Desert Island Top Ten JAZZ CD's

Aqui está minha lista, dos meus favoritos, os 10 mais para uma ilha deserta:

1) Bill Evans / You Must Believe In Spring 
    Warner Bros R2 73719

By Chris M. Slawecki
After more than a decade as one of the pianist’s most sympathetic bassists, this was Eddie Gomez’s last recording with Evans, a trio set with drummer Eliot Zigmund recorded in 1977 and released after Evans’ death in 1980.
Evans never stopped searching for new ideas. He might be faulted for repeatedly looking for them in the same tunes, but this program is quite varied, including Johnny Mandel’s “Suicide is Painless” (the theme from M.A.S.H. ); Michel Legrand’s title track; Gary McFarland’s waltz “Gary’s Theme,” complementing Evans’ own “B Minor Waltz (For Ellaine),” composed for Evans’ wife; and “We Will Meet Again (For Harry),” Evans’ tribute to his brother.
In Evans’ hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening “B Minor Waltz (For Ellaine)” and the somber, reflective title track, which blossoms, after Gomez’ mid-song solo, like dogwoods on a mid-May morning. Evans boasted such a unique, unmistakable touch—emotional and beautiful and even soft, but never sweet. (Gomez is pretty amazing himself on “M.A.S.H.,” laying down the foundation rock solid yet pushing the music forward, too.)
Among this reissue’s bonus tracks, “Without a Song” is about as ebullient as you’ll ever hear this pianist, and “Freddie Freeloader,” the one track on Miles Davis’ landmark album Kind of Blue where Evans did not play, presents the rare sound of Evans on electric piano.
As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.

Track listing: B Minor Waltz (For Ellaine); You Must Believe in Spring; Gary's Theme; We Will Meet Again (For Harry); The Peacocks; Theme from M*A*S*H; Without A Song; Freddie Freeloader; All of You

Personnel: Bill Evans, acoustic and electric piano; Eddie Gomez, bass; Eliot Zigmund, drums.



2) Tomasz Stanko Quartet / Suspended Night - ECM 1868

By Jeff Stockton
If you’re reading this review, there’s little doubt that you consider yourself a jazz fan. And as such, you’ve probably heard a person say to you with all conviction: “I don’t like jazz.” Miles in the ‘50s? Coltrane on Atlantic? What’s not to like? But when I hear this, I usually just let it go, frustrated by past attempts at persuasion, overwhelmed by my own disbelief. Now when this situation arises, however, I can hand them Suspended Night, jazz of delicacy, classical European beauty, sadness and hope.
Ten years ago Stanko, the 50 year old Polish veteran, began playing with a teenage rhythm section, scoring films and performing live fairly close to home. For this, the quartet’s second release for ECM, his band proves to be an ensemble of tight musicianship and sympathetic interaction. The opening piece, “Song for Sarah,” begins with pianist Marcin Wasilewski’s profound lyricism in deft, colorful strokes. Even if you’ve never heard Stanko play a note, you’re immediately drawn in by the cautious tempo and undercurrent of longing. When he does enter, the piano is in perfect complement to Stanko’s slightly roughened tone, honed by years of work and experience. Over and over on this recording the connection between trumpeter and pianist is palpable.
The rest of the CD is made up of ten “Suspended Variations” that integrate bassist Slawomir Kurkiewicz, who offers resonant pizzicato playing, and drummer Michal Miskiewicz, who contributes subtle percussive accents and shimmers. As one comes to expect, Wasilewski carries the tunes forward with modal vamps and poetic improvisation, Stanko gliding above with tense restraint.
Listening to the Tomasz Stanko Quartet puts you in another place, where the overcoats are heavy and the wine is homemade. Where people do most of their living indoors, informed by a past when life had to be directed inward, away from disapproving eyes. It’s this existential intimacy that has formed Stanko’s melodic grace and soulful tranquility. In the end, Stanko endures, and his band play with the fire of those participating in an ongoing discovery, using the vocabulary of jazz. How can you not be a fan of that?

3) The Alan Broadbent Trio / Personal Standards
    Concord 4757-2

by Stephen Cook
Since gaining fame as a member of Charlie Haden's excellent Quartet West, Alan Broadbent has seen his own catalog rise in stature. A welcome development, since a wider audience should check out the many fine recordings this unique pianist/composer/arranger has made. And in spite of the admission that his highly lyrical bent and soft touch come out of the work of Bill Evans, Red Garland, and Nat "King" Cole, among others, Broadbent is able to produce fresh solo conceptions and plenty of original material of his own. In fact, as the title implies, Personal Standards consists almost entirely of self-penned cuts, save for one by bassist Putter Smith. (This seamless piano trio is rounded out by drummer Joe LaBarbera.) Along with material also heard on various Quartet West recordings like "The Long Goodbye" and "Song of Home," the disc features a nice mix of ballads ("Ballad Impromptu"), mid- to up-tempo swingers ("Consolation"), as well as some blues ("Uncertain Terms"). And even though Broadbent favors slow and melancholy numbers, he can still vigorously turn on the technique, especially on the faster numbers here. In addition to his solo piano outing for the Maybeck Recital Hall series, Personal Standards offers a great introduction to Broadbent's work.

4) Ellis Marsalis Trio - Blue Note 7961072

by Scott Yanow
Pianist Ellis Marsalis is in excellent form for this trio outing with bassist Bob Hurst and drummer Jeff "Tain" Watts. The performances fall generally into the medium-tempo range, with Ellis scattering some witty song quotes throughout the lightly swinging renditions. The high points include one of the more delightful versions ever of Johnny Mandel's "Emily," some close interplay during "Little Niles" and a tongue-in-cheek version of "Limehouse Blues" that includes slapped bass, parade rhythms and Marsalis trying in vain to sound Dixielandish. One programming error should be noted: there is no such song as "Just Squeeze Me" and, rather than the one performed being Fats Waller's "Squeeze Me," it is actually Duke Ellington's "Squeeze Me, But Please Don't Tease Me."

5) Gidon Kremer / Homage à Piazzolla - Nonesuch 7589-79407-2

by Adam GreenbergFrom the violinist and Piazzolla fanatic Gidon Kremer comes this album of works by Piazzolla, along with one song in tribute to the legend. He covers a decent range of Piazzolla's work, moving equally well between slower milongas and faster tangos. The album starts out with the relatively somber, but quite dramatic "Milonga en re." It then moves on to a more upbeat set with "Vardarito" and the grandiose "Oblivion." Then comes "Escualo," which has something nearly akin to a march driving it. The more nostalgic tone of "Café 1930" immediately follows, snapping the listener back into a somber mood. The grand "Concierto para quinteto" makes an appearance, followed by "Soledad" and the deeper, darker sound of "Buenos Aires hora cero." "Celos" follows, to be followed itself by Jerry Peterburshsky's tribute to Piazzolla, "El sol sueno." Many of the attributes of Piazzolla's compositions make themselves apparent in this tribute, though the strings are in places somewhat more standard than Piazzolla's music might normally lead one to be accustomed to. The album finishes on the aptly titles "Grand Tango," for simply violin and piano. Kremer is among a small handful of musicians that are able to aptly evoke the power of the music of Piazzolla to come along since the death of Piazzolla (Yo-yo Ma's masterful album of Piazzolla works also numbers with Kremer). The passion and emotion created by Piazzolla's tangos are performed nearly to perfection here, with the only downside being the absence of Piazzolla himself. The ensemble of Russians and Eastern Europeans makes a surprisingly good stab at Argentine music here, showing if nothing else the universality of Piazzolla's work. Pick it up as a fan of Piazzolla, but pick up some actual Piazzolla

6) Fred Hersch / Evanessence - Bellaphone 66053027

by Alex Henderson

Initially released in Japan in 1990, Evanessence didn't come out in the U.S. until the Philadelphia-based Evidence Music reissued it in 1998. This excellent CD finds Hersch (who evolved into one of the finest acoustic pianists of the 1990s) paying tribute to the person he has been compared to more than anyone: Bill Evans. To be sure, Evans has had a major impact on Hersch's crystalline, elegant pianism. But Hersch (whose other main influences include Ahmad Jamal and Keith Jarrett) is far from a slavish imitator of Evans, and the fact that he's very much his own person comes through on both Evans' compositions (including "Turn Out the Stars," "We Will Meet Again" and "Remembering the Rain") and sensitive interpretations of "Alice in Wonderland" and "You Must Believe in Spring." Though Hersch's admiration for Evans (especially his 1970s work) is hard to miss, he comes across as someone who's adamant about being himself. The pianist's thoughtful accompaniment includes Toots Thielemans on harmonica, Gary Burton on vibes, Michael Formanek or Marc Johnson on bass and Jeff Hirshfield on drums. Highly recommended.

7) Kurt Elling / The Messenger - Blue Note 724385272721

by Scott Yanow

This is one of the most interesting jazz vocal sets to be released in 1997. Kurt Elling covers a wide range of music, continually taking chances and coming up with fresh approaches. He is assisted by his longtime pianist Laurence Hopgood, different bassists and drummers, and on various tracks trumpeter Orbert Davis and the tenors of Edward Petersen and Eddie Johnson. Among the more memorable selections are Elling's vocalese version of Dexter Gordon's solo on the lengthy "Tanya Jean," and his spontaneous storytelling on "It's Just a Thing" (a classic of its kind), some wild scatting on "Gingerbread Boy," the fairly free improvising of "Endless," and his mostly straightforward renditions of "Nature Boy," "April In Paris" and "Prelude to a Kiss." Cassandra Wilson drops by for "Time of the Season," but does not make much of an impression. This rewarding and continually intriguing set is particularly recommended to listeners who feel that jazz singing has not progressed much beyond bop.

