Friday, December 28, 2018

WorldJazz Top 10 - 2018

By WorldJazz:

- Adrian Iaies Trio/ La Vida Elige
- Sarah McKenzie/ Paris In The Rain
- Fred Hersch Trio/ Live In Europe
- Joey Alexander/ Eclipse
- Joey Alexander/ Joey.Monk.Live!
Bobo Stenson Trio/ Contra La Indecisíon
- The Doug Johnson Trio/ Live At Royal Garden
- Enrico Pieranunzi,Mads Vinding,Alex Riel/ Yesterdays
- Dado Moroni,Eddie Gomez,Joe La Barbera/ Kind Of Bill
- Brad Mehldau Trio/ Seymour Reads The Constitution

Friday, December 14, 2018

Nancy Wilson ( 1937 - 2018 )

By Jim Farber at NYTimes 
Nancy Wilson, whose skilled and flexible approach to singing provided a key bridge between the sophisticated jazz-pop vocalists of the 1950s and the powerhouse pop-soul singers of the 1960s and ’70s, died on Thursday at her home in Pioneertown, Calif. She was 81.
Her death was confirmed by her manager, Devra Hall Levy, who said Ms. Wilson had been ill for some time; she gave no other details.
In a long and celebrated career, Ms. Wilson performed American standards, jazz ballads, Broadway show tunes, R&B torch songs and middle-of-the-road pop pieces, all delivered with a heightened sense of a song’s narrative.
“I have a gift for telling stories, making them seem larger than life,” she told The Los Angeles Times in 1993. “I love the vignette, the plays within the song.”
Some of Ms. Wilson’s best-known recordings told tales of heartbreak, with attitude. A forerunner of the modern female empowerment singer, with the brassy inflections and biting inflections to fuel it, Ms. Wilson could infuse even the saddest song with a sense of strength.
In her canny signature piece from 1960, “Guess Who I Saw Today”(written by Murray Grand and Elisse Boyd), a woman baits her husband by dryly telling him a story in which he turns out to be the central villain. In her 1968 hit, “Face It Girl, It’s Over” (by Francis Stanton and Andy Badale), Ms. Wilson first seems to throw cold water in the face of a deluded woman who fails to notice that her lover has lost interest in her. Only later does she reveal that she is the benighted woman scorned.
“Face It Girl,” an epic soul blowout, became one of Ms. Wilson’s biggest chart scores, making the Top 30 of Billboard’s pop chart and Top 15 on its R&B list.
Her biggest hit came in 1964, when “(You Don’t Know) How Glad I Am” (Jimmy Williams and Larry Harrison), a rapturous R&B ballad delivered with panache, reached No. 11 on Billboard’s pop chart.
Three years later she became one of the few African-Americans of her day to host a TV program, the Emmy-winning “Nancy Wilson Show,” on NBC.
A hardworking and highly efficient singer, Ms. Wilson released more than 70 albums in a five-decade recording career. She won three Grammy Awards, one for best rhythm and blues recording for the 1964 album “How Glad I Am,” and two for best jazz vocal album, in 2005 and 2007. In 2004, she was honored as a Jazz Master by the National Endowment for the Arts.
For her lifelong work as an advocate of civil rights, which included participating in a Selma to Montgomery, Ala., protest march in 1965, she received an award from the Martin Luther King Jr. Center for Nonviolent Social Change in Atlanta in 1993 and an N.A.A.C.P. Hall of Fame Image Award in 1998.
In 2005, she was inducted into the International Civil Rights Walk of Fame at the Martin Luther King Jr. National Historic Site, also in Atlanta.
“As an artist then, taking such a political stand came with professional risks,” she told the blog Jazz Wax in 2010. “But it had to be done.”
Nancy Sue Wilson was born on Feb. 20, 1937, in Chillicothe, Ohio, the first of six children of Olden Wilson, a supervisor at an iron foundry, and Lillian (Ryan) Wilson, a maid. Her father introduced her to records by mainly male artists, like Nat King Cole, Billy Eckstine and Jimmy Scott, when he sang with Lionel Hampton’s Big Band. “Much of my phrasing is so similar to Jimmy Scott’s,” Ms. Wilson told the The Los Angeles Times.
She sang avidly from the age of 4, and by the time she was 10 she was the lead singer in the local choir. She had no formal training. “It’s all natural,” she told Jazz Wax.
As a teenager, Ms. Wilson became entranced by the female singers she heard on a local jukebox, especially Dinah Washington, whose ear for irony and keen sense of drama affected her deeply.
“The general humor is a lot of Dinah,” Ms. Wilson said of her style in an interview for the National Endowment for the Arts’ website in 2004. As the inspiration for her glamorous presentation, she cited Lena Horne.
At 15, while she was still a student at West High School in Columbus, Ohio, Ms. Wilson entered a talent contest held by the local television station WTVN; it led to regular appearances twice a week on its show “Skyline Melodies.” Until her graduation, she sang at nightclubs, sometimes with Sir Raleigh Randolph and His Sultans of Swing, an 18-piece band.
Ms. Wilson spent one year at Central State College in Ohio before dropping out to pursue music full time. She honed her skills by touring continuously in the Midwest and Canada with Rusty Bryant’s Carolyn Club Big Band, with which she cut her first recordings, for Dot Records. Seven years passed before she felt ready to move to New York, in 1959.
Ms. Wilson arrived in New York with three goals: to be signed by the influential jazz manager John Levy, who worked with the saxophonist Cannonball Adderley and the British pianist George Shearing; to be signed by Capitol Records, the home of singers like Nat King Cole and Peggy Lee; and to record her first album with the producer David Cavanaugh, who worked with those singers.
Within five months she fulfilled all three goals, even while holding down a day job as a secretary at the New York Institute of Technology. A high-profile gig at the Blue Morocco club led to the contract with Mr. Levy, who got her the label deal, which connected her with Mr. Cavanaugh to produce her debut album in 1960, “Like in Love,” with splashy arrangements by Billy May.
Another early album, the collaboration “Nancy Wilson/Cannonball Adderley,” became a jazz touchstone.
Ms. Wilson’s style impressed the critics. Writing in Downbeat in 1965, Leonard Feather hailed her performance at the Shrine Auditorium in Los Angeles as an “extraordinary demonstration of the attainment, by a splendid singer, of an almost unprecedented mixture of commercial appeal, physical and music charm, and artistic integrity.”
Live performances, particularly in intimate nightclubs, where audiences could see her gestures, became a hallmark. “Audiences want to see a song as well as hear it,” Ms. Wilson told Jazz Wax. “Part of what I do is in my body language, my hands, my arms. You miss a lot by just hearing my voice.”
Nancy Wilson in 2010. She performed American standards, jazz ballads and a variety of other numbers with a heightened sense of a song’s narrative.CreditChad Batka for The New York Times
At the same time, Ms. Wilson worked tirelessly in the studio, releasing three albums in a single year during her prime. She also made many guest appearances on television, singing on variety shows like “The Ed Sullivan Show” and “The Tonight Show,” and acting in hit series (“I Spy” and “Room 222”).
She used her prominence to break down racial stereotypes. “That’s what I loved about doing ‘The Carol Burnett Show,’ ” she said. “I didn’t have to play ‘black characters.’ I could just do comedy, which I loved.”
Ms. Wilson’s music moved with the times. She cut songs written by the Beatles and Stevie Wonder on her 1966 album “A Touch of Today,” and later incorporated disco and R&B styles before moving back to jazz on her later albums, culminating in “Turned to Blue” in 2006.
Ms. Wilson’s marriage in 1960 to the drummer Kenny Dennis ended in divorce a decade later. In 1973, she married Wiley Burton, a Presbyterian minister, and remained with him until his death in 2008.
She is survived by her three children, Kacy Dennis, Sheryl Burton and Samantha Burton; two sisters, Karen Davis and Brenda Vann; and five grandchildren.
Ms. Wilson remained proud of her holistic approach to music, preferring to call herself a “song stylist” rather than a follower of any genre. “I don’t put labels on it, I just sing,” she told The Los Angeles Times. “It’s all in the ear of the listener. Let them decide.”

Sunday, December 02, 2018

2 Sem 2019 - Part Nine

Joachim Kühn New Trio
Love & Peace

By Karl Ackermann
The German ACT label achieved global recognition when they issued the Esbjorn Svensson Trio album Viaticum (2005) and they warrant broader discovery by U.S. jazz fans. Though their country's best known label casts a global shadow over its competition, the ACT catalog has included Richie Beirach, Lars Danielsson, Vijay Iyer, Manu Katche, Rudresh Mahanthappa, Bugge Wesseltoft, Tore Brunborg and a host of other well-known artists. Among those talents is one the finest—but under-recognized—jazz pianists of the past half-century. Joachim Kühn has had a presence on the label for more than twenty years and returns with his "New Trio" on Love & Peace.
The trio—no longer exactly "new"—has been together since 2015 and had previously released Beauty & Truth (ACT, 2017). Bassist Chris Jennings and drummer Eric Schaefer, two musicians half Kühn's age, lend a vitality to the music that drives the pianist as well. The eleven tracks on Love & Peace are compact and crisp with straight-forward melodies, six of those written by Kühn. Jennings and Schaefer each contribute a composition and two others are from the very different worlds of The Doors and Modest Mussorgsky. The diversity of inspirations doesn't mar the overall theme.
The very brief title track sets the tone leading into Mussorgsky's "La Vieux Chateau," putting Kühn at home with his early classical training. The Doors "The Crystal Ship" is not the first time Kühn has covered the Morrison catalog; "The End" had appeared on Beauty & Truth. "Barcelona—Wien" is lighter fare, conceived in-flight between those two cities. Eric Schaeter's "Lied ohne Worte No. 2" is the most melancholy piece on the album while Jennings' piece is a pastoral and vacillating "Casbah Radio."
Ornette Coleman has long been a jazz hero for Kühn, the two recording the duo album Colors: Live from Leipzig(Harmolodic/Verve, 1997). "Night Plans"—which first appeared on that album—gets an abbreviated treatment here and one that has a more concentrated focus on the basic melody. Yet, as he does with each of the pieces here, Kühn demonstrates his unique skill at maintaining a harmonious core within his unusual musical inventions. In an interview with the Steinway piano company, Kühn said "I like to improvise life, piano, and painting. Really improvise—not knowing what you're going to do. Do it by doing." There's no question that the New Trio does just that on Love & Peace.
Track Listing: 
Love and Peace; La Vieux Chateau; The Crystal Ship; Mustang; Barcelona – Wien; But Strokes Of Folk; Lied Ohne Worte No.2; Casbah Radio; Night Plans; New Pharoah; Phrasen.
Joachim Kühn: piano; Chris Jennings: bass; Eric Schaefer: drums.

