Influencias
By Fernando Marinelli
El guitarrista y compositor argentino Tomás Fraga es hijo de un talentoso pianista de la escena jazzística porteña, Manuel Fraga. Pero al momento de escuchar este, su debut discográfico, el dato pasa a ser sólo anecdótico. Con apenas 27 años, Tomás ostenta una trayectoria y una calidad musical que lo eximen de exhibir su linaje: estudió armonía con el maestro Manolo Juárez y guitarra con Marcelo Mayor y ha tocado con muchas de las grandes figuras del ambiente local e internacional, como Ricardo Lew, Gustavo Bergalli, Ollan Christopher, Javier Malosetti, Jorge López Ruiz, Hubert García, Eloy Michelini y Jorge “Negro” González entre muchos otros.
Influencias es un álbum integrado por composiciones propias de Tomás Fraga, pero cuyo título hace referencia a los músicos que lo marcaron en su carrera profesional y en su vida. Comenzando por Pat Metheny, en el primer track, Pequeños pasos, de clima sutil y delicado; siguiendo por Chick Corea, pero en clave de candombe, en el tema Seúl; y continuando por otros nombres que el oyente podrá ir descubriendo a medida que avanza el disco, como Brad Mehldau, Herbie Hancock, Bill Evans o Jim Hall. El resultado es un gran mosaico de composiciones y arreglos, donde destaca incluso una samba brasileña, pero todo bajo el paraguas de un estilo homogéneo, donde Fraga y los buenos músicos que lo secundan hacen un culto de la improvisación y generan climas que, aunque pueden llegar a ser intensos, deleitan en todo momento a los oídos. En Girando, además, participa un cuarteto de cuerdas que aporta un toque delicado e intimista.
Este más que interesante disco debut de Tomás Fraga cierra con una segunda versión de Pequeños pasos, el primer tema de la lista, esta vez a dúo de pianos con su padre en un plan más intimista.
Personnel:
Tomás Fraga, guitarra; Sergio Wagner, trompeta; Gabriel Santecchia, saxofón y clarinete,
Manuel Fraga, piano, Tomás Fares, piano, Álvaro Torres, piano, Pablo Motta, contrabajo,
Andrés Pellican, bajo, Oscar Giunta, batería, Quintino Cinalli, percusión
Alexi Tuomarila
Kingdom
By Roger Farbey
Piano-led power trios have proliferated over the last twenty years or more thanks to the likes of the Esbjorn SvenssonTrio and The Bad Plus whose respective approach was undeniably a more consciously dynamic one than the reflective approach of say Bill Evans or the redoubtable Keith Jarrett. There was also, inevitably, a move away from the old style of swinging piano trios such as those led by Erroll Garner or Oscar Peterson. Often, contemporary piano-led trios have embraced a more rock-influenced stance, whilst not in any way selling out. The drums have gotten louder (especially the snare), the amplified double bass has grown more resonant and the piano has utilised the sustain pedal in abundance. But this says more about the medium than the message, which still harbours the intrinsic tenets of jazz and maintains that crucial marriage of the cerebral and the visceral.
So is time-up for the piano-led power trio? Well hardly. The phenomenon survives and thrives. A perfect exemplar must be Kingdom from Alexi Tuomarila. Following the first few lone piano chords, "The Sun Hillock" begins with a back beat-heavy rhythm section overlaid by an elegant melody. But then the mood changes rapidly with the pastoral "Rytter" dominated by ostinato piano and elegant arco bass courtesy of Mats Eilertsen.
Tuomarila hails from Finland but gained his musical education in Belgium at the Royal Conservatory, Brussels. He's played and recorded with the great Polish trumpeter Tomasz Stanko and in 1999, Tuomarila's Quartet won the trophy for best band at the international Jazz Hoeilaart competition in Belgium whilst he won the title of best soloist. Kingdom is the welcome follow-up to Tuomarila's 2013 recording Seven Hills, also on Edition.
The piano-led vamp on "Vagabond" backed by an ostinato bass figure is simply irresistible. "Aalto" benefits from a memorable and repeated head and represents all that is good about Tuomarila's trio. Dylan's "The Times They Are A-Changin'" is given a refreshing and all-too-rare jazz reworking which, due to its insistent timeless melody, undoubtedly becomes the stand-out track on the album. Judging by this fully engaging and satisfying album the piano-led power trio is most definitely alive and well.