8) Steve Kuhn / Oceans In The Sky - Owl R279232

By Dr.Judith Schlesinger
Recorded in 1989 for Owl Records and finally reissued, Oceans in the Sky is a timeless gem from impressionistic veteran pianist Steve Kuhn. Although he was John Coltrane's original pianist and worked with Stan Getz and Art Farmer, Kuhn's detour into electric piano, commercial music and accompaniment (most notably for Sheila Jordan) has to some extent diluted his pedigree. It's good to be reminded of his gifts, which include lyricism and taste and composition; his title track is powerful and harmonically intriguing, and "Ulla" is lovely.
Kuhn's tastefulness is also evident in his choice of, and approach to, material. Frank Lacey's thoughtful and pretty "Theme for Ernie" is rarely covered; the Jobim he picks is "Angela," one of the less hackneyed in the pantheon; and he gives a new pulse to "The Island." Being a third-stream fan, I especially enjoyed how he wove Debussy's "La Plus Que Lente" into a samba version of Ellington's "Passion Flower" with no seams showing; he also pairs "His Is the Only Music That Makes Me Dance" with Satie's "Gymnopedie," while straining all the Streisand schmaltz out of Jule Syne's beautiful Broadway showstopper.
Kuhn swings hard on Dorham's "Lotus Blossom" and subtly on Brubeck's "In Your Own Sweet Way." Drummer Aldo Romano contributes the pretty "Do" as well as sensitive and unobtrusive percussion. It's good that Miroslav Vitous is a strong bassist, since Kuhn tends to lean towards the treble side of things. Oceans in the Sky is an understated and graceful outing – delicious.
Track listing: The Island, Lotus Blossom, La Plus Que Lente [Debussy]/Passion Flower, Do, Oceans in the Sky Theme for Ernie, Angela, In Your Own Sweet Way, Ulla, The Music That Makes Me Dance
Personnel: Steve Kuhn (piano), Miroslav Vitous (bass), Aldo Romano (drums)

9) Charles Lloyd / The Water Is Wide - ECM 1734

by David R. Adler

Like 1999's Voice in the Night, The Water Is Wide features Charles Lloyd in the company of one of his dearest friends, drummer Billy Higgins, who would pass away less than a year after the album's release. Guitarist John Abercrombie also remains on board, but Lloyd extends the group's generational span by recruiting two younger players: pianist Brad Mehldau and bassist Larry Grenadier. The album begins with a straightforward, elegant reading of Hoagy Carmichael's "Georgia." Lloyd goes on to lead his ensemble through two lesser-known Ellington pieces, "Black Butterfly" and "Heaven"; Strayhorn's "Lotus Blossom"; two original ballads, "Figure In Blue" and "Lady Day"; and Cecil McBee's "Song of Her," a track from Lloyd's 1968 classic, Forest Flower. It's a glorious amalgam of sound: the leader's unique, glissando-laden phraseology, Mehldau's harmonic nuances, unerring rhythmic backbone from Grenadier and the majestic Higgins — and only occasionally, pointed and eloquent guitarism from Abercrombie. The session ascends to an even higher level with the inclusion of two spirituals, "The Water Is Wide" and "There Is a Balm in Gilead." The latter features just Lloyd and Higgins, starkly setting the melody against a hypnotic drum chant. In addition, Lloyd's closing "Prayer," written for Higgins during a life-threatening episode back in 1996, features just the composer, Abercrombie, and guest bassist Darek Oles. (Oddly, Oles' credit is relegated to the fine print.) These tracks, most of all, resonate with personal meaning and profundity.

10) Charlie Haden Quartet West / Haunted Heart 
     Verve 3145130782

by Ron Wynn
Charlie Haden loves film as much as music, combining both loves on the critically acclaimed Haunted Heart. Haden led his tremendous group Quartet West through 12 numbers, several, like Cole Porter's "Every Time We Say Goodbye," and Alan Broadbent's "Lady In The Lake," Arthur Schwartz and Howard Dietz's "Haunted Heart," and even the short introduction, with film ties and/or links. Haden transferred vocals on some numbers from Jeri Southern, Billie Holiday and Jo Stafford into the mix without disrupting or disturbing the group framework. Quartet West has emerged as a premier small combo, and Haden nicely paid tribute to the past without being held hostage to it.

Aonde estão as listas ?????????????

PS - Alterações serão permitidas !!!!!

Tierney Sutton - My Jazz Diva of the Millenium

Prezados JazzMen & JazzWomen,

O que é Jazz ? Não é forma de expressão musical, muito menos tipo de música; mas sim a forma livre de interpretar qualquer tipo de música.
Não curti as grandes divas, ouvi todas mas fora do auge da carreira.
Estamos sem nenhuma.
Mas estamos no século 21, e temos que ouvir outras formas de cantoras/cantor, neste sentido, Tierney Sutton acompanhada sempre do Christian Jacob Trio, é minha DIVA !!!!
Qual outra poderia lançar oito CD's no mais alto nível do JAZZ ?
Não conheço CD fraco da DIVA TIERNEY SUTTON !!! VIVA O JAZZ !!!!!!!!
CJ=Christian Jacob/ TH=Trey Henry/ RB=Ray Brinker


Tierney Sutton Band
Desire



by Ken Dryden
Tierney Sutton has evolved into one of the most striking jazz singers of the early 21st century, simply because of her gift for finding new approaches to familiar songs without abandoning their essence. With her longtime band (pianist CJ, drummer RB, and either TH or Kevin Axt on bass), Sutton has crafted unusual arrangements of nine standards that many vocalists seem to perform on autopilot without giving them much thought. She turns "It's Only a Paper Moon" into a mystical work by interweaving an excerpt of a Bahá'í prayer in a tense arrangement with Jacob's adventurous altered chords and Brinker's brushwork complementing her enchanting vocal. The uptempo backing to her explosive interpretation of "My Heart Belongs" gives it a decidedly new twist. Likewise, Sutton puts her own touch on perennial vamp favorites like "Whatever Lola Wants" and "Fever" that make a substantial departure from well-known recordings. She's at her best with a pair of songs by Dave Frishberg, including the bittersweet "Long Daddy Green" (co-written by Blossom Dearie) and the touching ballad "Heart's Desire" (with music by Alan Broadbent), two gems that have been infrequently recorded.


Tierney Sutton Band
On The Other Side



by Jeff Tamarkin
Few jazz vocalists set out to deconstruct a standard as thoroughly as Tierney Sutton does. Her past albums have hovered around a theme but none as devotedly as On the Other Side, which takes the simple concept of happiness and turns it on its ear. Sutton could have approached classics like "Happy Talk," "Make Someone Happy," "Happy Days Are Here Again," and "Get Happy" as most singers would, finding their sweet spots and putting on a big smile as she sang them with ebullience. But these are some of the saddest renditions of happy tunes you'll ever hear, and Sutton's reinventions are such a success because she is so believably bummed. Often turning to minor keys to shift the mood downward, she takes the giddy and makes it melancholy. Rodgers & Hart's "Glad to Be Unhappy," despite its title, is quite often sung as if that's a welcomed state; when Sutton delivers a line such as "It's a pleasure to be sad," she makes certain that she's not appearing ironic. In Jimmie Davis' "You Are My Sunshine," the listener is right to ask whether the singer really means "You'll never know how much I love you," because the loneliness in her voice is so palpable. As always, Sutton's band is entirely sympathetic, their unfussy arrangements providing Sutton with the tonal foundation her unorthodox interpretations require. Her use of two bassists on some tracks doesn't weigh the music down but instead reinforces the darkness Sutton so convincingly conveys. And pianist Christian Jacob, especially, is a major presence — Sutton's sole accompanist on the album-closing "Smile" (the Chaplin's fave) is bluesy and mournful, the perfect complement to Sutton's unsmiling take. What's most interesting about On the Other Side, though, is that ultimately it doesn't feel like a downer. Sutton's voice is such a flexible, captivating instrument that it's a joy to follow, even as she's doing everything in her power to spread a frown. This CD was nominated for a Grammy award in 2007 for Best Jazz Vocal Album.


Tierney Sutton
I'm With The Band



by Jonathan Widran
Since popping into our collective jazz consciousness as a semifinalist in the Thelonious Monk Jazz Vocal Competition in 1998 and signing with Telarc Jazz a few years later, the versatile stylist Sutton Tierney has carved a unique career around theme-centered recordings — most notably with Unsung Heroes (featuring sung renditions of songs normally done as instrumentals) and Blue in Green(a tribute record to Bill Evans). Her creativity with tempo, song selection, and witty modulations is at full-throttle on her fifth disc for the label, I'm with the Band, an hour-long set recorded live at Birdland in March 2005. Though she's clearly the star and her ensemble is always in her service, the album title and cover photo beautifully illustrate the mutual love she and her brilliant bandmates have shared for ten years. Each tune has space for Tierney to shine and improvise over simple harmonic and rhythmic support before she lets them break free. On the opening track, "Softly, As in a Morning Sunrise," she swings via words and scat over pianist CJ's alternately dark and light chordings, and drummer RB's brisk brushes; then Jacob rolls with a feisty solo as Brinker and bassists Kevin Axt and TH groove behind him. "Let's Face the Music and Dance" features their very gentle support behind her restrained and thoughtful reflections, while Tierney and her rhythm section render "'S Wonderful" with a wistful wink. Tierney has her moments of gentle and poignant romance ("If I Loved You"), but is clearly having the most fun when she's moving at a faster tempo, alternating words and scat so effortlessly and seamlessly that you don't realize she's shifting back and forth. This disc is live jazz at its best and is destined to be a classic.


Tierney Sutton
Dancing In The Dark




by Chris Nickson
This isn't Sutton's tribute to Sinatra, although all the material here was recorded and made famous by him. Instead, it's her working through the nooks and crannies of his songbook, and bringing things out and putting her own particular polish on them. It could be something with strings, such as "What'll I Do?" or the intimacy of "I'll Be Around," which is as much a plea as a reassurance and resignation. Her version of "I Think of You," whose melody comes originally from Rachmaninov, is gloriously subtle, the emotion as softly drawn out as the syllables. "I Could Have Told You" offers comfort and a shoulder to cry on, a gentle embrace that's almost a whisper in Sutton's hands. The music here is at its best when the orchestra keeps away — they simply become overkill, the too-sweet icing on an already-delicious cake. Perhaps her biggest test, though, comes at the end of the album, tackling "Fly Me to the Moon," followed by a medley of "Last Dance" and "Dancing in the Dark," taking on some of Sinatra's most famous pieces. While on the former Sutton doesn't always dig to the absolute heart of the song, the arrangement is stunning, with some outstanding piano from CJ that frees the songs from its '50s shackles. Sutton does sparkle on the other piece, however, especially "Dancing in the Dark," where the orchestral contributions are kept to a minimum, and the tracks swings in a minimalist fashion, Sutton's voice imbued with the magic of the night. The album might have been inspired by Sinatra, but in her own way, Sutton has gone beyond her inspiration.


Tierney Sutton
Something Cool




by Paula Edelstein
Tierney Sutton warms the soul with Something Cool. This offering, her third as a leader for the Telarc label, finds the vocalist using an array of vocal techniques, jazz styles, and formats on 14 great songs by several Great American Songbook composers, Bobby Troup, and the masterful Duke. Sutton is accompanied by her longtime trio of CJ on piano, TH on bass, and RB on drums. The lovely vocalist/educator charms her listeners with elongated phrasings, a strong rhythmic sense, and amazing improvisational abilities on three Lerner & Loewe themes from the Broadway musical My Fair Lady. In addition to the outstanding vocal treatments she offers her listeners on these classic songs, Sutton scats and swings through an amazing "Ding, Dong! The Witch Is Dead." This song not only shows her versatility with tempo changes and range, but also displays her unique talent for selecting songs commonly associated with another musical style and improvising them in a jazz context. She garnered international critical acclaim for this technique on her 1999 release titled Unsung Heroes. Additional highlights include Howard Dietz's "Alone Together," on which she duets with bassist TH, and her exceptional rendition of "The Best Is Yet to Come," which features her cool jazz vocal skills. Tierney Sutton is at her finest on this program and offers an impeccable selection of songs that showcase her distinct musical personality and quality sound.