Bill Cunliffe

By Jack Bowers 
As the title denotes, pianist Bill Cunliffe and his ensemble take a swing (literally) at the great Johann Sebastian on BACHanalia, pivoting as well toward the music of C.P.E. Bach, Sergei Prokofiev, Manuel de Falla, Cole Porter, Oscar Levant and Cunliffe himself. In spite of its classical veneer, this is at its core a jazz session, and as such embodies the essential elements one would expect from such an enterprise. To phrase it another way, Cunliffe transports these masters of the classical genre into the twenty-first century, giving their timeless music a new vantage point from which to entice the contemporary listener.
J.S. Bach is refurbished on the melodious "Sleepers Awake" and Cunliffe's well-designed "Goldberg Contraption," C.P.E. Bach on the light-hearted "Solfeggietto." Denise Donatelli's wordless vocal is used to good effect here, as it is on "Sleepers Awake" (she croons the lyrics on Porter's "I've Got You Under My Skin," underlining a brisk solo by tenor saxophonist Rob Lockart). The first movement of Prokofiev's Piano Concerto No. 3 is an agile and panoramic rendition that runs for more than seventeen minutes and encloses forceful statements by Cunliffe (who reminds everyone what a marvelous player he is), Lockart, trombonist Andy Martin, guitarist Larry Koonse and drummer Joe La Barbera whose sharp and perceptive timekeeping is decisive on every number.
Guest trumpeter Terell Stafford shines on Levant's "Blame It on My Youth," as does soprano Bob Sheppard on Cunliffe's "Afluencia," a fast waltz written years ago for his Latin band, Imaginacion. Trombonist Bob McChesney solos earnestly alongside Cunliffe on "Sleepers Awake," and with Cunliffe and Koonse on "Goldberg Contraption." The snappy "Three-Cornered Hat" enfolds brief but emotive solos by La Barbera, trumpeter Jon Papenbrook, trombonist Ido Meshulam and tenor Jeff Ellwood. High marks to Cunliffe and his teammates not only for braving music that is normally outside their comfort zone but doing so with proficiency and panache, all the while making sure it swings in the best big-band tradition.
Track Listing:
Sleepers Wake; Afluencia; Piano Concerto No. 3, 1st Movement; Solfeggietto; Blame It on My Youth; Goldberg Contraption; The Three-Cornered Hat; I’ve Got You Under My Skin.
Bill Cunliffe: leader, composer, arranger, piano, background vocal (7); Wayne Bergeron: trumpet (2, 3); John Daversa: trumpet (5); Dan Fornero: trumpet (5); Jamie Hovorka: trumpet (1, 6, 8); Kyle Martinez: trumpet (7); Kye Palmer: trumpet (1-3, 5-8); Jon Papenbrook: trumpet (1, 6-8); Terell Stafford: trumpet (2, 3, 5); Bob Summers: trumpet (1-3, 5-8); Jeff Driskill: alto, soprano sax, clarinet, flute (5); Nathan King: alto, soprano sax, clarinet, flute (7); Brian Scanlon: alto, soprano sax, clarinet, flute (1-3, 5, 6, 8); Bob Sheppard: (1-3, 6-8); Jeff Ellwood: tenor sax, clarinet, flute (1-3, 5-8); Rob Lockart: tenor sax, clarinet, flute (1-3, 5-8); Tom Peterson: baritone sax, bass clarinet (7); Adam Schroeder: baritone sax, bass clarinet (1-3, 5, 6-8); John Chiodini: guitar (7); Larry Koonse: guitar (1-3, 5, 6-8); Alex Frank: bass (4, 7); Jonathan Richards: bass (1-3, 5, 6, 8); Joe La Barbera: drums; Denise Donatelli: vocals (1, 4, 7, 8).

Arthur Dutra & Zé Nogueira

By Somlivre
O produtor, arranjador e saxofonista Zé Nogueira se junta ao multi-instrumentista Arthur Dutra para explorar novas sonoridades através de temas nacionais de Villa-Lobos, Tom Jobim, Milton Nascimento e Jacob do Bandolim. No lançamento “Encontros”, destacam-se do repertório de 11 faixas, as músicas “Nuvens Douradas” de Tom Jobim e “Carne de Sol e Flor de Lótus” de autoria do próprio músico Arthur Dutra.

Adrian Iaies Trio
La Vida Elige

Todos los temas compuestos por Adrián Iaies.
Recto no Cazador
Para siempre
Efecto Cortina
Paul Bley
La Vida elige a quien la Ama (a Ettore Scola)
Sheldon’s Face
Tukish Lentil’s Blues
Waiting for Mora
Grabado el 28 de febrero y el 11 de mayo en Estudios Doctor F.
Grabación, mezcla y mastering: Florencio Justo
Arte de tapa: Javo y Caro
Técnico de piano: Roberto Rovira

Saturday, November 24, 2018

2 Sem 2018 - Part Eight

Roger Kellaway Trio
New Jazz Standards Vol.3

By Dan Bilawsky 
Trumpeter Carl Saunders is best known for his contributions to jazz orchestras, having put his mighty horn to good use for Stan Kenton piano, Bill Holman, Maynard Ferguson, Benny Goodman, Gerald Wilson, and numerous other big band leaders of note over the past half-century. Yet his work as a composer may end up being his lasting legacy. Saunders has amassed a considerable body of work—more than three hundred of his tunes appear in a Real Book-style collection titled New Jazz Standards—and he's been showcasing these compositions by handing them off to notable performers for a series of albums for Summit Records. The late Sam Most's final date—also dubbed New Jazz Standards (Summit Records, 2014)—kicked off said project, and trombonist Scott Whitfield took the baton and delivered a second volume of material in 2016. Now, top-notch pianist Roger Kellaway is taking his turn with the Saunders songbook.
Fronting a first-rate trio with bassist Jay Leonhart and drummer Peter Erskine, Kellaway delivers a set that alternately swings and soothes. "Prudence," one of Saunders' better-known compositions, opens the album by cutting against its name. There's nothing cautious about this sunny swinger. Then there's "Dees Blues," a number dedicated to lyricist Michael Dees. Erskine, aligned perfectly with Leonhart's buoyantly shuffling bass, sets that train in motion with a Mel Lewis-worthy feel that perfectly supports Kellaway's excursions, which include some Gene Harris-esque tremolos. The aptly titled "Calming Notion," where Kellaway overdubs a second piano, provides a marked shift in direction, but the laid-back pseudo-bop of "Noodlin" puts the trio back on its cheery track while showcasing Kellaway's remarkable chops and split- handed brilliance.
As the program continues, Kellaway and company deliver more of the same along with a few surprises. Leonhart puts his voice and bow to good use in a humorous blues setting on "Is That Asking Too Much," "Valtzing" calmly bounds along in line with the titular dance, and "Sweetness" proves to be the standout ballad on the set. Add to that a "Hurry Up & Wait" that finds Kellaway and Leonhart syncing up before the trio goes to serious swing town, a solo piano episode of optimistic quietude in "A Verse," and a skulking-turned-cooking blues finale in the form of "Minor Infraction," and then you have a real work of art. But Saunders goes one better, tacking on a balladic bonus track recorded by the trio of Kellaway, bassist Buster Williams and drummer Santo Savino at the 1994 sessions for his first solo album. It may or may not have been necessary, but it's most definitely the cherry on top.
Whether or not these and other Saunders songs will take their place as new jazz standards remains to be seen, but they certainly have merit. And there's plenty more from where these came from: a fourth volume in the series—with guitarist Larry Koonse taking the reins—is already in the works, so we'll be hearing more of Saunders' music in no time.
Track Listing: 
Prudence; Dees Blues; Calming Notion; Noodlin'; Short Sweet: Walking On Air; Is That Asking Too Much; Valtzing; Sweetness; Hurry Up & Wait; A Verse; Minor Infraction; Forever Again.
Roger Kellaway: piano; Jay Leonhart: bass, vocals (7); Peter Erskine: drums.

Denny Zeitlin
Wishing On The Moon

By Dan McClenaghan 
Pianist Denny Zeitlin claimed a spot as a top-tier jazz pianist at the very beginning of his recording career with a sideman slot on flutist Jeremy Steig's Flute Fever (Columbia, 1963), followed by his debut as a leader, Cathexis (Columbia, 1964). After three more excellent sets for Columbia, Zeitlin's career shifted into a smaller label mode, resulting in several high quality but under-recognized albums. Additionally, in 1978 he seized the opportunity to score the orchestral electro-acoustic avant-garde soundtrack to the classic remake of the 1956 science fiction film classic The Invasion of the Body Snatchers.
In 2004 Zeitlin began a short, two recordings stint with the MAXJAZZ label that lifted his profile. But it is his association with Sunnyside Records that's been the biggest boost. The pianist boasts a ten album discography at MAXJAZZ, and it includes, along with his uniformly excellent solo piano and piano trio offerings, a return to his Body Snatchers-esque interest in electronic music with three innovative electro-acoustic offerings: Both/And (2013), Riding the Moment (2015), and Expedition 
( 2017).
The disc on the table now is Wishing on the Moon, featuring Zeitlin's long term trio with Buster Williams on bass and Matt Wilson sitting in on drums. This is the third live Sunnyside recording from them. It is—on a bar set high with In Concert Featuring Buster Williams and Matt Wilson 2009) and Stairway to the Stars (2014)—their best.
Opening with a dazzlingly reharmonized Cole Porter's "All of You," the group explores every nuance of the melody, improvises with a fluid grace and throws in surprises in interplay, melody stretching and harmonic ingenuity. The result is a sparkling jewel, stretched out over eleven gorgeous minutes.
Zeitlin's setlists mix American Songbook tunes and jazz standards with his own classic tunes that either are or should be standards. Considering the Zeitlin originals, the disc's title tune—a slow bossa nova, lushly harmonized—is ten minutes of sweet yearning. "There and Back," inspired by Tolkien's The Hobbit is a lovely jumble of a tune that slips into a funk groove.
With the set's centerpiece, "Slickrock," Zeitlin and the trio explore the avant-garde side, with paean to one of the pianist's former pastimes, mountain biking. This adventurous, four part, seventeen minute suite captures the essence of the experience, from the Zen calm of "Dawn Gathering" to the bone-jarring momentum of "On the Trail," and the mental and physical discombobulation of "Recovery," followed by a re-gathering of the senses and a re-establishment of a strong, steady rhythm, followed by a re-set of the joy of acceleration with "On the Trail Again."
Wishing on the Moon represents the Denny Zeitlin Trio at the peak of its powers, on one those nights—this was recorded live at Dizzy's Club Coca Cola in New York in 2009—when all the gears meshed, and all the stars aligned around that shining moon.
Track Listing: 
All Of You; Wishing On The Moon; As Long As There's Music; Slickrock: Dawn; Gathering, On The Trail, Recovery, On The Trail Again; Put Your Little Foot Right Out; There And Back; Bass Prelude To Signs & Wonders; Signs & Wonders.
Denny Zeitlin: piano; Buster Williams: bass; Matt Wilson: drums.