Track Listing:
By Roger Farbey
Piano-led power trios have proliferated over the last twenty years or more thanks to the likes of the Esbjorn SvenssonTrio and The Bad Plus whose respective approach was undeniably a more consciously dynamic one than the reflective approach of say Bill Evans or the redoubtable Keith Jarrett. There was also, inevitably, a move away from the old style of swinging piano trios such as those led by Erroll Garner or Oscar Peterson. Often, contemporary piano-led trios have embraced a more rock-influenced stance, whilst not in any way selling out. The drums have gotten louder (especially the snare), the amplified double bass has grown more resonant and the piano has utilised the sustain pedal in abundance. But this says more about the medium than the message, which still harbours the intrinsic tenets of jazz and maintains that crucial marriage of the cerebral and the visceral.
So is time-up for the piano-led power trio? Well hardly. The phenomenon survives and thrives. A perfect exemplar must be Kingdom from Alexi Tuomarila. Following the first few lone piano chords, "The Sun Hillock" begins with a back beat-heavy rhythm section overlaid by an elegant melody. But then the mood changes rapidly with the pastoral "Rytter" dominated by ostinato piano and elegant arco bass courtesy of Mats Eilertsen.
Tuomarila hails from Finland but gained his musical education in Belgium at the Royal Conservatory, Brussels. He's played and recorded with the great Polish trumpeter Tomasz Stanko and in 1999, Tuomarila's Quartet won the trophy for best band at the international Jazz Hoeilaart competition in Belgium whilst he won the title of best soloist. Kingdom is the welcome follow-up to Tuomarila's 2013 recording Seven Hills, also on Edition.
The piano-led vamp on "Vagabond" backed by an ostinato bass figure is simply irresistible. "Aalto" benefits from a memorable and repeated head and represents all that is good about Tuomarila's trio. Dylan's "The Times They Are A-Changin'" is given a refreshing and all-too-rare jazz reworking which, due to its insistent timeless melody, undoubtedly becomes the stand-out track on the album. Judging by this fully engaging and satisfying album the piano-led power trio is most definitely alive and well.
Track Listing:
The Sun Hillock; Rytter; The Girl In A Stetson Hat; Vagabond; The Times They Are A-Changin'; Shadows; Aalto; Bruin Bay; White Waters.
Personnel:
Personnel:
Alexi Tuomarila: piano; Mats Eilertsen: double bass; Olavi Louhivuori: drums.
Michel Leme
5º
By InformaçãoMusical.com
Este é o quinto álbum lançado por Michel Leme. Algo muito peculiar é o fato de ter dois bateristas tocando ao mesmo tempo e com muita discrição. Passando pelo jazz, latin, funk, samba e ballad, ouve-se solos interessantes como os de "3 notas" e "Deixem o Coltrane em paz", por exemplo, onde momentos bastante rítmicos e tensos perfazem o contexto dos improvisos. Leme com um timbre limpo ora explorando tensão, ora suavidade, trabalha sua naturalidade, técnica e versatilidade na construção dos climas e melodias neste CD que é no mínimo, bastante curioso.
Trabalho lançado em 2010 que traz 06 composições inéditas de Michel Leme - mais uma faixa bônus em vídeo. Participam desse trabalho o baixista Bruno Migotto e os bateristas Wagner Vasconcelos e Bruno Tessele.
Billy Childs
Michel Leme
5º
By InformaçãoMusical.com
Este é o quinto álbum lançado por Michel Leme. Algo muito peculiar é o fato de ter dois bateristas tocando ao mesmo tempo e com muita discrição. Passando pelo jazz, latin, funk, samba e ballad, ouve-se solos interessantes como os de "3 notas" e "Deixem o Coltrane em paz", por exemplo, onde momentos bastante rítmicos e tensos perfazem o contexto dos improvisos. Leme com um timbre limpo ora explorando tensão, ora suavidade, trabalha sua naturalidade, técnica e versatilidade na construção dos climas e melodias neste CD que é no mínimo, bastante curioso.
Trabalho lançado em 2010 que traz 06 composições inéditas de Michel Leme - mais uma faixa bônus em vídeo. Participam desse trabalho o baixista Bruno Migotto e os bateristas Wagner Vasconcelos e Bruno Tessele.