Tierney Sutton
Blue in Green



by Ken Dryden
There have been a number of tributes to Bill Evans since the pianist's death in 1980, including a few by singers. But this CD by Tierney Sutton (only her third as a leader) is not only wide-ranging in its scope, as it draws songs from throughout his career, but the often innovative arrangements bring a freshness to the music. Sutton doesn't resort to loud theatrics but swings hard when necessary while focusing on the melody, and also gives her supporting trio (pianist CJ, bassist TH, and drummer RB) space to play. Evans' songs include a haunting "Blue in Green" (a modal gem credited to Miles but claimed by the pianist as his work) with a touching lyric by M. d'Ambrosio, the mournful "Turn Out the Stars," a magical deliberate take of "Very Early," and an enticing medley of two of Evans' ballads written in honor of two young ladies, "Waltz for Debby" (for his niece) and "Tiffany" (for drummer Joe LaBarbera's infant daughter, who later composed the lyrics to this song as a teenager; Joe takes over the drums on this one song). The brisk "Autumn Leaves" is given a dramatic facelift with some fine scatting by Sutton and a wonderful reworking of the chord structure, and the calypso-flavored introduction to "Someday My Prince Will Come" is a high point, too. Ken Wild takes over on bass for the enchanting piano-less arrangement of "Sometime Ago," playing an ostinato pattern and supplying a soft backing scat vocal on this catchy chart. This outstanding release by Tierney Sutton should be considered an essential acquisition by fans of jazz singers and music associated with or written by Bill.


Tierney Sutton 
Unsung Heroes







by Rick Anderson
Tierney Sutton's light, sweet voice is not yet as familiar to most jazz fans as those of Ella or Sarah, but on the evidence of her first two albums, it deserves to be. Her flexibility and control are world-class, and she has a sense of taste that has never failed her on record; although her technique is superb, she never seems to be showing off. Unsung Heroes doesn't quite achieve the magic of her debut (Introducing Tierney Sutton, on A Records), but it's never less than entrancing: the program consists of jazz standards that are more commonly performed as instrumentals (hence the album's title), and her interpretations of "Indiana/Donna Lee" and "When Lights Are Low" are effortlessly charming; her take on the Dizzy's classic "Con Alma," with its slightly eerie a capella intro, is especially strong. Sutton is supported primarily by her longtime quartet, pianist Christian Jacob, bassist Trey Henry, and drummer Ray Brinker. Highly recommended.


Tierney Sutton
Introducing Tierney Sutton




by Rick Anderson
Tierney Sutton has the kind of voice that you can take for granted. After just a couple of tunes, you know you can relax — she's not going to flub a note, she's not going to screech trying to reach beyond her range, she's not going to show off. That frees you up to sit back, close your eyes, and alternate between wonder at her pure technique and rapt enjoyment of her artistry. Sutton's debut album is a program of standards (not to say potboilers): "The Song Is You," "My Heart Stood Still," "It Never Entered My Mind," like that. But even if you've heard all these songs a hundred times before, you'll still love this album. Not because she brings anything particularly surprising or revelatory to this repertoire, but because she sheds such a warm, sweet light on the songs that it's a pleasure to hear them again. Sometimes she surprises, as on the voice/bass duet arrangements of "In Love in Vain" and "My Heart Stood Still," which are two of this album's many highlights, or with startling scat excursions where you don't necessarily expect them. Other times she evokes Ella Fitzgerald at her peak, as on her rendition of "Caravan." But she never disappoints.

Discussion: Enrico Pieranunzi Trio Live in Paris or in Japan ?

Sempre considerei Enrico Pieranunzi como um dos maiores do Jazz, estou constantemente a procura de novos cd's a serem lançados por este que considero um dos genios do Jazz. Quero discutir com aqueles que gostam do pianista italiano, qual entre as duas gravações ao vivo, é a preferida. As duas sessões na minha opinião são excelentes, mas prefiro a do Japão. Vale lembrar que os repertórios e os trios são distintos.
Na duvida escute-os outra vez e leiam os reviews abaixo, boa audição:

LIVE IN PARIS



By Chris May
Gorgeously lyrical but unpredictable and open to free jazz, Italian pianist Enrico Pieranunzi always delights. His recordings, which are now frequent going on prolific, move the scenery around so that he rarely plays in the same context twice running. Highlights from the last year or so have ranged from the spare and spacey explorations of Doorways(with Paul Motian and Chris Potter) through the rhapsodic accessibility of Play Morricone(with Marc Johnson and Joey Baron).
Live In Paris, a double-CD set recorded at Le Duc Des Lombards club over three nights in October 2001, sits somewhere between those two albums: it's more conventionally melodic than Doorways, but further off-the-book and impressionistic than Play Morricone. The album reunites Pieranunzi with bassist/producer Hein Van De Geyn and drummer Andre Ceccarelli, incisive accompanists and quirkily inventive soloists, with whom he recorded Seaward in 1994.
Most of the tunes are standards, but whereas Pieranunzi stayed close to the original scores on Play Morricone, typically embellishing the themes rather than improvising on their changes, here he takes a more elliptical approach, alluding only briefly to the melodies before taking off into the unknown. Coleman Hawkins famously never directly stated the theme on his signature 1939 reading of "Body And Soul." And Pieranunzi, while he references fragments of the top line (probably less familiar to jazz fans today than it was in Hawkins' time), himself only gives it the briefest of nods.
The trio approaches "Someday My Prince Will Come," "What Is This Thing Called Love," "I Fall In Love Too Easily," "Autumn Leaves" and "But Not For Me" from similarly oblique angles: they're flight paths to adventure, rather than gentle cruises around the Great American Songbook. "But Not For Me" in particular is outstanding. The group storm out at a furious pace, and Pieranunzi radically reshapes the theme with dissonant upper keyboard note clusters, which ring out like cracked bells over Ceccarelli's explosive drums. It's exhilarating, and at just over five minutes, a small masterpiece.
The most exquisite magic, however, comes on a thirty-minute/three-track sequence towards the end of the second disc, starting with a balletically graceful reinvention of Fats Waller's "Jitterbug Waltz," which moves between 3/4 and 4/4, dancing nimbly and prettily en pointe all the time. That's followed by Pieranunzi's Satie-esque "One Lone Star," all filigreed single-note piano lines suspended over treble-end arco bass and dreamy brushwork, and another fine original, "Una Piccola Chiave Dorata," slightly more expansive but still essentially miniaturised and intimate. A muscular "Autumn Leaves" closes things out.
Lovely, fresh and thoughtful music, occasionally erupting into passionate ferocity, and full of unexpected twists and turns throughout its journey.
Track listing: CD1: Introduction; Ouverthree; Body And Soul; I Hear A Rhapsody; Footprints; I Fall In Love Too Easily; But Not For Me; Hindsight. CD2: Someday My Prince Will Come; What Is This Thing Called Love; Jitterbug Waltz; One Lone Star; Una Piccola Chiave Dorata; Autumn Leaves.
Personnel: Enrico Pieranunzi: piano; Hein Van De Geyn: bass; Andre Ceccarelli: drums.
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ANOTHER REVIEW
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by Ken Dryden
It is a tremendous challenge to find a fresh approach to standards and frequently performed jazz compositions. But pianist Enrico Pieranunzi is up to the task in this collection of live trio performances from 2001 in Paris. He is accompanied by two of Europe's finest musicians, bassist Hein Van de Geyn and drummer André Ceccarelli (who worked together in singer Dee Dee Bridgewater's band). The leader's take of "Body and Soul" includes a fluttering introduction and some dazzling Tatum-like runs. "I Hear a Rhapsody" is transformed into a daredevil post-bop anthem, while Van de Geyn introduces "I Fall in Love Too Easily" with a heartfelt solo. But the big surprise is their playful take of "Someday My Prince Will Come," which sounds more like a nightmare than a dream! Pieranunzi's off-centered arrangement of W.Shorter's modal masterpiece "Footprints" is full of tension, though his approach to Fats Waller's "Jitterbug Waltz" is fairly restrained. The leader contributed several originals, including the moody ballad "One Lone Star" and the more upbeat "Una Piccola Chiave Dorata." The support of the rhythm section is an essential ingredient throughout this highly recommended two-CD set.