Stefano Bollani Trio

By Peter Bacon
It’s a much bigger cast than just the trio. In addition to Italian pianist Stefano Bollaniand his pair of Danes, Jesper Bodilsen on bass and Morten Lund on drums, we hear Frenchman Vincent Peirani on accordion and accordina as well as 14 members of the Berliner Philharmoniker, all playing music arranged by Norwegian Geir Lysne.
This is the 17th in the Jazz at Berlin Philharmonic series of concerts which attempts “to put the ‘Sound of Europe’ on the big stage. This time Italy is the star, not just because of Bollani's charismatic presence at the centre of everything, but because the music delves deep into the riches of Italy’s past, from Claudio Monteverdi through Giacomo Puccini, Gioachino Rossini and Ruggero Leoncavallo to Nino Rota, Ennio Morricone and Paulo Conte/Michele Virano.
The trumpets and other horns of Berliner Philharmoniker herald the start of the concert, playing the Toccata from Monteverdi’s L’Orfeo, leading dramatically to powerful opening chords from the trio in the Sinfonia from the same opera with explosive solos from the Berlin Phil’s violist Martin Stegner, Bollani and Peirani, the 14-piece mini-orchestra giving them a good run for their money throughout.
The switch to a solo piano interpretation of Rota’s theme from Federico Fellini’s film Amarcord is a gorgeous contrast. Were any two musicians more perfectly suited than Rota and Bollani?
The party-like encore is more Rota, this time the marching theme from Fellini’s Fortunella, the orchestra giving its all in a jam-packed, rambunctious two minutes.
Before then we’ve heard Morricone’s Chi Mai given a Monty Alexander-style reggae treatment with lush orchestral support, The Good, The Bad And The Ugly with delicate expressiveness from Peirani, and a third Morricone piece adding tension and drama so that it can be blissfully undone in Conte/Virano’s cantering Azzurro. Bollani is as suited to Conte’s world as he is to Fellini’s, and there is a fine bass solo from Bodilsen.
The double whammy of Puccini’s O Mio Babbino Caro and Leoncavallo’s Mattinatagets the piano trio swing treatment leading to shimmering strings, the full orchestra and Peirani adding urgent interjections over the top before the horns and Bollani leads into a beautifully voiced, and beautifully measured, denouement and back to the start.
Rossini’s Largo al Factotum, from The Barber of Seville is the concert climax with everyone having a ball and Bollani offering a teasing cadenza.
This kind of big, celebrity concert with a grand sense of occasion and some kind of contrived overarching theme can, in subsequent recording, leave one responding: “Hmm, maybe you had to be there”. But when it works, one’s response changes to: “Damn! I wish I’d been there!” This album is definitely worthy of the latter response.

Pawel Kaczmarczyk Audiofeeling Trio
Something Personal

By Ian Patterson
For fans of Pawel Kaczmarczyk it's been a lengthy wait for a follow-up to Complexity in Simplicity (ACT Music, 2009), his sole recording for Siggi Loch's label. Six years seems like too long a gap for such a prodigiously talented performer and composer but this extended stewing period sees the Krakow pianist return in absolutely splendid form with Something Personal, his fourth album as a leader. On Complexity in SimplicityKaczmarczyk was bursting with ideas, harnessing a dozen of Poland's brightest young musicians in settings ranging from trio to septet. Yet paradoxically, in the reduced trio format of Something Personal, the pianist, it appears, has much more to say.
The overt flirtations with post-bop, harp-bop and an elegiac tribute to Esbjorn Svensson on his previous album signposted Kaczmarczyk's influences, whereas on the aptly titled Something Personal these idioms are refined and absorbed into something altogether more forward-looking. Last time out Kaczmarczyk hinted at his interpretive and balladeering nuance on Elton John's "Blue Eyes," but even Brad Mehldau would have to doff his cap to the caressing lyricism and improvisational flare Kaczmarczyk brings to Massive Attack's "Teardrop," deftly accompanied by bassist Maciej Adamczak and drummer Dawid Fortuna. Kaczmarczyk's writing, however, is on a par with his often breath-taking/beguiling delivery and his impressionistic ballad "Sunrise" and the gorgeous, slow-burning, "Garana" are no less moving.
The trio chemistry is pronounced throughout, notably on the spirited title track where the three voices interweave in exhilarating fashion. Virtuosity, however, is never an end in itself, and the sense of balance and space in the trio's dialogue is a big part of the music's charm—the grooving, Vince Guaraldi-esque "Birthday Song" the perfect illustration of less is more. Adamczak in particular is afforded ample solo time where his measured lyricism shines; his affinity with Kaczmarczyk, in whatever gear, is notable. Fortuna's whispering cymbals and fine brushwork illuminate the gentler passages, while his more animated, inventive rhythms stoke Kaczmarczyk's fire.
When in full flow, as on the dramatic "Mr. Blacksmith," Kaczmarczyk combines the rhythmic intensity of Neil Cowley and the thrilling melodic invention of Esbjorn Svensson, yet his modern jazz vocabulary is equally colored by a baroque vein and a pop sensibility that values tunefulness. A little of all these traits merge in the outstanding "Crazy Love," whose elegant, Beatles-esque melody and Bach underbelly rubs shoulders with Kaczmarczyk's more charged pianism. Adamczak's exquisitely weighted solo—nicely framed at the tune's midpoint—provides a compelling mini-narrative and an album highlight.
Something Personal, in turn thrilling and gently hypnotic, makes a persuasive case for Kaczmarczyk's Audiofeeling Trio as one of jazz's most exciting contemporary piano trios. If Kaczmarczyk gains the wider international recognition his talents merit, then the void left in the wake of the Esbjorn Svensson Trio's demise might not seem quite so big.
Track Listing: 
Teardrop; Something Personal; Birthday Song; Crazy Love; Sunrise; Mr. Blacksmith; Garana.
Pawel Kaczmarczyk: piano; Maciej Adamczak: double bass; Dawid Fortuna: drums.

Sunday, November 18, 2018

2 Sem 2018 - Part Seven

Bogdan Hołownia & Wojciech Pulcyn
Henryk Wars Songbook

By Bogdan Chmura
Pianista Bogdan Hołownia wziął na warsztat tematy Henryka Warsa, czołowego twórcy przedwojennych przebojów, muzyki filmowej, jednego z „ojców” polskiego jazzu. Twórczością tego kompozytora Hołownia fascynował się od dawna, zgłębiał jego utwory, wykonywał je na koncertach, teraz postanowił nagrać je na płycie.
Słuchając albumu odniosłem wrażenie, że podczas pracy nad projektem artysta działał wg jednego podstawowego założenia: trzymać się jak najbliżej oryginału. I rzeczywiście, w przeciwieństwie do innych podobnych opracowań – a było ich naprawdę sporo – Hołownia nie próbuje odczytywać tej muzyki na nowo, szukać w niej „drugiego dna”, uwspółcześniać jej na siłę – stawia na prostotę, elegancję, komunikatywność. Elementem pierwszoplanowym każdej interpretacji jest linia melodyczna. Hołownia pokazuje nam ją niemal w pierwotnej postaci, eksponuje jej naturalną urodę, czasem wprowadza drobne ozdobniki, lekko wzbogaca harmonię. Zachowuje też ogólny klimat utworów – kolejne numery, utrzymane w wolnych lub umiarkowanych tempach, brzmią nastrojowo, czasem, jak w oryginale, nieco sentymentalnie. Solówki obu wykonawców są powściągliwe i zgrabnie wpasowane w narrację. Album jest bardzo jednolity w charakterze – minimalistyczna” konwencja (zredukowana ekspresja, podobne tempa, wyrównana dynamika) została utrzymana od początku do końca. Konsekwentna postawa lidera dobrze służy muzyce, choć chwilami brakowało mi odrobiny urozmaicenia i lekkiego dystansu do „materiału źródłowego”.
Płyta skierowana przede wszystkim do fanów piosenek Warsa i miłośników swingującej ballady.