Billy Childs
Rebirth
By Dan Bilawsky
It's been a while since we've heard pianist Billy Childs really dig in. While he certainly hasn't been dormant, reaching tremendous artistic heights in semi-recent times with a pair of highly refined chamber jazz explorations and a much-lauded tribute to Laura Nyro, the Childs of yore—the man that would throw down the gauntlet night after night while in the employ of legends like trumpet titan Freddie Hubbard or trombonist J.J. Johnson—hasn't been heard from in a while. Rebirth brings that part of Childs' past back into view, but it also continues to shine a light on his clarity of expression and his incredible skills in the arranging department. It's punctilious and unpredictably powerful all at once. Believe it or not, you can have both ways. At least, that is, if you're Billy Childs.
While those aforementioned post-millennial winners were well-staffed affairs—the chamber ensemble projects were chock full or orchestral trappings and the Nyro album had a guest list that ran a mile long—Childs pares things down for this one, running lean in the personnel department. For six of the eight tracks, it's just a quartet at play. Of course, referring to the marshaled forces of Childs, saxophonist Steve Wilson, bassist Hans Glawischnig, and drummer Eric Harland as "just a quartet" is akin to referencing the New York Yankees as "just a baseball team." These are heavy hitters that came to play. That fact is made abundantly clear right of the gate on "Backwards Bop," one of three tunes on this program that Childs recorded in his Windham Hill days in the '80s. It's a bold opening stroke, setting the bar incredibly high with precision unison lines, sharp turns, and powerful solo stands. Glawischnig is like a tightly wound spring, Childs works with an authoritative tone that never dulls or blur his incredibly articulate touch, Wilson comes off like a shrewd harmonic navigator, and Harland puts his monumental chops to good use. It's the perfect example of how to hook the ear from the start.
The pair of guest-enhanced tracks—one a unique yet stylistically congruent follow-up to "Backwards Bop" with appearances from trombonist Ido Meshulam, percussionist Rogerio Boccato, and vocalist Claudia Acuna, the other a ballad with vocalist Alicia Olatujain the spotlight—both immediately follow that slam dunk of an opener. Acuña co-wrote the title track, a piece that benefits greatly from her inimitable wordless vocals. Harland creates a steadily skittering backdrop that gives the song a nervous energy, Wilson's soprano takes to the sky, and Childs scampers around, mixing playfulness and potency in his piano work. "Stay," on the other hand, does just that, giving Olatuja a chance to shine in a mellow musical climate that never really intensifies.
The five remaining numbers are gratifying in so many ways. "Dance Of Shiva," ridiculously intricate in its design, engineering, and realization, features some startlingly fresh statements from Childs and Wilson; "Tightrope" finds all four men moving with lighter steps and listening closely, painting and dancing a varicolored waltz together; "The Starry Night" suggests its title through the dreamiest of piano forewords, skyrockets into the stratosphere with Wilson's soprano acting as the nose cone of the ship, and settles into orbit for solos; and "The Windmills Of Your Mind" glows and burns a deep red, with Childs and company drawing out the most intense flavor notes and emotions buried in the song's structure. Then serenity sets in for the closer—a poetic (piano and saxophone) duo take on Horace Silver's "Peace."
Childs hasn't always put all of his talent cards on the table at once, suppressing one aspect of his artistry in deference to others at times, so it's nice to see that change with Rebirth. He's showing his full hand here—chops, nuance, composing, arranging, and all—and it's a musical royal flush if ever there was one.
Track Listing:
By Dan Bilawsky
It's been a while since we've heard pianist Billy Childs really dig in. While he certainly hasn't been dormant, reaching tremendous artistic heights in semi-recent times with a pair of highly refined chamber jazz explorations and a much-lauded tribute to Laura Nyro, the Childs of yore—the man that would throw down the gauntlet night after night while in the employ of legends like trumpet titan Freddie Hubbard or trombonist J.J. Johnson—hasn't been heard from in a while. Rebirth brings that part of Childs' past back into view, but it also continues to shine a light on his clarity of expression and his incredible skills in the arranging department. It's punctilious and unpredictably powerful all at once. Believe it or not, you can have both ways. At least, that is, if you're Billy Childs.