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LIVE IN JAPAN


by C. Michael Bailey
I suspect that at least a gazillion electrons have been sacrificed to the obvious influence that Bill Evans had on Italian pianist Enrico Pieranunzi...and I am going to offer up a few million more. Pieranunzi is well-studied in the Evans musical method, even establishing a temporal connection to Evans through bassist Marc Johnson, who performed with Evans on the late pianists final monolithic sets, Last Waltz and Consecration.
Johnson has show up regularly in Pieranunzi's groups, documented on Untold Stories, Ballads, and Paly Morricone. The latter of these employs drummer Joey Baron, collectively making up Pieranunzi's current trio performing on the two-disc Live in Japan.
Enrico Pieranunzi is that rare combination of scientist and poet, a musical Galileo who plays with a quiet certainty and powerfully invisible confidence. To end my comparisons with Evans, where Evans was painfully introverted, Pieranunzi is potently, but not overbearingly, extroverted. Pieranunzi's compositions and performances are concrete and perfectly conceived, lacking the vaporous aphorisms characteristic of Evan's playing. Compositionally, the trio's recital is devoted to the pianist, the trio, and a favorite Pieranunzi composer, Ennio Morricone.
The trio carefully crafts its collective efforts empathically, as easily as breathing. If it is even possible for a trio to be more comfortable than Keith Jarrett's Standards Trio it is this one. Pieranunzi, Johnson and Baron sound genetically linked to understand one anothers' dynamics, strengths, and weaknesses, if there are any. Each member is equally generous in their allowance of solo time to the others as well as their support of each other in such. All solos sound perfectly placed, never allowing the performance to sound rote and become boring. This recital seems so perfectly conceived and executed that it defies any meaningful analysis except that it is one of the finest trio recordings of 2007.
Track listing: CD1: Aurora Giapponese; Impronippo; How Can You Not?; If Only For A Time; Mio Caro Dottor Grasler; Musashi; Improleaves. CD2: Winter Moon; Broken Time; Tokyo Reflections; Nuovo Cinema Paradiso; Ninfa Pleba; When I Think Of You; Improminor.
Personnel: Joey Baron: drums; Marc Johnson: bass; Enrico Pieranunzi: piano.
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ANOTHER REVIEW
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By John Kelman
By no means a newcomer to the scene, Italian pianist Enrico Pieranunzi's star has only begun to rise significantly in North America in the past couple of years, with albums including the outstanding FelliniJazz (Cam Jazz, 2004) and Plays Morricone (Cam Jazz, 2005) finally more readily available. The double-disc Live in Japan, recorded in the spring of 2004, shortly ahead of the session for Ballads (Cam Jazz, 2006), captures the pianist once again in the company of bassist Marc Johnson and drummer Joey Baron—occasional companions, if not an ongoing working group, since the turn of the century.
Pieranunzi's impressionistic romanticism has often been compared to the legendary Bill Evans, but his penchant for focusing on material by Italian composers, in addition to his own writing, has often lent his work a distinctive Mediterranean vibe. But his collaboration with drummer Paul Motian on the freer but no less beautiful Doorways (Cam Jazz, 2005) demonstrated a more angular mindset that's an equal part of his overall approach, and is as much a component of Live in Japan as is gently balladry, straight-ahead swing and unmistakable lyricism.
Nearly half of this 100-minute performance is, in fact, devoted to free improvisation, but never without focus or collective intent. The 15-minute "Improleaves" deals largely in abstraction, but occasionally finds itself approaching—though never quite reaching—"Autumn Leaves," not to mention an on-again off-again pulse. Pieranunzi's "Aurora Giapponese" is a hauntingly beautiful overture that leads into the more extended "Impronippo," where Johnson's robust bass solo leads the trio into free territory. Brief references to standards like "All the Things You Are" are only a kind of baton-passing relay where Pieranunzi's deft touch may be the apparent dominant voice, but is really just one voice in a democratic three-way conversation.
Johnson and Baron's work together in recent years for artists including guitarist John Abercrombie and pianist John Taylor, and on the bassist's own superb Shades of Jade (ECM, 2005), suggests a rhythm section that will be looked upon with the same reverence as those of Scott LaFaro/Paul Motian and Ron Carter/Tony Williams. Infinitely flexible and unfailingly intuitive, there seems to be no limit to their musical reach.
The balance of the program consists of Pieranunzi originals, four by film scorer Ennio Morricone, and one by Baron, the open-ended "Broken Time." The set seems to go by in an instant, and while there are breaks for applause, they're hardly noticed. In turns energetic, elegant and elusive, Live in Japan is a thoroughly compelling release that positions Pieranunzi, Johnson and Baron in the upper echelon of piano trios, and will certainly go down as one of the best trio records of 2007.
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ANOTHER REVIEW
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by Ken Dryden
Enrico Pieranunzi has long been recognized as one of the best European jazz pianists. This two-CD set with bassist Marc Johnson and drummer Joey Baron, not actually a regular trio but one whose members have worked together on a number of occasions over two decades, was recorded during a concert tour of Japan in the spring of 2004, with selections taken from a number of different venues. Three engaging extended trio improvisations upon familiar standards are the highlight of this collection, though the pianist's delicious jazz waltz "How Can You Not?" and moody ballad "If Only for a Time" leave lasting impressions. The trio also explores four originals by noted Italian film composer Ennio Morricone, highlighted by the dramatic interpretation of "Musashi," in which the pianist's lyricism is complemented by Johnson and Baron's sensitive accompaniment. The spirit of Bill Evans is often present in Enrico Pieranunzi's playing throughout this collection, though it never takes over his musical persona. Highly recommended.

1 Sem. 2010 - Part Two

Denny Zeitlin

Precipice

by Michael G. Nastos
Denny Zeitlin's career as one of the greatest but woefully under-appreciated modern jazz pianists, may have taken a turn with the release of his early period Mosaic/Columbia trio reissue studio sessions, and several fine recordings for the Sunnyside label. This solo concert done at the Ralston House in Santa Barbara, CA recalls older standard favorites of Zeitlin's and adds on some of his beautifully conceived originals, exuding a spirit that suggests both renewal and determination of continuance. As a diversified modernist, Zeitlin is as easily capable of playing beautifully as he is of ripping up be-bop, but it is his advanced harmonic sense that sets him above and beyond most others. He's also capable of modal music, interpretations of show tunes, funky underpinnings, or introspective sounds that reflect his influences — Bill Evans, McCoy Tyner, and Thelonious Monk. Perhaps originals like the playful, active "On the March" gives you more an indication of how ultra-melodic a performer Zeitlin can be, but when you hear the rhapsodic, romantic "The We of Us" there are more layers to reveal. Always a champion of jazz giants, Zeitlin tears the speedy Sonny Rollins bop standard "Oleo" as if child's play, and uses soul-stirring, cascading harmonics during Wayne Shorter's lesser-known "Deluge." Whether in tricky time signature, loving discourse of lyrical proportions, or the occasional angular flight of fancy, Denny Zeitlin's expertise shines through familiar music and the spontaneously derived jazz that marks his a true master of the idiom, time after time.

Jacky Terrasson
Push



by Michael G. Nastos
Jacky Terrasson's 11th CD and first for the Concord label is a lively affair, mostly in a trio setting with special guests spotted in, that addresses various avenues of contemporary jazz styles. Pop and Afro-Cuban or even South African flavors are sprinkled in with the technically challenging bop that the pianist excels in. Thelonious Monk Award-winning bassist from Michigan State University Ben Williams is in on this one, as well as cameo appearances from Gregoire Maret on harmonica and saxophonist Jacques Schwarz-Bart amidst Terrasson's acoustic piano, occasional electric keyboards, and some vocalizing. Echoes of Jarrett, Flynn, or Ibrahim creep in as the gifted and oftentimes brilliant Terrasson bobs and weaves through this set of originals and highly modified versions of familiar tunes. A blurring fast "Beat Bop" hopped up with synthesizer accents, the contemporary "O Cafe, O Soleil" with Cyro Baptista's percussion work and handclapping reveling in the Capetown joy of Ibrahim, and the deliberate modal soul-funk of "Morning" all showcase vastly different interests for Terrasson. The pleasant pop trio jazz of "Gaux Girl" recalls Michael Jackson's "Liberian Girl," while the combination of Jackson's "Beat It" with the revered standard "Body and Soul" might seem odd until you hear Terrasson's free jazz tinkling to rubato and modal ideas, a thoroughly contemporary development, even adding a waltz tempo. There are stock or straight-laced versions of "'Round Midnight" and "You'd Be So Nice to Come Home To" that in this collection sound unusually common, but are played with a high degree of artistry and prowess. Push is one of Terrasson's most enjoyable and diverse recordings, a fine display of how he has both grown apart from what might be musically fashionable and matured exponentially.


Renato Sellani Trio
Grand Piano: The Music Of Michel Legrand




By Leonardo Barroso
Desde que conheci o pianista Renato Sellani, sempre achei parecido com o finado Hank Jones. Sendo assim nunca foi dos meus favoritos. Porem alguns discos causam surpresa, como este com músicas somente do grande Michel Legrand, acompanhado dos músicos Massimo Manzi(Drums) e Massimo Moriconi(Bass) e de várias das melhores músicas do mundo. Um CD para ouvir com prazer. Alguem sabe a marca do piano nesta gravação ?


Stefano Bollani
Stone In The Water

By Leonardo Barroso

Stefano Bollani é na minha opinião o melhor músico de jazz da atualidade. Suas obras são sempre inovadoras e sempre em busca da melhor formação,ou seja, solo/trio/etc... O trio é o mesmo do otimo Gleda:Songs From Scandinavia, assim sendo assume Bollani seu ego nórdico caracterizado pela beleza de interpretação e firmeza de execução. Na primeira vez que ouvi, não achei este um de seus melhores trabalhos, mas como sempre sua musica vai causando surpresa a medida em que a audição é mais intensa. Não sei ainda se é seu melhor trabalho mas sem duvida, é muito bom !!!!!

By John Kelman
Serendipity can be a wonderful thing. Invited to perform with 2002 JazzPar prize-winner, trumpeter Enrico Rava, pianist and fellow Italian Stefano Bollani first encountered bassist Jesper Bodilsen and drummer Morten Lund when they were proposed as the rhythm section for the Danish award show and a brief tour. The chemistry was on such a deep level that Bollani, Bodilsen, and Lund decided to continue as a trio. Seven years and two albums on the Danish Stunt label later, Stone In The Water finally gives the trio the international exposure it deserves. Aesthetically akin, in some ways, to Swedish pianist Bobo Stenson's trio, it's the year's most sublime piano trio recording, where silence and the power of understatement are as definitive as the virtuosity that underscores this group's uncanny empathy.
Stone In The Water's soft, elegant mix of original material from Bollani and Bodilsen is augmented by two Brazilian songs and—referencing Bollani's ECM leader debut, 2007's Piano Solo—an improvisation based on the music of classical composer Francois Poulenc. Each player's fluidity alone combines into a one-hour set that occasionally comes to a simmer , as it does on Bollani's "Asuda," but never reaches a boil; a very good thing as the trio seems to hover over that tipping point, creating a delicate strength that contrasts with profound implication.
Bollani may play Rava's Puckish foil when the two perform together as a duo but, despite no shortage of improvisational playfulness here, it's less comedic, and more finely attuned to the inherent compositional beauty. Brazilian songwriter Caetano Veloso's "Dom de iludir" opens the disc, with decaying notes, spare chords, and economical yet powerful melodies setting the tone for the rest of the disc. In a true evolution of the Bill Evans tradition, Bodilsen provides a consistent lyrical foil for Bollani and, when it's the pianist out front, the bassist's unerringly modest choices make this a definitive reading.
Modest is a good way to describe this trio. Despite its clear facility, this is a listening trio, with egos checked at the door. Lund, in particular, impresses with his refined sense of swing and unfailing allegiance to a groupspeak that's about collective voice rather than individual grandstanding.
And yet, it's impossible not to appreciate this trio's harmonic sophistication and overall technical skill, as it refines and modernizes a jazz tradition merged with European impressionism. "Bollani's "Il cirvello del pavone" may begin with a hint of Monk-ish angularity, but Bollani's light, dancing touch is a far cry from the legendary pianist's quirky ideation, as the piece moves to a bass solo where support is so elusive as to only reveal itself when taken as the sum of its parts.
Whether it's the more heated exchange of Bollani's solo on "Il cirvello" or the darker exchange on Bodilsen's indigo-shaded "Edith," Stone In The Water lives up to its name. Like ever expanding ripples, this trio's music is a constantly expanding soundscape of color and finely honed lyricism; the culmination of seven years playing with egos in check and ears wide open.
Track listing:
Don de iludir; Orvieto; Edith; Brigas nunca mais; Il cervello del pavone; Un sasso nello stagno; Improvisation 13 en la mineur; Asuda; Joker in the village.
Personnel: Stefano Bollani: piano; Jesper Bodilsen: double-bass; Morten Lund: drums.

1 Sem. 2010 - Part One

Bill Mays
Mays At The Movies



by Ken Dryden
Bill Mays' remarkable career has included stints with Sarah Vaughan and Gerry Mulligan, in addition to an extensive discography as a leader and occasional solo pianist. This trio date with Peter Washington and Billy Drummond marked the first time they had played together as a group, while the lack of rehearsal didn't keep them from sounding like a working unit. Mays conceived this CD as an opportunity to explore some of his favorite songs from movies, kicking off with a lively treatment of I've Never Been in Love Before that adds a few twists to this decades-old standard. The breezy setting of Pure Imagination swings hard, while Mays manages to put his personal stamp on Alex North's Love Theme from Spartacus, a special challenge due to the late Bill Evans' well-known recordings of this haunting ballad. Mays adds a good-natured vocal to You Leave Me Breathless, while Washington's playful exchanges with the leader in the driving take of Henry Mancini's Charade are delightful. The pianist also includes an original that has been heard in more than one film, Judy, an elegant swinger with a humorous detour into quoting Thelonious Monk. If music such as this session were only heard more often in film soundtracks, it would make a noticeable difference.