Bill Anschell
Shifting Standards

By Paul Rauch
Seattle based pianist Bill Anschell has created a tremendous body of work over the the past 30 years, as a composer, musical director, and pianist. He returned to Seattle in 2002 after 25 years abroad and formed a relationship with Origin Records, releasing more than a dozen records both as a leader and co-leader. Whether composing and performing original pieces, or interpreting standards ranging from Cole Porter to Lennon/McCartney, Anschell has consistently upheld a rare standard of excellence.
Anschell's musical personality can perhaps be best experienced within the confines of Tula's Jazz Club, an intimate jazz spot in Seattle's Belltown neighborhood. He typically performs with two separate combos, a quartet that performs his own works, and a standards trio featuring trail blazing bassist Jeff Johnson, and wonderfully talented drummer D’Vonne Lewis. The trio has been performing on and off since 2007, and have achieved an intuitive, almost telepathic musical relationship that produces moments only attained through the one mindedness of the piano trio format. They perform in the area of 80 standards, never play from a set list, and are subject to the momentary whims of Anschell's inventive curiosity. At long last, the trio has released a definitive collection of standards aptly titled Shifting Standards on the Origin label.
This studio recording closely resembles the unabridged collective spirit the trio achieves in a club setting, recording it organically, set up close together without the benefit of isolation booths. The result is a conversation in spontaneous invention, exquisitely recorded by Reed Ruddy at Avast Studios in Seattle.
Anschell chose his mates for the project well, in the persons of Johnson and Lewis. Johnson, one of the most musical of bassists drenched refreshingly in the oral tradition, is a true innovator in the art of the trio. His work with the Hal Galper Trio, both as a bassist and composer has helped revolutionize the piano trio, by using a rubato approach that creates an elasticity to time. He as well has been a driving force in the trios of transcendent pianists Jessica Williams, and Chano Dominguez.
The uber talented Lewis, a fourth generation Seattle musician, is a perfect reactionary participant, gathering the energy tossed about by the unbridled melodicism of Anschell and the absolutely unique and identifiable sound of Johnson. The music communicates a joy and contentment between the three that pulls the listener in, seeking the same.
For the opener, the band gets inside Dizzy Gillespie's "A Night in Tunisia," all the while alluding to the Latin feel of the piece, without ever engaging it. The trio revolves around the harmony as a common center, with Johnson the perfect counterpoint to Anschell's playful treatment of the melody. Johnson never falls prey to the theme's signature bass line as one might hear in standard versions, including the piano trio interpretation from Bud Powell, with Curly Russell's bass line providing a definitive foundation for Powell's meanderings from the original theme. While Anschell clearly leads the way, his playing is like a musical delta to where the musical waters flow through and beyond into the tidal wash of sound provided by Johnson and Lewis.
The compositional variance piece-to-piece on Shifting Standards keeps the listener engaged in classic melodies that can serve as a harmonic anchor in one's conception of the music, all the while creating more and more slack in the creative line before it is once again taut and firmly in place. Irving Berlin's "Cheek to Cheek" is a case in point. While some of the other tunes on the record may score higher on the hip meter, the trio swings this piece into submission, with Lewis providing a bounce that accentuates this joyful romp. Lewis bears artistic resemblance to the great Roy Haynes here, his playing shifting between artful restraint, and hard swinging liberation.
Leonard Bernstein's "Some Other Time" is certainly one of the most beautiful melodies ever written, so beautiful in fact, that much like Coltrane's "Naima," interpretation can be a delicate matter. The exquisitely graceful melody and harmony ebbs and flows like the tide, providing brief moments to embellish perfection. Much like pianist Bill Evans on his classic recordings of the Bernstein classic over the course of his career, Anschell soulfully sways back and forth within the harmony to state just enough of the melody in his soloing to create a reharmonization that is stunningly beautiful. The listener is helplessly submerged in a whirlpool of sentimentality that is insatiable.
Mal Waldron's "Soul Eyes," encapsulates Shifting Standards perfectly. It feels like a casual, yet deep conversation between friends that have achieved a comfort level in terms of truth, honesty, and loving respect. Johnson accentuates his passages with an elegant vibrato that is yet another aspect of his musical persona that is distinctive. Anschell's compositional prowess is clearly heard here through his approach to interpretation. He has a unique ability to connect the dots harmonically in such a way that draws a very thin line between the intuitive art of improvisation, and the artful craft of composition. The stylish Lewis is reactive to his mates, yet shedding light on the musical path before them, a wonderful give and take that has evolved over a decade of bonding with this perfect trio.
Jazz music has become, in many ways, like classical music in the modern age. It is largely taught in institutions, its standards given treatment much like the symphonic music of the 18th and 19th century masters. This record is more about the oral tradition, a social music without charted territory, a place where musician and listener can go to a peaceful place where human emotion can thrive, reflect, hold something close, and then let it fly away in the autumnal breezes of time.
Track Listing: 
A Night In Tunisia; Bewitched, Bothered, and Bewildered; Cheek to Cheek; You And The Night And The Music; Some Other Time; Con Alma; Soul Eyes; Jitterbug Waltz; All of You.
Bill Anschell: piano; Jeff Johnson: bass; D'Vonne Lewis: drums.

Guido Manusardi Trio

By AmazonMusic
I think that the title of this disc is perfectly congenial - Metamorphosis stands for profound transformation in form and structure. I have known and listened to pianist Guido Mansuardi, born in 1935, for more than 40 years and consider myself schooled in his impressive musical productions since his 1966 record debut. Guido is a full-blooded swinger and his playing is rooted firmly in the tradition. Surprisingly, after listening to this record I hear and find a pianist astonishingly original and dynamic, playing with a moving fluidity and freshness. His compositions perfectly reflect the essence of his current state of playing, with changing moods and situations of remarkable harmonic complexity. (Giovanni Bianchi) In the 1950s-60s, during his long stays in Sweden and Romania, Guido Manusardi recovered elements of European folk music and mixed them with his classic way of piano playing, creating a personal musical language appreciated throughout Europe. In these two countries the pianist experienced early success, then enjoying upon his return to Italy the esteem given to foreign musicians.

Marcin Wasilewski Trio

By Thomas Conrad at JazzTimes
As this review is written, sad news of the death of Tomasz Stanko is still fresh. The Marcin Wasilewski Trio, with bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz, was introduced to the world in 2002, on Stanko’s ECM album Soul of Things. They were young and unknown then. Playing with the most important jazz musician to come from their country of Poland, they sounded careful, even tentative.
Over two more Stanko albums, Suspended Night (2004) and Lontano (2006), it became apparent why Stanko believed in them, and what he had taught them. These three, like Stanko, understood that the darkness of silence can be as much a part of the music as the light that musicians selectively impose upon silence.
They have now made five albums of their own for ECM, and have become one of the most creative and stable piano trios in jazz. They are all in their early forties but have been together for 25 years. Live was recorded in 2016 at a concert for 4,000 people at the Jazz Middelheim festival in Antwerp, Belgium. It contains an epic engagement with the Police’s “Message in a Bottle.” For this trio’s generation, songs by Sting are standards. Upon his catchy ditty of 1980-pop consciousness, they unleash jazz energy in torrents: wildly skittering piano, drum detonations, a swirling bass solo.
There are tracks here, like “Three Reflections” and “Austin,” that contain the haunting fragmentary lyricism and pensive, nocturnal Stanko-esque atmospheres of their previous four ECM albums. But more often, before a large, loud crowd, they choose to burn. This trio is no longer tentative. Pieces like “Night Train to You” and Herbie Hancock’s “Actual Proof” display their chops and cohesion, but not their magic. In current jazz, chops and cohesion are not in short supply. Magic always is.

Saturday, November 03, 2018

Roy Hargrove ( 1969 - 2018 )

By Giovanni Russonello at NYTimes
Roy Hargrove, a virtuoso trumpeter who became a symbol of jazz’s youthful renewal in the early 1990s, and then established himself as one of the most respected musicians of his generation, died on Friday in Manhattan. He was 49.
His death, at Mount Sinai Hospital, was caused by cardiac arrest brought on by kidney disease, according to his manager, Larry Clothier. He said Mr. Hargrove had been on dialysis for 13 years.
Beginning in his high school years Mr. Hargrove expressed a deep affinity for jazz’s classic lexicon and the creative flexibility to place it in a fresh context. He would take the stock phrases of blues and jazz and reinvigorate them while reminding listeners of the long tradition whence he came.
“He rarely sounds as if he stepped out of a time machine,” the critic Nate Chinen wrote in 2008, reviewing Mr. Hargrove’s album “Earfood”for The New York Times. “At brisk tempos he summons a terrific clarity and tension, leaning against the current of his rhythm section. At a slower crawl, playing fluegelhorn, he gives each melody the equivalent of a spa treatment.”
In the late 1990s, already established as a jazz star, Mr. Hargrove became affiliated with the Soulquarians, a loose confederation of musicians from the worlds of hip-hop and neo-soul that included Questlove, Erykah Badu, Common and D’Angelo. For several years the collective convened semi-regularly at Electric Lady Studios in Manhattan, recording albums now seen as classics. Mr. Hargrove’s sly horn overdubs can be heard, guttering like a low flame, on records like “Voodoo,” by D’Angelo, and “Mama’s Gun,” by Ms. Badu.
“He is literally the one-man horn section I hear in my head when I think about music,” Questlove wrote on Instagram after Mr. Hargrove’s death.
Even as he explored an ever-expanding musical terrain, Mr. Hargrove did not lose sight of jazz traditions. “To get a thorough knowledge of anything you have to go to its history,” he told the writer Tom Piazza in 1990 for an article about young jazz musicians in The New York Times Magazine. “I’m just trying to study the history, learn it, understand it, so that maybe I’ll be able to develop something that hasn’t been done yet.”
In 1997 he recorded the album “Habana,” an electrified, rumba-inflected parley between American and Cuban musicians united under the band name Crisol. The album, featuring Hargrove originals and compositions by jazz musicians past and present, earned him his first of two Grammy Awards.
His second was for the 2002 album “Directions in Music,” a live recording on which he was a co-leader with the pianist Herbie Hancock and the tenor saxophonist Michael Brecker. That album became a favorite of jazz devotees and music students trying to envision a future for acoustic-jazz innovation.
In the 2000s, Mr. Hargrove released three records with RH Factor, a large ensemble that built a style of its own out of cool, electrified hip-hop grooves and greasy funk from the 1970s.
He held onto the spirit that guided those inquiries — one of creative fervor, tempered by cool poise — in the more traditionally formatted Roy Hargrove Quintet, a dependable group he maintained for most of his career. On “Earfood,” a late-career highlight, the quintet capers from savvy updates of jazz standards to original ballads and new tunes that mix Southern warmth and hip-hop swagger.
By his mid-20s, Mr. Hargrove was already giving back to the New York jazz scene that had made him its crown prince. In 1995, with the vocalist Lezlie Harrison and the organizer Dale Fitzgerald, he founded the Jazz Gallery, a little downtown venue that today stands as New York’s most reliable home for cutting-edge presentations by young jazz musicians.
Into his final days, dogged by failing health, Mr. Hargrove remained a fixture of the jam sessions at Smalls in Greenwich Village. When not on tour, he spent multiple nights each week in that low-ceilinged basement, his slight, nattily dressed frame emerging occasionally from a corner to blow a smoky, quietly arresting solo.
Roy Anthony Hargrove was born on Oct. 16, 1969, in Waco, Tex., to Roy Allan and Jacklyn Hargrove, and raised primarily in Dallas, where his family moved when he was 9. His father served in the Air Force and then worked in a factory for Texas Instruments. His mother held clerical jobs, including as an administrator at the Dallas County Jail.
Mr. Hargrove is survived by his mother; his wife, Aida; a daughter, Kamala; and his brother, Brian.
Quiet and retiring by nature, Mr. Hargrove developed a close attachment to music. “My parents weren’t around that much; I was pretty much in solitude,” he told Mr. Piazza. “Originally I wanted to play the clarinet, but we didn’t have any money. My dad had a cornet that he’d bought from a pawn shop, so I just played that. I learned to love it.”
Mentored by his high school band teacher, Mr. Hargrove showed his talents early. He played at jazz-education festivals and conferences with his high school band, and rumors of his virtuosity spread.
When Mr. Hargrove was in 11th grade, the trumpeter Wynton Marsalis visited his high school during a tour stop in Fort Worth, asking to hear the young phenom. Mr. Marsalis was so impressed that he invited Mr. Hargrove to join him at a nearby club date. That led to a trip to Europe in the summer before his senior year to take part in the North Sea Jazz Festival in The Hague as a member of an all-star band.
After a year at the Berklee College of Music in Boston, Mr. Hargrove moved to New York City in 1990, at 20. He briefly attended the New School, but his home base was Bradley’s, the Greenwich Village club and jam-session hub peopled by many of jazz’s most esteemed elders. He usually stayed until closing each night. (Bradley’s closed in 1996.)
For his first six months in New York, he slept on the couch at the home of Wendy Cunningham, the owner of Bradley’s. By the end of that time, he had recorded a well-regarded debut album, “Diamond in the Rough,” for RCA and become the talk of the town.
“Among the newcomers, the one name everyone mentions is Roy Hargrove,” Mr. Piazza wrote in 1990. “His playing incorporates a wide, rich sound, something like that of the great Clifford Brown,” he added. “Barely out of his teens, Hargrove is a mixture of shyness and cockiness, boyish enthusiasm and high seriousness. Music is his whole life.”
The New Orleans trumpeter Nicholas Payton, who rose to prominence alongside Mr. Hargrove in the early 1990s, reflected on his significance in a blog post on Saturday. “I often say two things changed the New York City straight-ahead music scene: Art Blakey passing and Bradley’s closing,” Mr. Payton wrote. “Now I have to add a third, the departure of Roy Hargrove. New York will not be the same without you.”
Correction: Nov. 3, 2018
An earlier version of this obituary misspelled the middle name of Roy Hargrove’s father. He was Roy Allan Hargrove, not Allen. Because of an editing error, the earlier version also misspelled the given name of Mr. Hargrove’s mother. She is Jacklyn Hargrove, not Jackyn.