While those aforementioned post-millennial winners were well-staffed affairs—the chamber ensemble projects were chock full or orchestral trappings and the Nyro album had a guest list that ran a mile long—Childs pares things down for this one, running lean in the personnel department. For six of the eight tracks, it's just a quartet at play. Of course, referring to the marshaled forces of Childs, saxophonist Steve Wilson, bassist Hans Glawischnig, and drummer Eric Harland as "just a quartet" is akin to referencing the New York Yankees as "just a baseball team." These are heavy hitters that came to play. That fact is made abundantly clear right of the gate on "Backwards Bop," one of three tunes on this program that Childs recorded in his Windham Hill days in the '80s. It's a bold opening stroke, setting the bar incredibly high with precision unison lines, sharp turns, and powerful solo stands. Glawischnig is like a tightly wound spring, Childs works with an authoritative tone that never dulls or blur his incredibly articulate touch, Wilson comes off like a shrewd harmonic navigator, and Harland puts his monumental chops to good use. It's the perfect example of how to hook the ear from the start.
The pair of guest-enhanced tracks—one a unique yet stylistically congruent follow-up to "Backwards Bop" with appearances from trombonist Ido Meshulam, percussionist Rogerio Boccato, and vocalist Claudia Acuna, the other a ballad with vocalist Alicia Olatujain the spotlight—both immediately follow that slam dunk of an opener. Acuña co-wrote the title track, a piece that benefits greatly from her inimitable wordless vocals. Harland creates a steadily skittering backdrop that gives the song a nervous energy, Wilson's soprano takes to the sky, and Childs scampers around, mixing playfulness and potency in his piano work. "Stay," on the other hand, does just that, giving Olatuja a chance to shine in a mellow musical climate that never really intensifies.
The five remaining numbers are gratifying in so many ways. "Dance Of Shiva," ridiculously intricate in its design, engineering, and realization, features some startlingly fresh statements from Childs and Wilson; "Tightrope" finds all four men moving with lighter steps and listening closely, painting and dancing a varicolored waltz together; "The Starry Night" suggests its title through the dreamiest of piano forewords, skyrockets into the stratosphere with Wilson's soprano acting as the nose cone of the ship, and settles into orbit for solos; and "The Windmills Of Your Mind" glows and burns a deep red, with Childs and company drawing out the most intense flavor notes and emotions buried in the song's structure. Then serenity sets in for the closer—a poetic (piano and saxophone) duo take on Horace Silver's "Peace."
Childs hasn't always put all of his talent cards on the table at once, suppressing one aspect of his artistry in deference to others at times, so it's nice to see that change with Rebirth. He's showing his full hand here—chops, nuance, composing, arranging, and all—and it's a musical royal flush if ever there was one.
Track Listing:
Backwards Bop; Rebirth; Stay; Dance Of Shiva; Tightrope; The Starry Night; The Windmills Of Your Mind; Peace.
Personnel:
Personnel:
Billy Childs: piano; Steve Wilson: alto saxophone, soprano saxophone; Hans Glawischnig: acoustic bass; Eric Harland: drums.
David Feldman
Horizonte
By Dan Bilawsky
Fans of the music always remember their first aural encounters with talents of note. In the case of this writer's awakening to the wonder that is pianist David Feldman, the initial point of contact was drummer Duduka Da Fonseca's Plays Toninho Horta (Zoho Music, 2011). That date—the first of three fine outings that Da Fonseca's trio has produced for that imprint, leading the way for New Samba Jazz Directions(Zoho Music, 2013) and Jive Samba (Zoho, 2015)—served several purposes. Its primary functions were clear as day—to shine a welcome light on the titular composer's work, showcase the leader's malleable samba jazz grooves, and introduce a fledgling unit with incredible potential; its secondary function, likely unintentional, was to give the world a taste of Feldman's talents. If it was a conscious decision to put the pianist on display, all the better. You just couldn't fault Da Fonseca if he wanted to flaunt somebody like this.
While Feldman's decision to remain in Rio de Janeiro has kept him slightly off the radar, this album is a brilliant blip that should register with Brazilian jazz lovers near and far. Feldman's composing chops take center stage, his piano playing—alternately ruminative and animated—delights, and his crafting of a strong group dynamic speaks volumes about his leadership. His two previous leader dates are nothing to sneeze at, but it appears the third time is really the charm. Horizonte is truly a cut above.