Brad Mehldau
Highway Rider 



By Leonardo Barroso
Estava com "high hopes" com o novo trabalho, de um dos mais inventivos pianistas do jazz de todos os tempos. Porém achei que faltou o que mais aguardava.... JAZZ ! Bonito mas sem sal !

by Thom Jurek
The Highway Rider is pianist and composer Brad Mehldau's second collaboration with enigmatic pop producer Jon Brion. The first was 2002's ambitious but tentative Largo. As a collaboration, The Highway Rider is much more confident by contrast. Mehldau’s most ambitious work to date, its 15 compositions are spread over two discs and 100 minutes. His trio —bassist Larry Grenadier and drummer Jeff Ballard — is augmented by saxophonist Joshua Redman, drummer Matt Chamberlain, and a chamber orchestra conducted by Dan Coleman. The album is a narrative jazz suite, orchestrated and arranged by Mehldau, though it has much in common with classical and pop music, as well.The group settings range from solo to quintet, with and without strings, all of it recorded live in studio. Redman's addition is welcome. “Don’t Be Sad” features his consoling tenor, Mehldau (on pump organ and piano), Grenadier, and both drummers with orchestra. It begins as a piano solo, languidly establishing a pace that begins to swing with gospel overtones. Later, Redman's lower-register blowing, strings, and winds carry it out joyfully. Brion adds drum‘n’bass overtones to the trio on the title track. The electronics are a narrative device designating motion; they accompany the gradually assertive knottiness in the post-bop lyric. Mehldau begins “The Falcon Will Fly Again” with a complex solo that touches on Latin grooves, even as Chamberlain and Ballard create an organic loop effect with hand percussion. Redman's soprano creates a contrapuntal melody extending the harmonic dialogue. Disc two’s lengthy “We’ll Cross the River Together” has quintet and orchestra engaging in a beautiful study of texture, color, and expansive harmonics with wildly divergent dynamics. It showcases Mehldau’s trademark pianistic elegance in counterpoint. Redman's deep blues tenor nearly weeps on “Sky Turning Grey (For Elliot Smith).” “Capriccio’'s Latin rhythms contrast ideally: Mehldau’s classical, gently dissonant motifs create an exploratory harmonic palette as Redman’s magnetic soprano playing joins Mehldau's in the last third, anchoring the complex melody. The closer, “Always Returning,” builds to a climax that incorporates themes from the cycle. Redman and Mehldau soar with the orchestra before they all close it in a whispering tone poem. By combining sophisticated — yet accessible — forms with jazz improvisation, The Highway Rider exceeds all expectations, giving jazz-classical crossover a good name for a change. It is Mehldau’s most ambitious, creatively unfettered, and deeply emotional work to date, and will stand as a high watermark in his catalog.


The Anthony Wilson Trio
Jack Of Hearts



By Leonardo Barroso
Este para mim, é um dos melhores jazzistas americano, possui ótima noção de arranjo e de escolha de repertório. Neste CD ele traz um mix de ótimas faixas e outras não tão boas. Melhor faixa do ano "Theme from Chinatown" é puro eargasm !!!

by Alex Henderson
Jack of Hearts isn't the first Anthony Wilson album to feature an organist extensively; for example, he worked with the Los Angeles-based organist Joe Bagg on his 2005 release Savivity. But the guitarist has worked with acoustic pianists more often than organists (at least as of 2009), and Jack of Hearts is unusual in that it finds Wilson not using a pianist at all. On this early 2009 session, Wilson forms an intimate trio with Larry Goldings on organ and Jeff Hamilton or Jim Keltner on drums. In the '90s and 2000s, Goldings was one of the leading proponents of a post-Jimmy Smith aesthetic on the Hammond B-3. Goldings has been greatly influenced by the late Larry Young, who started out as a Smith disciple but evolved into an innovative, distinctive post-bop/modal player and went down in history as "The John Coltrane of the Organ." Of course, Goldings is not a clone of Young; he is most certainly his own person, but he shares Young's love of post-bop. So it isn't surprising that Goldings does a lot to shape the post-bop perspective that dominates Jack of Hearts. His presence is a major plus on material that was composed by Goldings and/or Wilson, and it is a major plus on memorable arrangements of Coleman Hawkins' "Hawkeyes" and two of Duke Ellington's lesser-known pieces ("Zweet Zursday" and "Carnegie Blues"). The fact that neither of those Ellington tunes is a standard speaks well of Wilson, who is smart enough to realize that one of the joys of the vast Ellington songbook is hearing all of the worthwhile Ellington compositions that didn't become standards. Jack of Hearts is a consistently engaging addition to Wilson's catalog.


Carlos Franzetti
Mambo Tango



by Ken Dryden
Although Argentinean-born jazz pianist Carlos Franzetti is well-versed in both South American and Cuban styles, don't think of Mambo Tango as strictly a Latin recording. Sticking exclusively to solo piano for this session, his take of "Have You Met Miss Jones" could easily be mistaken for one of the neo-bop players who emerged during the 1980s and 1990s, with inventive improvisations against a walking irregular bassline. It is surprising that relatively few pianists have recorded Gary McFarland's moving "Gary's Waltz," a favorite of the late Bill Evans, who played and recorded it numerous times. But Franzetti's approach is less dramatic and alters the melody in a subtle, infectious way that is far removed from Evans' interpretation. He also tackles Evans' popular "Waltz for Debbie," shading it with an Erroll Garner-like bouncing rhythm for a time against his dazzling improvising in the upper keyboard. Franzetti's originals are equally of interest. His delightful "Mambo Tango" combines the two styles in a masterful performance, while "Milonga del Adios" is a bittersweet Latin ballad that deserves to have lyrics. To wrap this top-notch CD, Carlos Franzetti offers a tantalizing, deliberate setting of Duke Ellington's "I Got It Bad (And That Ain't Good)." Highly recommended.


Sylvian Luc
Standards 



Standards is a clever mix up of improvisations, spontaneous compositions, and famous themes that Sylvain Luc proposes us.
All the possibilities of the acoustic guitar are exploited here with a sensitivity and an emotion directed by a huge strictness.
Here the guitar is sensual and makes us travel.
From a trip at the far end of himself on his own, Sylvain comes back with a music which speaks and even sings to anyone.


Fred Hersch
Plays Jobim



by Ken Dryden
Fred Hersch has long been heralded as a lyrical jazz pianist with a wide and always growing repertoire. For most of this tribute to Antonio Carlos Jobim, Hersch plays solo piano, in a manner that reflects much of the authentic aspects of the composer's works, filtered through the pianist's perspective. The emphasis on the delicious counterpoint within his setting of the well-known "O Grande Amor" (a piece he learned during his short tenure in Stan Getz's band) marks a refreshing change from typical jazz recordings. His arrangement of "Insensatez" is almost whispered, played at a very slow tempo, which puts greater emphasis on its melancholy nature, even though no lyrics are heard. "Desafinado" was an obligatory number for jazz musicians during the heyday of bossa nova, but Hersch's skillful, demanding bassline gives it a freshness rarely heard in jazz treatments. The pianist also found several lesser-known but deserving Jobim works in his research for the making of this CD, highlighted by the gorgeous miniature "Por Toda Minha Vida." Percussionist Jamey Haddad is added on the lively "Brigas Nunca Mais." Beautifully recorded on a brilliant-sounding piano, Fred Hersch Plays Jobim is among the finest releases in the pianist's extensive discography.

Hank Jones 1918 - 2010

Faleceu em 16 de maio de 2010, o pianista Hank Jones. Não era meu pianista preferido, mas com certeza era um dos fundadores do Jazz. Nos ultimos anos estava muito bem acompanhado da cantora italiana Roberta Gambarini.

Jazz Master Hank Jones Passes Away
SOURCE: DL Media

Hank Jones, pianist and jazz legend, beloved husband of Theodosia, dear uncle to his nieces and nephews across the country, friend to music, inspiration to countless musicians, died May 16, 2010 in New York City, after a brief illness. He was 91 years old, and would have been 92 on July 31st.Jones' longtime manager and Justin Time Records representative Jean-Pierre Leduc reflects “Today we celebrate his spirit, his gift, his joy, his wisdom and his friendship. Hank lived and breathed music, and was never far from a keyboard, even at the end. His incredible burst of productivity these last few years--concerts, recordings, fundraisers, clinics--was unprecedented and truly remarkable."Born in 1918 in Vicksburg, Mississippi, Hank Jones grew up in Pontiac, Michigan, the eldest of the acclaimed Jones Family, which included trumpeter, composer and bandleader Thad Jones and drummer Elvin Jones.Jones started playing in local bands in Michigan, Ohio and Buffalo before moving to New York City in 1943. His first job was with Hot Lips Page at the Onyx Club on 52nd Street where in 1945 he joined Billy Eckstine's big band. The following year he joined Coleman Hawkins and from 1947 to 1951 he toured the world with the Jazz at the Philharmonic (JATP) accompanying Ella Fitzgerald. In 1952 he joined Artie Shaw and then worked with Johnny Hodges followed by Tyree Glenn. In 1956 he joined Benny Goodman and the CBS studios as staff pianist in 1959, a position which would last for 17 years. Additionally, Jones accompanied Marilyn Monroe as she sang “Happy Birthday Mr. President" to John F. Kennedy at Madison Square Garden in 1962.Although the thought of retirement had crossed his mind, at 87, Jones stayed busy playing concerts worldwide, recording and performing at jazz master classes at various schools, such as Harvard University and New York University. Always the consummate professional, Hank Jones was one of the last surviving musicians from an era that helped forge this great musical genre called jazz. Throughout his career, Hank played and recorded with a virtual who's who of jazz history. With over five hundred albums and CDs recorded and countless concerts, there are not too many significant names in jazz that Hank did not play or record with. Most recently, he was involved in recordings and performances with the contemporaries such as Joe Lovano. Jones' recent awards include a Congressional Achievement Award, NEA Jazz Master (1989), induction in DownBeat Magazine's Jazz Hall of Fame (2009), Jazz Journalists Associations Pianist of the Year (2009) and a GRAMMY Lifetime Achievement Award (2009).Jones released his most recent album, Pleased To Meet You, as a co-leader on Justin Time Records in October with label mate pianist Oliver Jones. Before his death, Jones recorded as a guest artist on a duets album with vocalist Hilary Kole, August 10 release on Justin Time. His final recording is an album of duets with bassist Charlie Haden, due out late this year on Universal France.He was scheduled to appear at Birdland in New York next week and had performances booked through next year.