Sunday, October 14, 2018

2 Sem 2018 - Part Six

Giovanni Mirabassi
Live In Germany

By Daniela Floris
On 16 September 2014, in the recording and concert hall at Bauer Studios in Ludwigsburg, Germany, Giovanni Mirabassi put on a piano solo performance before an audience bewitched by his tribute to three singers through renditions of his most favourite of their songs: Ella Fitzgerald, Mercedes Sosa and Edith Piaf. After all, this extremely well-received concert was also a tribute to three countries with very different sonic backgrounds: the U.S., Argentina and France, the last being the adoptive country of this jazz piano star, where he is much appreciated and has been living for quite some time. Mirabassi is in a state of grace when launching himself into pieces so thoroughly internalized that he can convey their original melodic and harmonic essence through just a few masterful strokes of sound, but weaving into it an emotional world animated with colours, sensations, nuances completely free and instinctive, deeply his own. This CD includes three improvised tributes to Ella, Mercedes and Edith, true gems, unscripted and polished on the spot. You can listen to all that happened during this impressive live performance in Germany, on a mild day in September, throughout the passionate, sweet, joyful and sometimes also wistful flow of the thirteen tracks on this CD. You can also perceive the small miracle of empathic communication that took place between Mirabassi and his audience in a concert hall with excellent acoustics where no nuances were missed: because this same small miracle takes place when listening to this recording.
Recorded and mixed in Ludwigsburg on 16 September 2014 at Bauer Studios
Recording & mixing engineer Johannes Wohlleben

Nelson Ayres
Big Band

By Clube de Jazz
Big band é um grande grupo instrumental associado ao jazz. Esse tipo de formação foi muito popular, principalmente nos Estados Unidos, dos anos 1920 aos anos 1950, período que ficou conhecido como a Era do swing. No Brasil, a tradição das big bands só começou mais tarde, por volta dos anos 1970. Em 1973, após uma temporada norte-americana, o maestro, arranjador, compositor e instrumentista paulista Nelson Ayres decidiu criar a Nelson Ayres Big Band, que acabou abrindo espaço para muitas outras que viriam depois.
Em 1980, como o próprio músico diz, “reviravoltas que o mundo dá” fizeram com que o grupo perdesse o gás. Mas, em 2015, por sugestão de músicos que costumavam acompanhar as apresentações da banda, ela retomou suas atividades. “Esses artistas que sugeriram eram muito jovens na época em que a gente começou, mas sempre que podiam iam nos assistir. E para eles a big band até os estimulou a escolher a música como carreira profissional. Daí a ideia do resgate”, comenta Ayres.
Para celebrar essa retomada, os músicos gravaram o disco Nelson Ayres Big Band, primeiro registro fonográfico do grupo musical. “A gente não tem nenhuma gravação daquela época. Era muito caro produzir um disco, porque tudo tinha que ser feito através de gravadora, ainda mais que é um tipo de música que não é muito comercial. Não tinha esse movimento independente que tem hoje”, analisa.
APOIO Mesmo sem contar com nenhum estúdio por trás, os músicos tiveram o apoio cultural do Projeto Ceará 202, inciativa informal sem subsídios públicos do escritório Ernesto Tzirulnik Advocacia (ETAD). O repertório traz composições do próprio Nelson Ayres, como a vibrante Olé!, Só xote, Organdi e Gomalina, além de clássicos da MPB como Sebastiana (Jackson do Pandeiro), Fechado pra balanço(Gilberto Gil) e Corcovado (Tom Jobim). “Procuramos ter uma linguagem mais brasileira do que jazzística. Ao longo do processo de produção, as músicas foram surgindo. Temos bons exemplos da diversidade e de ritmos”, ressalta.
O CD conta com 16 solistas, que vão desde músicos que fizeram parte da formação original, como Carlos Alberto Alcântara, aos que assistiam às apresentações, como Ubaldo Versolato e Nahor Gomes. Há ainda talentos que sequer haviam nascido na época de sua primeira formação, como o saxofonista Cássio Ferreira e o trompetista Rubinho Antunes.
O show de lançamento está previsto para o dia 13 de julho, em São Paulo, e a ideia é fazer uma turnê por outras cidades. Para o arranjador e diretor musical do CD, é quase um milagre ver o álbum pronto. “Temos várias big bands no Brasil, não só em escolas de música, mas também formações profissionais, como a Banda Mantiqueira. É bacana ver que pelo menos uma delas conseguiu fazer o seu disco”, comemora.
Nelson Ayres tem uma ligação especial com os músicos mineiros. Ele considera os músicos da Orquestra Ouro Preto, por exemplo, seus “irmãos musicais”. “Vira e mexe estou fazendo alguma coisa com os mineiros. Trabalhei com Milton em alguns discos, temos uma composição juntos (Cidade encantada), há uns dois anos fiz um trabalho com o pessoal do Conservatório da UFMG, com quem acabei até trabalhando esse repertório que entrou no disco. Por isso, espero poder mostrar este trabalho aí em Minas também”, diz. (ACB).

Roni Ben-Hur & Harvie S

By Hilary Brown
Guitarist Roni Ben-Hur is an established jazz figurehead with a keen sensitivity to his personnel and a limber, near-effortless fluidity. On Introspection—where he’s joined by a savvy outfit comprising bassist Harvie S and drummer Tim Horner—his trio revisits a batch of lesser-known compositions, bringing mindfulness and nuance to the forefront on a set of 10 tunes.
Much as the name suggests, Introspection offers an almost autobiographical, inward look at Ben-Hur and Harvie S’ collective musical evolution—lyrical and nuanced soloists, astute and mindful accompanists. Add Horner’s timely diligence to the mix, and the album breathes some organic vitality into almost-lost jazz works. But as Ben-Hur and Harvie S provide scintillating back-and-forth, minimalism is the ultimate form of artistry here. Certainly, moments of near-perplexing virtuosity exist—Ben-Hur’s harmonic prowess on super-vibey, Brazilian-style B-sides and a tasty, throwback to his bebop upbringing. From Harvie S’ swinging solo fanfare to Ben-Hur’s lightning-fast, touch-sensitive runs—under Horner’s watchful, understated brushes—the chemistry found on the album is a unique, uncompromising force to behold.
Prá Machucar Meu Coração; Serenity; Conception; Introspection; Dexia; Focus; Blood Count; Nobody Else But Me; Repetition; Asiatic Raes. (50:37)
Roni Ben-Hur, guitar; Harvie S, bass; Tim Horner, drums.

Melody Gardot
Live In Europe

By Christopher Loudon at JazzTimes
The cover shows a woman, center stage, spotlit, back to the camera, nude save a guitar. The inference is obvious: This, her first live album, is Gardot laid bare. But Gardot has ranked among the most nakedly honest and emotionally vulnerable of singers, ever since her stellar debut with Worrisome Heart in 2008. Live in Europe’s two discs—17 cuts culled from more than 300 concerts between 2012 and 2016—simply confirm that she exhibits the same breathtaking naturalism in front of thousands-strong audiences.
Rather than seek out the most perfect performances, Gardot assembled her choices based on the sage belief that “live there is only one element that counts: heart,” as she puts it in her liner notes. Several tracks focus on her deeply simpatico rapport with cellist Stephan Braun, including exquisite duets on “Deep Within the Corners of My Mind” and “Over the Rainbow,” as well as a “My One and Only Thrill” with Gardot at the piano and Chuck Staab on drums. There’s a rousing, crowd-thrilling “Lisboa” from, of course, Lisbon. “Baby I’m a Fool” is the only song presented twice, first from Vienna, mirroring the tremulous beauty of the original studio session, and second from London, intriguingly sprier and sunnier. But the standout tracks are an 11-minute “The Rain,” a resounding showcase for Gardot, Braun, Staab, bassist Aidan Carroll, and saxophonist Irwin Hall; and a colossal “March for Mingus” highlighting Hall and bassist Sam Minaie.

Sunday, September 23, 2018

2 Sem 2018 - Part Five

Roberto Taufic & Eduardo Taufic Duo
Bate Rebate

By CDBaby
Brasilian touch, classical, jazz and much more in this especial album. Piano and classical guitar duo; chords, melodies, silences, gestures, tears, laughter and musical guffaws. This is good music, made with lots of love, talent and attention.