A spirited take on Oscar Castro Neves' "Chora Tua Tristeza" opens the album. It's shaped as an arc of excitability with few boundaries, putting forward a pliable trio and showcasing zestful piano work with shades of Chick Corea coming in and out of view. Bassist Marcio Bahia and drummer André Vasconcellos prove to be immediate assets there, completely in line with Feldman's way of thinking. The mood changes drastically with the arrival of Feldman's rueful and stately "Melancolia"—the most mournful and downcast design on the album—and the spellbinding "Navegar." Then things take another notable turn as the guests arrive. "Tetê," a dreamy bossa ballad, features the gorgeous blend of Feldman's piano and the distinguished Toninho Horta's breezy vocals and guitar; "Sliding Ways," highlighting trombonist Raul DeSouza's fluid and lyrical horn work, presents in samba-esque fashion; and "Soccer Ball," a cheery Horta number penned for the 1994 World Cup, brings the core trio and both guests together for some high times.
The tracks beyond or between those others all prove to be memorable in different ways. Feldman's "Esqueceram De Mim No Aeroporto," for example, is playful and bluesy, with a surprising harmonic twist or two in the form. And his "Adeus" charms with its beautifully lyrical melody. You feel like you already know it on the first listen, as it comes at the ears like a wonderful memory from childhood that sits just out of current reach. The song is six-plus minutes of pure contentment. Horizonte has more impressive music to offer than that penultimate piece, but nothing more affecting.
We still have a long way to go in 2017, but it's already safe to say that this record is in the running for Brazilian jazz album of the year. It certainly has my vote at this point.
David Feldman
Horizonte
By Dan Bilawsky
Fans of the music always remember their first aural encounters with talents of note. In the case of this writer's awakening to the wonder that is pianist David Feldman, the initial point of contact was drummer Duduka Da Fonseca's Plays Toninho Horta (Zoho Music, 2011). That date—the first of three fine outings that Da Fonseca's trio has produced for that imprint, leading the way for New Samba Jazz Directions(Zoho Music, 2013) and Jive Samba (Zoho, 2015)—served several purposes. Its primary functions were clear as day—to shine a welcome light on the titular composer's work, showcase the leader's malleable samba jazz grooves, and introduce a fledgling unit with incredible potential; its secondary function, likely unintentional, was to give the world a taste of Feldman's talents. If it was a conscious decision to put the pianist on display, all the better. You just couldn't fault Da Fonseca if he wanted to flaunt somebody like this.
While Feldman's decision to remain in Rio de Janeiro has kept him slightly off the radar, this album is a brilliant blip that should register with Brazilian jazz lovers near and far. Feldman's composing chops take center stage, his piano playing—alternately ruminative and animated—delights, and his crafting of a strong group dynamic speaks volumes about his leadership. His two previous leader dates are nothing to sneeze at, but it appears the third time is really the charm. Horizonte is truly a cut above.
A spirited take on Oscar Castro Neves' "Chora Tua Tristeza" opens the album. It's shaped as an arc of excitability with few boundaries, putting forward a pliable trio and showcasing zestful piano work with shades of Chick Corea coming in and out of view. Bassist Marcio Bahia and drummer André Vasconcellos prove to be immediate assets there, completely in line with Feldman's way of thinking. The mood changes drastically with the arrival of Feldman's rueful and stately "Melancolia"—the most mournful and downcast design on the album—and the spellbinding "Navegar." Then things take another notable turn as the guests arrive. "Tetê," a dreamy bossa ballad, features the gorgeous blend of Feldman's piano and the distinguished Toninho Horta's breezy vocals and guitar; "Sliding Ways," highlighting trombonist Raul DeSouza's fluid and lyrical horn work, presents in samba-esque fashion; and "Soccer Ball," a cheery Horta number penned for the 1994 World Cup, brings the core trio and both guests together for some high times.
The tracks beyond or between those others all prove to be memorable in different ways. Feldman's "Esqueceram De Mim No Aeroporto," for example, is playful and bluesy, with a surprising harmonic twist or two in the form. And his "Adeus" charms with its beautifully lyrical melody. You feel like you already know it on the first listen, as it comes at the ears like a wonderful memory from childhood that sits just out of current reach. The song is six-plus minutes of pure contentment. Horizonte has more impressive music to offer than that penultimate piece, but nothing more affecting.
We still have a long way to go in 2017, but it's already safe to say that this record is in the running for Brazilian jazz album of the year. It certainly has my vote at this point.
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