Happy New Year 2010, Latest Jazz Arrivals !

Caros Jazzofilos,
Segue alguns reviews, de cd's que ouvi no fim de 2009, e não foram para a lista "BEST OF JAZZ 2009 ". Alguns são bons outros não, confira abaixo:


Marc Copland
New York Trio Recordings, Vol. 3: Night Whispers



By Alex Henderson
From Erroll Garner to Cecil Taylor to Bill Evans, and from Chick Corea to Thelonious Monk, a wide variety of acoustic jazz pianists have thrived in the time-honored piano trio setting (piano, bass, and drums) over the years. It's a setting that has never gone out of style in jazz, and it's a setting that has served acoustic pianist Marc Copland well in his New York Trio Recordings series. The lineup has varied from one volume to the next; on New York Trio Recordings, Vol. 3: Night Whispers, Copland is joined by bassist Drew Gress and drummer Bill Stewart (whereas he was joined by bassist Gary Peacock and Stewart on Vol. 1 and by Peacock and drummer Paul Motian on Vol. 2). The constant in the series, of course, has been Copland, who is in good form throughout this 2008 recording and enjoys a nice rapport with Gress and Stewart. Copland obviously enjoys the role of acoustic trio pianist, and his enthusiasm is evident on three Copland originals ("Scattered Leaves," "The Bell Tolls," and the title track) as well as on impressionistic performances of the standards "Emily" (no less than three different takes are included) and "I Fall in Love Too Easily." The whole album, in fact, is very impressionistic — even Miles Davis' "So What." The Davis standard has often had a strong groove factor; "So What" has been recorded by countless artists since Davis unveiled it on Kind of Blue back in 1959, and many of them have used it as a chance to groove. But Copland's version is more angular and less groove-minded than most versions. Night Whispers falls short of essential, but it's still an enjoyable addition to Copland's New York Trio Recordings series.
Track listing:

Emily (Take One); The Bell Tolls; Night Whispers; Emily (Take Two); So What; Like It Never Was; Space Acres; Emily (Take Three); Scattered Leaves; I Fall in Love Too Easily.


Joey DeFrancesco - The Original Trio
Snapshot



By Tony Augarde
I was feeling tired and a bit depressed - I can't remember why. Then I put on this CD, and my whole mood changed for the better. This session of live, no-nonsense jazz shed sunshine into my life. This album is sub-titled "The Original Trio" and there is certainly plenty of empathy between these three men, who have played together for many years. Drummer Byron Landham has backed Joey DeFrancesco for most of the time since 1989. Guitarist Paul Bollenback was with Joey from 1990 to 2002, when Paul (in Joey's ironical introduction) "moved on, started to do some other things on his own - and those things didn't work out too well, so he's back here - no, I'm only joking".
The opening Eighty One, by Miles Davis & Ron Carter, is a groovy, funky affair which immediately lifts one's spirits. It features Paul Bollenback in a lengthy but well-constructed solo. Joey DeFrancesco creates some interesting counterpoint between the keyboard and pedals of his Hammond organ, while Byron Landham lays down a driving rhythm.
The End of a Love Affair is taken at a fastish speed but it illustrates the trio's ability to play with quiet subtlety. It also displays the group's freedom - playing around with the tempo while swinging at almost any pace. It even goes into a kind of free jazz, which differs from many attempts at the avant-garde by maintaining coherence. Ode to Angela also starts gently, with DeFrancesco caressing Harold Land's composition. The rich harmonies he coaxes out of the Hammond B3 are set off against his dextrous finger work at the top of the keyboard. Paul Bollenback's solo also treats the tune sensitively.
Paul composed Songline, which again hints at a variety of tempos, although six-eight is dominant. Drummer Byron Landham solos powerfully against the Hammond background. Ray Charles's hit You Don't Know Me is appropriately delivered by Joey in a slow, smouldering tempo which evokes Ray's soulful spirit. Paul Bollenback's solo adds lyricism. The whole track abounds in the drama which organ trios are so well suited to producing.
Fly Me to the Moon is played at the request of an audience member: Joey's organist father, Papa John DeFrancesco. The performance avoids the bossa or four-four rhythm which so often accompanies this tune. Instead, the trio plays it basically as a jazz waltz, although yet again they appear to venture into several other tempos along the way, and Joey's solo is heightened by some cheeky quotes. Paul solos unaccompanied and in free time, before organ and drums join in for some fireworks, ending with Bachian counterpoint and a surprise climax.
The session closes with Whichole, a swinging DeFrancesco original which moves with such impetus that it almost overruns the buffers. This album actually makes me cry - with delight at the brilliant interplay of the musicians and the joyful feeling they generate.
Tracks:
1. Eighty One; 2. The End of a Love Affair; 3. Introductions; 4. Ode to Angela
5. Songline; 6. You Don't Know Me; 7. Fly Me to the Moon; 8. Whichole
Players:
Joey DeFrancesco - Organ
Paul Bollenback - Guitar
Byron Landham - Drums


Marc Copland
Another Place



By Ken Dryden
Marc Copland joins forces with a trio of fellow seasoned veterans, including guitarist John Abercrombie, bassist Drew Gress, and drummer Billy Hart for this 2007 studio session. The chemistry between the four men is apparent from the very beginning. The pianist's introspective ballad "Like You" is a complex affair, frequently showing the influence of Bill Evans in his lyrical ideas, though Copland's dark interwoven lines take in him other directions as well. Another of his works, "Another Place," has an eerie air in a somewhat breezy setting. Abercrombie's "River Bend" opens with a slow but tense air, a feeling that never entirely dissipates even as the tempo picks up considerably. Gress' "Dark Horse" is an introspective miniature with a brief solo by its composer, though the focus is more on the ensemble. The sole standard is a soft but swinging take of Cole Porter's "Everything I Love." This delightful outing is one of Marc Copland's finest dates as a leader.
Track listing: 

Like You; River Bend; Dark Horse; Car Blue Lady; Another Place; Ballad in Two Keys; Everything I Love.


Francesco Cafiso Quartet
Angelica



By Ken Dryden
Francesco Cafiso caught the attention of the European jazz scene and visiting American critic Ira Gitler with his phenomenal duo set with pianist Franco D'Andrea at the 2002 Pescara Jazz Festival, even though the young alto saxophonist was just 13 years old at the time. Angelica represents his eighth CD as a leader, though he was only 19 at the time of the sessions. Cafiso has developed the kind of chops one expects from a veteran; while he is able to execute blazing technical runs, he is more confident to let the music breathe, whether tackling a ballad or a midtempo tune. His supporting cast on these sessions includes pianist Aaron Parks, bassist Ben Street, and drummer Adam Cruz, while the set list includes several jazz standards: a thoughtful, reflective interpretation of Strayhorn's "A Flower Is a Lovesome Thing" and a spirited take of Ellington's "Angelica" (also known as "Purple Gazelle"), along with a warm setting of Horace Silver's "Peace" and a playful romp through Sonny Rollins' infrequently performed "Why Don't I." Cafiso also showcases his own compositions, showing promise, though he is still finding his own voice as a songwriter. It's apparent that Francesco Cafiso isn't taking the praise he received early on too seriously — he is seeking to make a lasting impression in jazz, and with this fine effort he is on the right path.


Laurence Hobgood & Charlie Haden
When the Heart Dances



By Michael G. Nastos
NAIM label stablemates Laurence Hobgood and bassist Charlie Haden countermand the current frenetic state of events in modern-day rat race soundbyte society with this beautiful recording of duets, solo piano tracks, and three offerings with Kurt Elling. Soothing the savage society, this music is sure to appeal to those who need a leaner, trimmed back, more serene dose of reality to balance what has become a world torn by strife, uncertainty, and fear. This is not to say this is music lacking substance or intrigue — far from it. Both pianist Hobgood and bassist Haden, clearly virtuosos, think on their feet together and separately, creating cohesive vistas of beauty, spirituality, emotional depth, or in a general sense, togetherness. They've chosen well-known standards adapted to their sensitive natures, in the case of "Que Sera Sera" an acceptant reverent and quiet adaptation of the oh well/whatever theme. Hoagy Carmichael's "New Orleans" starts in a clever, modernized two step folded into a blues frame, "Why Did I Choose You?" is both romantic and quizzical, and the incredible pretty and dark melody of Don Grolnick's "The Cost of Living," immortalized by Michael Brecker, is as stunningly emotional a tango inferred piece as has ever been written. Haden's "Chickoree" is bouncier in midtempo pace, still low key, with Hobgood's stride flavorings, while the pianist composed the title selection in a cascading waltz to light terpsichore that Haden follows along with beautifully. The tracks with the ever coy and wistful Elling include Haden's famous reflective ballad "First Song," including the poignant lyric about a "song that lightened up the world, when love was new." "Stairway to the Stars" showcases the vocalists spontaneous quality in elongating phrases and dynamics, while the Duke Ellington penned, drifting away waltz "Daydream" has Elling in a very deep, very midnight blue mood. Hobgood's solo works are as captivating as anything else, especially "Leatherwood" with its spirited and folksy stance, or the sheltering "Sanctuary," half church, half wedding song. An excellent recording from start to finish, played with extraordinary intimacy, heart and soul, this wondrous music is specifically built for those times in life when relaxation is a prerequisite to get one on to the next better day.
Track listing: 

Que Sera Sera; When The Heart Dances; First Song; Sanctuary; Chickoree; Stairway To The Stars; New Orleans; Why Did I Choose You; Leatherwood; Daydream; The Cost of Living.


John Patitucci Trio
Remembrance



By Phil Freeman
Bassist John Patitucci's tenure with the Concord label has found him working in a variety of contexts, from Latin jazz to string quartets with saxophones, but this, his sixth album for the label and his first release as a leader since 2006's Grammy-nominated Line by Line, is possibly his most stripped-down release to date: a straight trio session with saxophonist Joe Lovano and drummer Brian Blade. Blade has been working with Patitucci for several albums now, but Lovano is a relative newcomer to the bassist's discography, having only previously appeared on a few tracks from 2001's Communion. This disc, like others in his catalog, finds Patitucci alternating between acoustic and electric bass, and while both approaches are equally worthwhile (the guy's a serious talent), the switching back and forth between funk and swing makes for a slightly disjointed listen. A better idea might have been to divide everything up, putting "Monk/Trane," "Sonny Side," "Scenes from an Opera," "Blues for Freddie," "Safari," "Joe Hen," and "Play Ball" up front and leaving "Messiaen's Gumbo," "Meditations," "Mali," and the short but beautiful title track as a four-song coda. But in any case, there are no bad tracks here — Lovano's soloing is as deft and muscular as always, and Blade's drumming is powerful without sacrificing subtlety — so a little style-hopping can be forgiven.