Brad Mehldau Trio
Seymour Reeds The Constitution

By Dan McClenaghan
Pianist Brad Mehldau has an adventurous and innovative side, one that he displays on Largo (Warner Brothers, 2002) and Highway Rider (Nonesuch, 2010), albums that feature expansive and—with Largo—electronic inputs. But he always returns to the acoustic trio format that brought him to prominence. It began with a series of five Art Of The Trioalbums on the Warner Brothers label released between 1997 and 2001, a project that led to a rise that hit its zenith with the near masterpiece, Anything Goes (Warner Brothers, 2004), followed up with a full masterpiece, Day Is Done (Nonesuch Records, 2005), one of the finest piano trio albums of the new millennium.
More trio records followed: Ode and Where Do You Start, both on Nonsuch Records in 2012; Blues and Ballads(Nonesuch, 2016). With Mehldau—as it has been with the trio work of Bill Evans and Keith Jarrett—everything he does in the format has to be judged by comparison with his own oeuvre, a body of work that stands, consistently, above (with some exceptions; Evans and Jarrett, Marc Copland and Fred Hersch come to mind) the most skilled and inspired competition.
So where does the oddly-titled Seymour Reads The Constitution fit in? Near the top, bumping elbows with Anything Goes and Day Is Done. Mehldau is, of course, a virtuoso with deep classical leanings that he pulls over into the jazz realm, where he mixes it up with improvisational acumen and a trio dynamic—featuring bassist Larry Grenadier and drummer Jeff Ballard—that crackles with energy.
Mehldau employs something of a template on his trio outings—and this is a good thing. Some originals, a Great American Songbook tune or two, a visit to the jazz standards, and some inspired and perhaps seemingly unlikely contributions from the pop/rock world. Of the last of the mentioned categories, "Friends" from the Beach Boys songbook, that waltzes with an exceptional and vibrant elan, veering into near unrecognizability—first they're playing the tune; then they're sort of not playing the tune as they roll into something related but not quite the same—is in the best jazz tradition.
The Mehldau originals, "Spiral," the title tune and "Ten Tune" are as strong as anything the pianist has written—not walk-away-whistling-the-melody compositions, but rather accessibly cerebral sounds, that give way to Lerner and Lowe's familiar "Almost Like Being In Love," laid down here with an urgency, and maybe with a bit of chip on the shoulder. And Elmo Hope's "De-Dah" sounds as if it was written specifically for Mehldau, like it belongs in the twenty-first century instead of the middle of the twentieth.
The trio closes it out with saxophonist Sam Rivers' beautiful "Beatrice." It is the avant-garde-leaning Rivers' most engaging composition, and Mehldau and company treat it with respect, revealing in a vivacious fashion new facets of it loveliness.
Track Listing: 
Spiral; Seymour Reads the Constitution!; Almost Like Being in Love; De-Dah; Friends; Ten Tune; Great Day; Beatrice.
Brad Mehldau: piano; Larry Grenadier: bass; Jeff Ballard: drums.

Leny Andrade
Bossa Nossa: Canta Fred Falcão

By Biscoito Fino
Fred Falcão, Pernambucano radicado no Rio de Janeiro começou a compor em 1964, vidrado no repertório de Leny Andrade e Os Cariocas e construiu sua obra sob as bênçãos da bossa nova.
Lançando o seu quarto CD autoral, Bossa nossa – Leny Andrade canta Fred Falcão, no qual a cantora carioca empresta seu suingue à obra do compositor acompanhada de Jorge Helder (baixo), Lula Galvão (violão), Rafael Barata (bateria) e João Carlos Coutinho (produção musical, arranjos, piano e acordeom) e Marcelo Costa (percussão).
Metade das faixas do novo álbum já estavam prontas, mas Fred lembra que compôs as outras pensando na intepretação de Leny. “Pensando bem, as que já estavam prontas também eram para ela, tanto que Leny gostou de todas”.

John Abercrombie Quartet
Up and Coming

By Thom Jurek
When pianist Marc Copland formally joined the John Abercrombie Quartet for 2013's wonderful 39 Steps, he brought with him the fruit of the musical relationship between himself and the guitarist that had been established some four decades earlier with Chico Hamilton, and in the fusion band Dreams. Their evolution continued the guitarist's participation on several of the pianist's albums, and as sidemen playing in the same bands with Kenny Wheeler and David Liebman. Bassist Drew Gress, who has worked with both men separately over the years, is a further link in the chain, while drummer Joey Baron has played with the guitarist often enough to be intimately familiar with his compositional and improvisational processes.
Abercrombie wrote five of these eight tunes, Copland contributed a pair, and the group offers a startling read of Miles Davis' nugget "Nardis." It's in the reinvention of the latter number where this band showcases its greatest strengths. While they remain faithful to the song's harmony and spirit, they open up its inner space a moment at a time, almost imperceptibly at first. Abercrombie parses his phrases, albeit fluidly, to reveal the hidden magic in Davis' nuances, as Copland follows through and around them to crystallize its striking chorus. There's a great deal of magic in the originals as well. Opener "Joy" commences with a poignant minor-lyric statement, picked up by Copland before the pair stagger the melody and begin a gradual yet emotive and inquisitive interplay. Gress accents the changes while Baron adds dimension and texture with his whispering cymbal work. The pianist's solo highlights each melodic fragment with canny lyricism. The guitarist's "Flipside" is brief, but its swinging tempo and tight changes spotlight the band breezing through post-bop with zest, humor, and chops to spare. A more complex side of that nature is expounded upon in Copland's "Silver Circle," providing an opportunity for Abercrombie to underscore the edges in a rounded yet knotty solo. The pianist's "Tears," with its processional yet lithe chord voicings, hushed cymbals, and muted tom-toms, is initially so gentle and tender, it momentarily distracts from the darkness within. Abercrombie's break caresses the melody's haunting frame; Gress picks apart its elements and exposes its spine reinforced subtly by Baron, and Copland opens the seam to expose drama, vulnerability, and loss. The set concludes with the guitarist's "Jumbles," a jocular, midtempo workout that juxtaposes angles and breezy harmony with a varying rhythmic palette. Up and Coming clocks in at under 50 minutes. Its compositional and improvisational economy is countered by the quartet's disciplined ability to colorfully and authoritatively illustrate an abundance of creative ideas without hinting at compromise.

Sunday, September 02, 2018

2 Sem 2018 - Part Four

Diogo Monzo
Filho do Brasil

By Biscoito Fino
“Filho do Brasil” é um projeto de piano solo de Diogo
Monzo, que tem como objetivo compartilhar um
pouco da imensa história da música brasileira. Para
isso, foram gravadas 14 músicas com performances
pianísticas focadas na improvisação musical,
especialidade do músico que lança pela gravadora
Biscoito Fino seu quarto CD. O lançamento do
álbum será sábado, dia 21 de julho, às 19 horas no
Espaço Guiomar Novaes da Sala Cecília Meireles.
O projeto inclui importantes compositores
brasileiros do início do século XX como Catulo
da Paixão Cearense, João de Barro (Braguinha),
Pixinguinha e Noel Rosa, que atravessaram o século
eternizados pela qualidade das suas criações.
O CD também traz em seu repertório os
compositores Tom Jobim, João Gilberto, Francis
Hime, Luiz Eça, Roberto Menescal, Chico Buarque,
Edu Lobo, Egberto Gismonti e o próprio pianista.
“Filho do Brasil” traz uma nova perspectiva para
o piano brasileiro, com releituras inéditas dessas
canções na perspectiva da nova geração.
Selecionado entre os Top 5 no “Made in New York
Jazz Competition”, escolhido uns dos melhores
instrumentistas do ano de 2015 pelo site “melhores
da música brasileira” – pelo disco “Meu Samba
Parece Com Quê?”. Autor do CD “Luiz Eça por Diogo
Monzo”, um tributo em homenagem ao pianista e
compositor brasileiro Luiz Eça. Autor do livro e do
CD “Hinos Tradicionais Sob Uma Nova Concepção”
e do CD “Meu Samba Parece Com Quê?”, Diogo
tem se apresentado em diversas salas, auditórios,
programas de televisão e festivais".

Hamleto Stamato
Ponte Aérea

Por Anderson Nascimento
Filho do músico de mesmo nome, Hamleto Stamato, reconhecido artista que integrou bandas de artistas como Tim Maia, Danilo Caymmi, Leny Andrade e Pery Ribeiro, além de ter atuado como produtor musical na TV em programas como Fama e Estação Globo, chega ao seu oitavo disco esbanjando talento e bom gosto.
“Ponte Aérea” presenteia o ouvinte da música instrumental com petardos da Bossa Nova, da forma como um disco instrumental precisa ser, ou seja, trazendo canções que habitam a nossa memória afetiva, sob a perspectiva do intérprete.
Dessa forma, estão no disco versões leves e agradáveis de clássicos como “O Morro Não Tem Vez (Tom Jobim, Vinícius de Moares), que abre o disco, “Garota de Ipanema” (Tom Jobim, Vinícius de Moares) e “A Rã” (João Donato, Caetano Veloso), célebre canção do querido João Donato em parceria com Caetano Veloso.
Celebrando 30 anos de carreira, Hamleto Stamato em companhia dos amigos de longa data Erivelton Silva (bateria) e Augusto Mattoso (baixo), recria a aura dos trio de Jazz do fim dos anos 60, apresentando, além de standarts de nossa música, duas canções autorais inéditas: “Samba Para o Pai” (Hamleto Stamato) e a belíssima “Ponte Aérea” (Hamleto Stamato), que dá nome ao disco.
“Ponte Aérea” é um disco que vai te levar a um passeio incrível pela música brasileira, sob o olhar de um artista que mira o bom gosto musical explorando arranjos e interpretações com solos e andamentos bastante particulares.

Joana Queiroz Quarteto
Uma Maneira de Dizer

By Tratore
Primeiro disco solo da clarinetista e compositora Joana Queiroz, "Uma Maneira de Dizer" foi lançado em 2014. Registro de um trabalho que já vinha sendo apresentado nos palcos, com Bernardo Ramos na guitarra, Antonio Loureiro na bateria, Bruno Aguilar no baixo e as participações da cantora Beth Dau e do pianista Vitor Gonçalves, o disco explora a intimidade entre os músicos, que se unem em torno de uma música instrumental delicada e bastante livre. O repertório é formado por temas autorais, somados a duas composições de amigos de sua geração, Antonio Loureiro e Guto Wirtti.

