on Brown's music during that time. More importantly, Brown made an impact on him. So much so, in fact, that Fuller's two leader sessions to date are essentially made from the Ray Brown Trio mold. The first—Easy Walker (Pony Boy, 2005)—found Fuller working with a trio that included Brown and drummer Jeff Hamilton, who worked extensively in Brown's trio and employed Fuller in his own trio during the '90s. The second—this eponymous date—finds Fuller delivering wonderfully showy material balanced out by thoughtful breathers. For this one, he teams up with veteran bassist Hassun Shakur and drummer Gregory Hutchinson, another Ray Brown Trio alum.
The opening salvo of "At Long Last Love," "Parking Lot Blues" and "Daahoud" immediately makes it clear that Fuller doesn't mess around. Chops, class, and in-the-pocket ensemble play are all on full display. There's plenty to marvel at on those three, with Fuller's sprinting right hand runs, commanding left hand, and mastery of independence running high on the list. And just when it seems that this is a date built on full-out swing and high-spirited romps, Fuller starts throwing change-ups. Joni Mitchell's "Both Sides Now" gives everybody a chance to calm down and reflect; "Django," starting and ending in semi-MJQ fashion, really swings in the middle; and "C Jam Blues," which follows an appropriately-measured "Reflections In D/Prelude To A Kiss," is a rollicking solo piano showcase.
There's virtually nothing missing here. Looking for something poignant and romantic that still manages to move along? Try "Close Enough For Love." Want to hear some burning bop? Look no further than the album-ending "Celia," a smoking performance that gives Hutchinson some well-deserved space to shine and finds the leader in fine form. Ray Brown may be gone, but the legacy of his trio is safe in the hands of people like Larry Fuller.
Track Listing:
At Long Last Love; Parking Lot Blues; Daahoud; Both Sides Now; Django; Hymn To Freedom; Reflections In D/Prelude To A Kiss; C Jam Blues; Old Folks; Old Devil Moon; Close Enough For Love; Celia.
Personnel:
Larry Fuller: piano; Hassan Shakur: bass; Greg Hutchinson: drums.
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