Jon Mayer
Nightscape



By Michael G. Nastos 
Jon Mayer's understated piano style likely doesn't wow many who depend on speed and image to impress. What Mayer does offer is a musicality and taste level that underscore his finely honed talent in this classic piano-bass-drums trio setting. Not a Young Lion, Mayer has been playing like this for many moons, producing this ninth trio effort, mixing standards and bop with a few originals and some thoughtful choices for famous songs to interpret. With the great bassist Rufus Reid and veteran drummer Roy McCurdy on their second collective go-round since the 2007 CD So Many Stars, Mayer seems to know he would be hard-pressed to find better partners in mainstream modern jazz. As a collective, these three easily breeze through well-known chestnuts such as an easy swinging "The Touch of Your Lips" and the simple and light "Dancing in the Dark," featuring McCurdy's sensitive brushwork. Conversely, they fly through "Bohemia After Dark" with a bit of haphazardness, ramble through the excellent road song swinger "Day by Day," and uplift the hard bop, Bud Powell-like, jaunty Horace Silver nugget "Room 608." They're at their best during the Harold Land-penned buried treasure of a tune "Rapture," as a modal foundation leads to some wondrous left-hand piano and bass unison lines that strike straight and true over a tick-tock beat and some beautifully evocative melody strains. Mayer's originals include the late-night mood music/ballad title track and the basic "Blues Junction," which sounds like it could have been written for Gene Ammons and Sonny Stitt, here sans horns, back in the '50s, with perhaps Ray Bryant, Junior Mance, or Silver doing the imaginary honors on piano. Reid continues to be a peerless in-demand bassist, while McCurdy seems to have lost nothing over his many years as a top-notch drummer. While Mayer's discography and this album battle against far too many other recordings of similar instrumentation, the subtle under-the-surface nuances akin to Bill Evans provide valuable lessons in flying below the rat-race, speed-demon side of contemporary music, and kudos to him for that.


Melissa Walker
In The Middle of It All

By Michael G. Nastos
Melissa Walker's fourth CD is significant in many musical ways, for she is an extraordinarily gifted jazz singer with one foot in the tradition and the other planted in more progressive notions. It was likely that this album would have never come to pass, for Walker battled with allergies and infections, and was ordered by doctors not to speak or sing due to vocal cord paralysis. After a few years of silent recuperation, it is happily reported that she's back to singing, and marvelously at that. The jazz community/family has embraced her return, as a stellar group of first-class players accompanies Walker, including the trio of Aaron Goldberg, Christian McBride, and Clarence Penn, with soloists in guitarists Adam Rogers and Keith Ganz, and on three tracks harmonica player Gregoire Maret. This broad-ranging program includes jazz standards; underground, country, or contemporary pop; R&B; and nu jazz. Walker's voice is pretty strong considering her affliction, retaining a supple sweetness that has not a trace or residue of saccharine. Her slow, late-night take of Arthur Alexander's "In the Middle of It All" indicates she's lost a love and grown from it, with Maret's supportive harmonica buoying her emotional loss. A slinky blues about walking away from that love and pain during "Forget Me" is from both a male and female perspective in a deeper vocal tone than the other tunes. Vindication and trust return on "I'm with You Now," a ballad of assurance aside Goldberg's always competent piano. There are several other songs on the album that reflect these emotions, as if Walker was also struggling with a significant other in addition to her physical issues. The most personal track is "I'll Sing a Song," clearly one she has to sing in her triumphant return to jazz in an upbeat, spirited, tick-tock, steadily improving, and rising beat. But especially check out her take of Peter Gabriel's "Don't Give Up," assuredly a personal anthem of determination stewed in the most elusive rhythmic pot of disparate elements — a masterpiece! Musically, "Invitation" is an elaborate arrangement on the well-worn standard that raises the bar, as crazy rhythms dot the landscape of Walker's soaring vocals. There's a spare and bouncy take of Jerry Jeff Walker's "Mr. Bojangles," while "Where or When" with Maret closes the set in a serene, settled mood. Clearly this is a recording project that says many things about Walker's personal hell, and how she has persevered to make it back stronger than ever. Check out her three fine Enja label CDs in comparison to this extraordinary recording to see how far she has come.


Branford Marsalis Quartet
Metamorphosen



By Michael G. Nastos
As on his recording Requiem, dedicated to his longtime friend and pianist Kenny Kirkland, Branford Marsalis dedicates this recording to his mentors, friends, and jazz icons who had passed away prior to its recording. The CD varies between his tenor or alto saxophone celebratory-led post and neo-bop compositions, or the somber, reflective slower songs featuring the soprano sax of Marsalis. This exceptional band, together for ten years, with drummer Jeff Watts, bassist Eric Revis, and pianist Joey Calderazzo, communicate with utter confidence and the mastery of expert professional musicians who need few verbal or charted cues to spring forth into action. Thelonious Monk's influence is recognizable on the jagged edged, quirky Watts composition "The Return of the Jitney Man," the straight, no-frills hard bop chaser "Jabberwocky" where Marsalis borrows a page from the book of Charlie Rouse, a take of "Rhythm-A-Ning" moves from straight-ahead to staggering funk, with most of the intact original line phrase, while "Sphere," composed by Revis, is an original angular adaptation of Monk's style without much paraphrasing . A tribute to the actor, "Abe Vigoda" is a crusty and dusty ballad, "The Blossom of Parting" a reverent, sad song for the departed, and "The Last Goodbye" a similarly themed ballad, all with Marsalis on the soprano. Perhaps the most original piece is "And Then He Was Gone/Samo," featuring an extended solo from Revis, intentionally messy and frustrated, followed by the finale, a funky 7/8 soul and spirit song. A fine, emotional and heartfelt effort from Marsalis, one of his best since Requiem, it faithfully pays tribute to those late heroes like Alvin Batiste, Michael Brecker, Freddie Hubbard, Dewey Redman, Max Roach, Willie Turbinton, while also staying true to himself.


Danilo Perez
Across The Crystal Sea - Conducted Arranged by Claus Ogerman



By Mark F. Turner
The cover art is descriptive of the recording's music—gentle brushstrokes of pastel colors portraying a picturesque vista of tranquility. This visual is indicative of what's in store from pianist Danilo Pérez's most challenging release to date, Across the Crystal Sea.
A pianist whose tenure with the Wayne Shorter Quartet (e.g., Beyond the Sound Barrier (2005, Verve Music)) is etched in modern jazz. Born in Panama and living in Boston, Pérez is also a leader/composer whose recordings have earned him acclaim and awards in Latin jazz (including a Grammy). But he doesn't seem to be resting on past laurels as he is quoted, "My experience with Wayne has taught me to go to unknown places."
One unknown place led to the realization of Across the Crystal Sea, an orchestral recording with Pérez and a stellar quartet (bassist Christian McBride, drummer Lewis Nash, percussionist Luis Quintero and vocal stylist Cassandra Wilson on two tracks) performing with none other than arranger/conductor Claus Ogerman, whose work is synonymous with excellence. One who possesses an affinity with jazz as heard in his collaborations with Antonio Carlos Jobim, Bill Evans, Diana Krall, Michael Brecker and others.
With the exception of two standards, "Lazy Afternoon" and "(All of a Sudden) My Heart Sings" (both vocal compositions), the recording features Ogerman's compositions that are based on themes by classical composers Rachmaninov, Massenet, Sibelius and others. This daunting task is not simply a "jazz quartet with strings" session but a seamless entity where the charts and musicians uniquely coalesce; witnessed in the gentle winds of the title song and the dramatic impetus in "Saga of Rita Joe."
The two standards feature Wilson's exquisite talent, proving her merit as one of today's preeminent jazz singers. Her husky voice is so alluring and romantic on "My Heart Sings" that it feels as if she's singing directly to the listener. From start to finish, this non-suite set feels like a connected work, culminating with the stirring "Another Autumn" as it reaches a pinnacle of grand design.
A leader's ability to take chances and submit to the unknown is what sets these pieces apart from the rest. Pérez did so on this recording and the results speak for themselves. Across the Crystal Sea is pure bliss, allowing the listener to escape into a world of sumptuous and immaculate music.
Track listing: 

Across the Crystal Sea; Rays and Shadows; Lazy Afternoon; The Purple Condor; If I Forget You; (All of a Sudden) My Heart Sings; The Saga of Rita Joe; Another Autumn.


Lynne Arriale
Nuance - The Bennett Studio Sessions



By Michael G. Nastos
Known strictly as a jazz piano trio artist, Lynne Arriale breaks that mold with the addition of trumpeter Randy Brecker, and it is a welcome complement. This is not to say her piano-bass-drums recordings had run their course — far from it. What the seasoned and literate brass man brings to the table ignites Arriale's innate passion, and inspires her dream sequence style of playing into a netherworld of darker passion and modernist ideas that are startling in their pure inventiveness. She's stretching further, reaching for deeper energy, and plays beautifully in tandem with her new partner. Bassist George Mraz is also along for this ride, as able as any player on his instrument ever, a fact seemingly lost on far too many listeners and critics. Of the six originals penned by the pianist, "Longing" and "Yada Yada Yada" certainly live up to and reflect their titles perfectly, from serenely sad to bobble head chatter respectively. "Crawfish & Gumbo" uses modified New Orleans funky strut and swing via the drumming of Anthony Pinciotti with Mraz on top, while a quick stairstep motif with only slight Latin inference informs "La Noche." The band tackles Sting's "Wrapped Around Your Finger" in a terrific modal framework and mysterious mood, with Arriale's piano remarkable in its Arabic, flashing style contrasting Brecker's even pace. This is an exemplary interpretation, as is "I Mean You" with the entire band playing brilliant, staggered phrases more pronounced than its writer Thelonious Monk originally conceived. Arriale's Bill Evans influence blossoms during her regal, free, and ethereal version of the standard "I Hear a Rhapsody," while she and the musings of the consistently refreshing Brecker use another slight modality, changing up Dizzy Gillespie's "A Night in Tunisia." A DVD performance with differently programmed tracks and stretched out versions of everything on the CD is available, and in 5.1 surround sound to boot. More and more rewarding upon repeat listenings, this recording fronted by one of the more skilled pianists in modern jazz and a criminally underrated trumpeter commands attention from start to finish, and deserves grand accolades, including a strong candidacy for Jazz CD of 2009.