Lynne Arriale Trio
Give Us These Days

By Dan Bilawsky 
When it comes to the art of the trio, pianist Lynne Arriale is always in her element. Over the past quarter century she's released two riveting handfuls of dates exploring this configuration, only rarely moving afield as on her plainly-titled previous release—Solo(Motema, 2012). Each one of those trio outings stands as its own distinctive work of art, unique in design and expression, yet all bear the hallmarks of a singular artistry, showcasing adept fingers and tremendous heart. This one is no different.
Joined by Dutchmen Jasper Somsen on bass and Jasper Van Hulten on drums, Arriale delivers six originals and three covers that highlight a kinship between all parties. The album opens on a take of Joni Mitchell's "Woodstock" that toys with the elements of surprise and expectation as it heats up. Arriale's compositions then come to prominence. "Appassionata" plays like a meeting between Chick Corea and Astor Piazzolla, merging Spanish-tinged soul and Argentinian allure; "Finding Home" is a beacon of solace, providing comfort as it it glides along on Van Hulten's grooves; "Give Us These Days," taking name and tone from poet Jim Schley's Devotional, gives pause for reflection, allowing the depth of his words to enter the realm of musical spirits; and the album's centerpiece—"Slightly Off-Center"—visits the blues as it stands on a tilting axis.
The second half of this date works a more ruminative arc in its initial unfolding, as Arriale's "Another Sky" and the immortal "Let It Be" both ponder in muted tones. Then she emotionally counters with the penultimate "Over And Out," a number that hits like a jolt of adrenaline and puts her most audacious and vivacious traits in the spotlight, before returning to quieter realms for the album closer—a touching trip through Tom Waits' "Take It With Me" fronted by guest vocalist Kate McGarry.
As with every move in her celebrated career, Lynne Arriale remains both readily identifiable in her different pursuits and impossible to pin down in specific character. Whether given to introspection or taken by extroversion, she remains a force of nature.
Track Listing: 
Woodstock; Apassionata; Finding Home; Give Us These Days; Slightly Off-Center; Another Sky; Let It Be; Over And Out; Take It With Me.
Lynne Arriale: piano; Jasper Somsen: double bass; Jasper Van Hulten: drums.

Friday, August 10, 2018

2 Sem 2018 - Part Three

Sarah McKenzie
Paris In The Rain

By Samuel Cottell 
When Sarah McKenzie released her debut album Don’t Tempt Me in 2011, she showed talent and promise. Five years later, she has delivered on that promise and excelled in her musical craft. Paris in the Rain, her second outing on the Impulse Jazz Label sees her embarking on adventurous new harmonic territory and expanding her skills as a pianist, singer and songwriter.
To me, the idea of Paris always holds connotations of romanticism and history, and here Sarah also takes this approach. She crafts her own tunes – set alongside timeless classics of the jazz repertoire, made famous by the great singers of the day – and marks her own approach to them. All at once they are stepping back in time, yet so modern. Sarah demonstrates why these songs and their associations are indeed timeless.
The album opens with the iconic Tea for Two. The trumpet solo with mute adds a nice tone colour to the mix. Sarah’s zesty and up-tempo rendition sets up the groove with the band, over which her vocals dart and glide. There are plenty of great solo moments on this track.
Following this strong opener, the next track is Sarah’s own Paris in the Rain. The lyric: “I’d trade a summer day again and again, just for one kiss and Paris in the rain” is genius, and harks back to the great masters who penned many of the lyrics to what are now iconic jazz standards. This song shows Sarah’s knack for songwriting and her arrangement weaves splashes of colour in and out of the vocal line.
The optimistic and fun Onwards and Upwards, penned by Sarah, has the feel of a 1950s television show theme. It’s witty, clever and has one of the catchiest melodies I’ve ever heard. Her solo on this track is superb. It’s got hints of Nat King Cole, in that she repeats a fragment of an idea for a period of time before moving to the next. Within this, Sarah articulates each note – demonstrating she can make the piano sing with this kind of phrasing and articulation. The addition of flute and vibraphone also gives it a Henry Mancini-flavour, and you can hear the optimism in this tune.
Sarah approaches When In Rome with a samba feel. She sets up this tune with a fresh take in the form of an ostinato (which returns throughout the track). In the bridge, she launches into a hard swing and pulls the phrase before hitting the climax of the tune on a pedal point. This track approaches this tune much in the way that Blossom Dearie once did, particularly in the final chorus. The phrasing swings hard. Each note gets a slight accent as it descends through the melodic line, and ends with a lush chord that drives the momentum forward. Similarly, I’m Old Fashioned is another ironic standard that gets a fresh outing with inventive musical ideas, while still retaining the feeling and sense of the song itself.
On the more melancholy side of the album are Little Girl Blue and Triste. These moody and introspective tracks offer Sarah the chance to explore more emotional content, which she delivers with stunning conviction. What is remarkable about these tunes in the hands of Sarah is that they both offer optimism in their final moments.
The closing statement is an instrumental Road Chops. Not overtly complex, it is a series of chord changes that allows the musicians to shine in extended solos. What is effective about using this at the end is that it almost acts like an encore to the rest of the album and cements the feeling that you are at a live gig; there’s excitement and energy all around and being jazz, anything could happen.
Sarah has captured that sound world of the 1950s, made famous by Frank Sinatra, Tony Bennett, Ella Fitzgerald, Nat King Cole and others. But in Sarah’s hands, it sounds fresh, modern and hip as ever. This album speaks of the nostalgic and romanticised idea of Paris in the Rain, but is never cheesy. This combination of jazz standards and her original songs shows Sarah at her finest. There’s a great sense of ensemble playing and the band is cohesive and energetic at all times. Sarah is an artist who knows exactly where she comes from, where she is, and where she is going.

Stefano Bollani
Que Bom

By Matt Hooke
The worlds of Italian and Brazilian music meet on Que Bom, pianist Stefano Bollani's masterful 43rd album. Bollani lets his songwriting do the brunt of the work, leading to an accessible project, that still shimmers with inventive moments. Bollani has a keen melodic sense that makes these songs immediately come alive. The opening song, "Sbucata da Una Nuvola," is a beautiful display of Bollani's talents with a two-part melody that begins with quick single notes before moving to chord changes to finish off the phrase.
The happy go lucky yet sophisticated atmosphere, highlighted by Bollani's use of the Cuica, a Brazilian percussion instrument known for a high pitched squeak resembling laughter, brings to mind the work of pianist Vince Guaraldi, who had a similar ability to make the complicated sound fun. Bollani is not only interested in musical perfection, as he occasionally throws in bits of dissonance, medicine to make the spoonful of sugar taste even sweeter. "II Gabbiano Ischitano," featuring the tremendous Brazilian cellist Jaques Morelenbaum, excels by being simple. Bollani's unaccompanied piano maps out the basic chord progression and melody of the piece, before Morelenbaum's delicate, bowed cello playing comes in. Morelenbaum's measured and elegant accompaniment is a highlight of the song, sticking out in the mix but never overpowering the other instruments.
One of the attributes of Que Bom that make it work is how Bollani brings in outside elements to his songs, adding variation that keeps the five-piece combo sounding fresh throughout the album's 1 hour and 12 minute run time. The funky "Uomini e Polli" is assisted by a lively horn section that perfectly complements drummer Jurim Moreira's syncopated drum pattern. Vocal tracks like "La Nebbia a Napoli," and "Michelangelo Antonioni" featuring Brazilian legend Caetano Veloso, offer a nice change of pace, adding flavor to the instrumentals surrounding them. Veloso is most known as an architect of the Tropicália movement that fused the avant-garde and Brazilian mainstream, and his constrained vocal performances fit these songs perfectly. He plays to the song, instead of aiming to show off his own virtuosity.
"Michelangelo Antonioni" is reminiscent of Veloso's experimental roots, his wordless moans getting his message across better than any lyrics could.
Que Bom is a fantastic album that ranks among Bollani's best, which is saying something considering the amount of music the 46-year-old has made in his career. Come for the beautiful melodies and energetic rhythms, stay for the experimentation.
Track Listing: 
Sbucata da una nuvola; Galapagos; Certe giornate al mare; La nebbia a Napoli; Habarossa; Uomini e polli; Ho perduto il mio pappagallino; Criatura dourada; Michelangelo Antonioni; Accettare tutto; Ravaskia; Olha a brita; Il gabbiano ischitano; Aleijadinho lê o Codex Seraphinianus aquì; Nação; Que bom.
Stefano Bollani: piano; Jorge Helder: double bass; Jurim Moreira: drums; Armando Marçal: percussions; Thiago da Serrinha: percussions.

Eliane Elias
Music From Man Of La Mancha

By Thom Jurek
Pianist Eliane Elias follows her Latin Grammy win for 2017's magnificent Dance of Time with this set of tunes from the iconic musical Man of La Mancha. During the mid-'90s, Elias was approached by Mitch Leigh, the Tony-winning composer of her musical; he'd followed her career and greatly admired her work. Accompanied by Neil Warner, arranger for the original musical, he commissioned the pianist to rearrange songs from the show. Elias was given complete freedom to choose which songs she wished to record. She hired two rhythm sections: One featured drummer Jack DeJohnette and bassist Eddie Gomez; the other bassist Marc Johnson, drummer Satoshi Takeishi, and master percussionist Manolo Badrena (who plays with both groups). Elias and her sidemen recorded nine songs live in studio. Unfortunately, the completed album was shelved due to contractual issues and seemed doomed to obscurity. Leigh passed in 2014 and never saw its release. Concord rescued the album and added it to their catalog some 23 years after recording.
Listening now -- with Elias widely recognized as a jazz master -- is nothing short of revelatory. Each track has been thoroughly re-visioned, utilizing different rhythms, re-harmonizations, tempi, new intros, outros, interludes, and more. The songs here sound assured and disciplined, and are played with kinetic energy and empathy. Check the contrast between rhythm sections on the set's first two tracks, "To Each His Dulcinea," with Johnson, Takeishi, and Badrena, and "Dulcinea," with DeJohnette and Gomez. The former has a partido alto rhythm illuminated by rolling hand drums, lush Errol Garner-esque chord statements, and a popping bassline. The latter bears hints of "The Impossible Dream" within its intro. Elias combines a tender, bluesy swing with Bill Evans-style harmonics, all underscored by Gomez's gorgeous solo. The samba returns in "The Barber Song" and places Badrena alongside Gomez and DeJohnette. The samba piano intro is highlighted by Brazilian percussion instruments in interplay with the drum kit. Gomez doesn't so much hold things to the ground as push them further apart and together again. Elias' ranging solo employs an elegant use of Art Tatum's arpeggios and Herbie Hancock's rhythmic chording. "Man of La Mancha (I, Don Quixote)" is introduced by Gomez and DeJohnette playing in Capoeira rhythm, but it changes gears quickly with a piano interlude that introduces the melody even as Elias' left hand insistently interacts with the rhythm section. While a frevo rhythm drives album-closer "A Little Gossip," it is the track before, "The Impossible Dream," with Johnson, Takeishi, and Badrena, that nearly eclipses it. Fleet pacing aside, Elias' piano is recontextualized almost like that of a vocalist in the first half, and a post-bop soloist in the latter with a deft, swinging, Brazilian rhythmic approach from her left hand. Elias' governance on Music from Man of La Mancha is eclipsed only by her playing and arranging. Her intimate understanding of the tunes is balanced by imagination and taste. Thankfully, Concord is allowing jazz enthusiasts an opportunity to hear this fine recording at last.

Aldo Romano

By Citizen Jazz
Un peu plus de vingt ans après un disque mémorable en compagnie de son compère Jean-François Jenny-Clark et d’un certain Michel Petrucciani, Maître Aldo nous propose un nouvel album en trio avec Danilo Rea au piano, Rémi Vignolo à la contrebasse et des compositions qu’il a signées.
Threesome arrive à point nommé pour donner raison au jury du Jazzpar Prize, décerné le 23 avril dernier à Aldo Romano, car disons-le d’emblée : cet album est remarquable ! Des mélodies superbes, des improvisations très libres, une palette rythmique variée, de l’humour… et une grande cohérence d’ensemble. Le tout servi par des musiciens en parfaite harmonie.
Sur les bords du Rubicon on ne présente plus Danilo Rea, connu d’abord avec le célèbre Trio di Roma et qui après avoir accompagné la plupart des stars de Chet Baker à Joe Lovano en passant par Lee Konitz, John Scofield etc., collectionne les distinctions avec Doctor 3, son dernier trio. Sur les berges de la Seine, on ne présente plus Rémi Vignolo, contrebassiste éclectique, qui a joué hier avec Mark Turner, joue aujourd’hui avec Toots Thielemans et jouera demain avec Richard Galliano. Enfin, inutile de présenter Aldo Romano, que tout le monde connaît des rives du Rubicon et à celles de la Seine…
Dans Threesome, Aldo Romano se montre une nouvelle fois à la hauteur de sa réputation de fin mélodiste. On trouve bien sûr de ces belles ballades faussement romantiques dont il a le secret, comme « Abruzzi », « Murmur » ou les deux thèmes repris du disque Corners, « Sapore di Si Minore », rebaptisé « Manda », et le superbe « Song for Elis ». À quoi s’ajoutent « Paradise for Mickey », une petite comptine qui ne le reste pas longtemps, « Touched !! », un thème dans la lignée be-bop, « Threesome », « Ghost Spell » et « Fleeting » dans un esprit plus free, ou encore le très « ellingtonien » et magnifique hommage « Blues for Nougaro ».
Le titre Threesome va comme un gant à cet album car il s’agit bien d’une partie de jeux dans laquelle les trois musiciens se renvoient sans cesse la balle. Danilo Rea alterne délicatesse mélodieuse, envolées free et gros jeu rythmique, savoureux mélange entre Ahmad Jamal et Keith Jarrett. Il rappelle aussi un autre prodige de la scène actuelle : Bojan Z. « Ghost Spell » est d’ailleurs assez proche du « Set it Up » de Transpacifik. Rémi Vignolo est un contrebassiste libre qui passe d’une walking bass au swing contagieux dans « Touched !! » à une introduction pleine d’effets et d’humour dans « Fleeting », tout en prenant des solos plus mélodieux les uns que les autres, par exemple dans « Murmur » et « Blues for Nougaro ». En dehors de « Threesome », qu’il introduit par un solo monumental, Aldo Romano prend peu la parole, mais dialogue subtilement avec ses deux partenaires, comme dans « Paradise for Mickey ». On sent également l’influence du batteur dans les nombreux changements de rythme qui pimentent les morceaux, à l’image d’« Abruzzi » ou de « Fleeting ».
Trois torons qui se commettent ensemble pour former un bout : l’illustration de la pochette du disque symbolise à merveille ce trio librement uni… ou uni dans la liberté. Chapeau, maître Romano !

Monday, July 30, 2018

Tomasz Stanko ( 1942 - 2018 )

By The Guardian
Cecil Taylor and Don Cherry collaborator had continued to perform until a recent lung cancer diagnosis.
Polish jazz trumpeter Tomasz Stańko has died aged 76, following a lung cancer diagnosis earlier this year.
Tomasz Tłuczkiewicz, deputy head of Poland’s Jazz Association, confirmed that Stańko died early on Sunday at a Warsaw hospital.
Stańko was one of European jazz’s most celebrated figures, often recording for iconic avant-garde record label ECM and performing with Cecil Taylor, Don Cherry, Dave Holland and Jack DeJohnette, among others. Holland paid tribute on Twitter, calling him “a unique musician with deep feelings and a gentle soul”.
Stańko was born in Rzeszów in 1942. His first live encounter with jazz came at a 1958 Dave Brubeck concert – though he became more strongly influenced by the exploratory free jazz of Ornette Coleman and Miles Davis from the mid-60s onwards. He formed numerous bands throughout his lifetime, the most recent of which was the Tomasz Stańko New York Quartet.
Reviewing their 2017 album December Avenue, Guardian jazz critic John Fordham wrote: “Nobody holds a single, long-blown trumpet note like the Polish pioneer Tomasz Stańko – a wearily exhaled, soberly ironic, yet oddly awestruck sound that is unique in jazz.”

Saturday, July 21, 2018

2 Sem 2018 - Part Two

Wagner Tiso & Marcio Malard
Outras Canções de Cinema

By Biscoito Fino
O novo trabalho do maestro Wagner Tiso contempla obras consagradas do cinema, como temas para ‘O Guarani’, ‘Os Desafinados’, ‘O Toque do Oboé’, entre outros mais. Para isso, convidou o violoncelista Marcio Malard para acompanhá-lo nas interpretações com mestres como Victor Biglione e Kiko Prazeres. A direção artística também fica por conta de Wagner, que explora seu potencial brasileiro de compor, renovando-se com a justeza de seus arranjos.

Dominic Miller
Silent Light

By Geno Thackara
Dominic Miller is a guitarist you've undoubtedly heard somewhere or other, whether you've knowingly heard of him or not. A life circling the globe (from Argentina to England and currently France) has let him absorb folk, Baroque and Latin American sensibilities, among other things, which leads to collaborations with similarly eclectic names. His widest exposure has been with numerous tours alongside Sting, who's happy to offer some poetic words of praise in the liners here alongside Paul Simon. Miller's ECM label debut offers a pleasant spin through some colorful tones of the places his travels have taken him.
The album starts off building a slow circular pattern, hinting at something middle-Eastern with a sinuous minor key and light hand percussion chiming along in the background. The soft earthy touches set a leisurely pace at which the rest of the recording sparsely unwinds—the plucking of nylon strings brings out Spanish or classical shadings throughout, and the mostly-solo format makes sure the music always has space to echo and breathe. The mysterious vibe manages to stay subtly alluring for the most part, even if a couple spots drift toward what you might call easy-listening territory (mainly with a peaceful new-agey take on Mr. Sumner's staple "Fields of Gold").
Close friend Miles Bould plays his background role using the aural equivalent of pale watercolors: a little pattering of shaker in "Water," for instance, or light cymbal splashes through the coasting groove of "En Passant." They both step it up with the skittering "Chaos Theory," which overdubs the pair playing with jaunty staggered timings and still effortlessly keeping in step. It makes the disc's liveliest moment while disrupting the contemplative vibe not at all.
Silent Light is a recording as peaceful and evocative as its title suggests: exotic motifs convey moods from several continents, chord structures can be left ambiguous or implied rather than stated, and extra sounds are sprinkled around with a light touch only where they're judged to add something. Dominic Miller's quiet travelogue is one that finds its most successful moments in giving hints as much as in showing or telling.
Track Listing: 
What You Didn't Say; Urban Waltz; Water; Baden; En Passant; Angel; Chaos Theory; Fields of Gold; Tisane; Valium; Le Pont.
Dominic Miller: guitar, electric bass; Miles Bould: percussion, drums.

André Previn
Alone: Ballads For Solo Piano

By AllMusic
Don't hate him because he's popular...or because of his sundry talents. Andre Previn may be best known as a conductor of symphony orchestras and as a film soundtrack composer, but he's a well-established jazz pianist as well. Previn's style is melodious and easygoing (influenced by piano masters Bud Powell and Oscar Peterson), but he can swing up a storm when he wants to. On ALONE, however, the mood is decidedly relaxed and touched with nostalgia as Previn embraces a set of emotionally charged standards. Songs like "Angel Eyes" and "I Can't Get Started" are timelessly poetic, while the sly "Andre's Blues" displays Previn's lighthearted side.

Ivan Lins & Gilson Peranzzetta

By Mauro Ferreira
É justo e natural que o álbum lançado hoje, 26 de janeiro de 2018, por Ivan Lins com Gilson Peranzzetta seja intitulado Cumplicidade. Afinal, a partir da segunda metade da década de 1970, a trajetória do cantor, compositor e músico carioca se tornou muitas vezes indissociável do toque do piano e dos arranjos desse compositor, músico e arranjador (também) carioca.
A afinidade musical foi tamanha que Ivan e Peranzzetta viraram parceiros em composições como Setembro, lançada pelo cantor em 1980 no álbum Novo tempo e reapresentada pelo arranjador em 1985 no álbum solo Portal dos magos, editado um ano após o disco coletivo Juntos(1984), assinado pelo cantor com Peranzzetta e com Vitor Martins, o parceiro mais frequente e mais importante de Ivan. Em Juntos, Ivan recriou sucessos do cancioneiro composto com Vitor Martins em duetos com cantores como Djavan, Elba Ramalho, Simone e Tim Maia (1942 – 1998).
Em Cumplicidade, álbum produzido por Eliana Peranzzetta e editado pela gravadora Fina Flor, Ivan e Gilson se juntam novamente, sem solistas convidados, para reviver músicas do cancioneiro autoral de Ivan. O disco é o registro de show apresentado pelo duo em várias cidades do Brasil ao longo de 2017.
Assim como no LP Juntos, as parcerias de Ivan com Vitor Martins são o mote do repertório do álbum Cumplicidade, mas Peranzzetta é coautor de Temporal (1978) e da globalizada Love dance (1981), música originalmente intitulada Lembrança e revivida em Cumplicidade com a letra em inglês de Paul Williams que se fez ouvir nos Estados Unidos a partir de 1988.
Setembro, claro, integra o repertório deste disco em que Ivan rebobina com Peranzzetta músicas emblemáticas como Abre alas (Ivan Lins e Vitor Martins, 1974), Começar de novo (Ivan Lins e Vitor Martins, 1979) e Madalena (1970), samba-soul da parceria inicial de Ivan com Ronaldo Monteiro de Souza.