Fred Hersch Pocket Orchestra
Live at Jazz Standard



By Michael G. Nastos
Ever the restless artist, pianist Fred Hersch wastes no time moving from one project to another. But he's termed this one "unintentional", having played with his "Pocket Orchestra" (in reality a quartet) only one other time, and that was the evening prior to these recordings at Jazz Standard in New York City. Stripping down the ensemble to barebones with no bassist, Hersch is joined by veteran drummer Richie Barshay, the excellent trumpeter Ralph Alessi, and Australian vocalist Jo Lawry. The music sports ethereal, wistful qualities at times, and in other instances, playful, prosaic, ethnic, and curious ones. Ever mindful of the deeper spirit of the heart, Hersch is consistently able to excavate deep emotions from the wellspring of timeless beauty, ancient traditions, and always the true spirit of modern jazz. "Stuttering" kicks off the set, and it's one of those irresistible pieces that commands your attention from the first note to the last, with its mixed meter navigation based in 3/4 time, unison piano, muted trumpet, and vocal lines, a daunting swing, the complex made simple, and adding a smidgen of funk. Hersch's famous "Song Without Words" is a samba with spiritual implications, Alessi's bright trumpet identifies the bluesy da-da song "Down Home," and an Afro-Cuban bounce tacked onto a New Orleans shuffle with Lawry and Hersch's quick, maximized staccato phrases enhances "Free Flying." Norma Winstone's lyrics are soulfully sung by Lawry in the innocent, breathless, light hearted way they were written on the waltz swing ballad "Invitation to the Dance" and the unrequited, sweet, Valentine's Day invitation "A Wish." Lawry sings and recites M.J. Salter's "what did you think?" poem; "Light Years," uses wordless scat on the fun and impish tune "Lee's Dream," one Bill Evans would enjoy; la-la's along during the more ECM like, Native American elements of "Child's Song," and hums in reserved, reverent repast aside Hersch for the Spanish tinged paean/prayer "Canzona." Each piece uniquely tells its own story, with Alessi's constantly inventive and listenable horn positively influencing the sound of Hersch's wise and wary piano stylings. Another successful project in a long line of them, it is a very fine example of how Hersch continually expands his horizons beyond standard fare and tradition, making his own history with every unique idea he is still capable of fathoming after all these years.


Kurt Elling
Dedicated to You - Sings the Music of Coltrane and Hartman



By Jeff Tamarkin
In a single three-hour session in March 1963, John Coltrane and the singer Johnny Hartman convened in a studio (along with the other members of Coltrane's legendary quintet) and recorded an album's worth of ballads that became one of the most beloved jazz vocal albums of all-time, the simply titled John Coltrane and Johnny Hartman. Both of those artists are long gone but their one-off collaboration inspired singer Kurt Elling to pay tribute in a tour that has now found its way to this live album, record at the Allen Room in Lincoln Center in early 2009. Accompanied by the Laurence Hobgood Trio (Hobgood, piano and co-production, with Elling; Clark Sommers, bass; Ulysses Owens, drums), the tenor saxophonist Ernie Watts guesting on several tracks, and the Ethel string quartet, Elling performs his own takes on the six songs that comprised the original Coltrane-Hartman album, plus several others in a similar vein, most drawn from the 1962 Coltrane album Ballads (which did not include Hartman). Elling possesses one of the warmest, most romantic voices in jazz-pop today, and he is ideally suited for these standards, songs such as Billy Strayhorn's "Lush Life," Sammy Cahn's "Dedicated to You," and Jimmy Van Heusen's "Nancy with the Laughing Face." All of these tunes have, of course, been interpreted by probably hundreds of other singers, but Elling's grace, command, and nuanced phrasing put him, with his expressive baritone and obvious affection for this material, well into the upper echelon. The musicians are particularly sympathetic, knowing when to use restraint and when to step out a bit, and the lushness provided by the strings juxtaposes perfectly with Watts' meaty tenor work. What makes the tribute that much more worthy is that Elling and crew (including Watts) don't attempt to re-create the Coltrane-Hartman session so much as channel its essence. "Dedicated to You" is not an echo, which would be a pointless exercise, but a beautifully realized work in its own right.


Joe Locke & David Hazeltine Quartet
Mutual Admiration Society 2



By Ken Dryden
The incredible chemistry between vibraphonist Joe Locke and pianist David Hazeltine during their earlier Sharp Nine CD, Mutual Admiration Society, obviously inspired a follow-up record date, though it took a decade for producer Marc Edelman to make it happen, with bassist Essiet Essiet and drummer Billy Drummond returning as well. Both Locke and Hazeltine are superb soloists and sensitive accompanists for one another, while Essiet and Drummond prove why they are both among the first-call players for all kinds of dates. Locke's joyful, driving post-bop vehicle "Pharoah Joy" is a delightful opener that salutes Pharoah Sanders. Hazeltine's engaging "One for Reedy Ree" honors the late Tony Reedus (an in-demand drummer who died far too young), a gliding hard bop chart that Reedus would have enjoyed playing. A third tribute, Hazeltine's "Blues for Buddy," salutes the late pianist/vibraphonist Buddy Montgomery, who died just over a month prior to the CD's official release. Also noteworthy is Hazeltine's thoughtful adaptation of Stevie Wonder's "If It's Magic." A third volume is clearly in order to follow up this rewarding session.


Sophie Milman
Take Love Easy



By Ken Dryden
Some critics might dismiss Sophie Milman as simply another pretty female singer, yet with her third CD, she continues to show an adventurous spirit, tackling standards and obscurities while also forging ahead into pop. Retaining many of the musicians from her previous release, Make Someone Happy, the upbeat alto offers a hip take of Duke Ellington's long overlooked "Take Love Easy," exuding sex appeal and backed by guitarist Rob Piltch, bassist Kieran Overs, and percussionist Mark McLean (who also arranged it), with a brief solo added on soprano sax by PJ Perry. Pianist Paul Shrofel contributed the breezy bop vehicle "That Is Love," which showcases Milman in her best light. She soars in the brisk treatment of the old chestnut "Day In, Day Out," starting in a samba setting and switching to bop, featuring alto saxophonist Wessel Warmdaddy Anderson. Her ventures into pop remain a mixed bag. "I Can't Make You Love Me" has been recorded often, just not in a jazz setting. Milman is boosted by Steven MacKinnon's chart, which adds several horns in the background, so it ends up deeper, even if there is little risk-taking by the singer. Milman can't help but be influenced a bit by Joni Mitchell as she interprets the folksinger's "Be Cool," though she remains remarkably subtle in her approach. Less successful are her renditions of Bruce Springsteen's "I'm on Fire" and Paul Simon's "Fifty Ways to Leave Your Lover," both of which are hampered by their bland melodies and forgettable lyrics. But with this generally strong release, Sophie Milman remains one of the most promising jazz singers of her generation.


Joey DeFrancesco
Finger Poppin' - Celebrating The Music Of Horace Silver



By Michael G. Nastos
As Joey DeFrancesco has switched from the standard Hammond B-3 to the Diversi clone organ, you'd hardly notice how the subtle differences in each instrument affect his playing style. However, this recording reflects a very rich, warm feeling manifested not only in his approach, but via the music he is playing — a celebration of songs written by Horace Silver. Tom Harrell (former bandmate of Silver, exclusively on the flügelhorn) and Tim Warfield (tenor sax only) were recruited to keep the embers glowing but not flaming on, while longtime DeFrancesco drummer Byron Landham also utilizes the utmost of restraint and taste. This is not the fiery Horace Silver sound stoked by drummer Roy Brooks, but a respectful tribute to Silver's bands, with several well-chosen old favorites and two discernible off the beaten path selections. DeFrancesco's secondary role in the background is telling on classic tracks like "Strollin'," with its naturally easygoing mood supporting Warfield's deliberate, overly careful phrasings, or the sly, slow groove of "The Jody Grind," where a bit of imperfection crops up in the main melody line. Similarly imprecise is the rushed version of the title track, a bit too fast in hard bop fashion. The rest of the recording compares well with Silver's original takes, as "Swingin' the Samba" sports a popping beat approaching Mexicali swapping with Brazilian, the shuffle blues "Let's Get to the Nitty Gritty" has no problems or pressure, and "Peace" — the ultimate ballad — is lovingly caressed by Harrell's flügelhorn. At over 11 minutes in length, "The African Queen" is as compelling as the original in its up-and-down dynamics; however, it's still a bit cautiously rendered. An ever popular piece, "Filthy McNasty" is a fairly simple tune, but done with more fire than the others via great communion between Warfield and Harrell. There's no reservation in stating it's commendable that organist DeFrancesco did pianist Silver's tunes with such respect and alacrity, but considering this was done in one shot on one day, perhaps additional takes would have yielded maximum results. It's a good recording nonetheless, and one DeFrancesco fans will enjoy.


Steve Kuhn Trio with Joe Lovano
Mostly Coltrane



By Ken Dryden
Steve Kuhn was the original pianist in the John Coltrane Quartet, though he was replaced by McCoy Tyner after two months, as Tyner had been Coltrane's initial choice. Though he never recorded with Coltrane, he is steeped in the late saxophonist's music; this tribute covers music from many phases of his career. With tenor saxophonist Joe Lovano, bassist David Finck, and drummer Joey Baron (the latter two being part of the pianist's working trio), Kuhn had the challenge of tackling mostly well-known Coltrane compositions and standards without sounding like a clone, even though he was utilizing the same instrumentation. Fortunately, Kuhn's approach to playing is very distinctly different from McCoy Tyner, while any hints of Coltrane's influence on Lovano are brief. Billy Eckstine's "I Want to Talk About You" shimmers in the pianist's reserved, lyrical trio setting (omitting saxophone), while "The Night Has a Thousand Eyes" bursts with energy, with Lovano making a delayed entrance well into the piece. One of the most unusual tracks is "Spiritual," with Lovano playing the tárogató, an Hungarian reed instrument that is related to the oboe, sounding a bit like a soprano sax but with a warmer, less shrill sound. Their extended workout of this Coltrane favorite is more reserved than the composer's several recordings, but here the quartet is at its most adventurous. Kuhn also explores late-period Coltrane songs, such as the meditative "Jimmy's Mode" (showcasing Finck) and the turbulent avant-garde-ish "Configuration," both of which remained unissued until 1994. Mostly Coltrane easily stands out as one of the best CDs among the countless tributes to John Coltrane and is one of Steve Kuhn's essential recordings within his extensive discography


Ann Hampton Callaway
At Last



By Ken Dryden
Ann Hampton Callaway came to jazz through a background in cabaret. The rich-voiced alto has a touch of vibrato which she uses effectively. With a fine rhythm section consisting of pianist Ted Rosenthal, bassist Jay Leonhart, and drummer Victor Lewis, she mines the treasures of the Great American Songbook with a personal touch, showing off with a bit of effective scatting in "What Is This Thing Called Love," and delivering a playful "Comes Love" that is complemented by Wycliffe Gordon's gritty, muted trombone, along with a suitably dreamy "Lazy Afternoon." Callaway has a few surprises in store as well. She masters Chick Corea's demanding "Spain" with ease while she uncovers "On My Way to You," a forgotten gem by Michel Legrand with lyrics by Marilyn & Alan Bergman. She proves herself to be a talented songwriter with the soft bossa nova "Save a Place for Me" and the heartfelt "Finding Beauty," both of which add guitarist Rodney Jones and Latin percussionist Emedin Rivera. There are some misfires. Joni Mitchell's quirky "Carey" is an ill fit with the rest of the album, while the dull, narrow range of rocker Stevie Nicks' "Landslide" simply doesn't suit Callaway's rich voice. But these tracks are minor glitches in an otherwise outstanding release.