2 Sem. 2010 - Part Eighteen

Marian Petrescu
Body and Soul



By Claudio Botelho, an old-goat jazz listener
The main (maybe the only) mission of art is to please the senses. Art is not technology; it doesn’t need to evolve; it doesn’t need to break records, as long as it brings emotions. Art Tatum, in those days of yore, made some art that some find unequalled.It seems to me the music critics (as much as any other art critics, it seems) need discovering new languages every time, as a mean to validate contemporaneous works: one cannot keep walking the same routes all the time. New ones must be forged. I don’t think so. Fangio could never win over Vettel, if each used their respective cars, but Tatum could do it over Mehldau working with an out-of-tune upright piano, couldn’t he? So…I’ve been listening to jazz, since my early childhood and was never mesmerized by any other kind of music save” The Sergeant Peppers Lonely Heart Club Band” and bossa nova which, in its way, is a kind of soft jazz. And the” Lonely Hearts” was something clearly detached from anything else any pop musician had ever done up to that moment…I’ve been mainly listening to the piano-bass-drum format for all these years and have been yearning for more all the time. And if the players decide to ask someone else to join them, they don’t count on my approval: much more often than not, the strange will detract from my pleasure.But this is a personal matter. What I mean is that the trio format, for instance, reinvents itself all the time, as long as it makes art to your heart; as long as it stays transforming beautifully a song in a new-old song as any good jazz should. And that is the main task of the players which will never be superseded by whatsoever new musical language one may create.So, by thinking all this, I invite you to listen “Body and Soul” from the Finnish-Romanian piano maven Marian Petrescu, stating that, in this time, his partner guitar player was NEVER a nuisance…


Marian Petrescu
Thrivin' - Live At Jazz Standard



By Francisco Claudio B Botelho
Marian Petrescu. His is from Romania, lives in Finland, is an enthusiastic educator and praises Oscar Peterson. Well, this one is not with us anymore. He left an extensive discography and impressed many with his amazing dexterity. Few could be his peer, if virtuosity was the main concern. This Marian is one of the very few of them. And more: if you’re not a Petersonian, he’ll deceive you into being him. How spooky to have Mr. Peterson alive, playing the piano in 2009! But such is the case: the unusually skin fingers of that big man is, again, touching the ivory keys…Along, you’ll find David Fink, on bass, Marl MacLean on drums and Andreas Oberg playing the guitar. The recording engineer is Aaron Nevezie, who captured beautifully the live show at The Jazz Standard, in NYC.The program comprises time proven songs, although some not so often performed like “On the Trail”, “Cakewalk” and “Blues Etude”. These last two from his mentor and may defy the chops of some. On them, Mr. Petrescu had the chance to sport the full arsenal of that great master. Nothing was subdued or left to our imagination: the spirit of that great piano genius prevails all the time.But, perhaps, the evanesque“Blue in Green” (sorry, Mr. Davis, but that song is his own), performed with all its great plangency (who would dare to do it differently?) is the highlight of the show and here Mr. Oberg more than justifies his presence…This is for the new breed o f jazz listeners: “Thrivin’” has an approach of the 60’s/ 70’s, but, as it shows in spades, can more than hold its own with anything representative of these days, from the modernity of a Jason Moran to the more brain-oriented playing of so many European musicians, if emotion is at stake…


Aisha Ruggieri Quartet
Playing Bacharach



By OnlineJazz
Il titolo dell’album non potrebbe essere più chiaro: una pianista ha il coraggio di affrontare il repertorio dovuto alla penna di Burt Bacharach e lo fa in quartetto con Gianluca Carollo tromba e flicorno, Edu Hebling contrabbasso e Mauro Beggio alla batteria. Operazione riuscita? Francamente è arduo fornire una risposta esauriente dal momento che ci troviamo dinnanzi a brani fortemente caratterizzati, che sono entrati nella nostra mente e nel nostro cuore grazie ad alcune straordinarie interpretazioni il cui livello è difficile da raggiungere. Ciò detto bisogna dare atto alla Ruggieri di essersi mossa bene all’interno di questo universo così complesso, di aver affrontato la prova con grande carattere evidenziando uno stile maturo frutto sia di studio classico sia di una profonda conoscenza di tutto il pianismo jazz ance se, nel suo periodare, è riconoscibile soprattutto l’influenza di Bill Evans specie dal punto di vista armonico. Bene ha poi fatto la pianista a scegliere anche brani poco battuti come “A House Is Not A Home” e “Magic Moments”. Ispirandosi al Maestro, la Ruggieri presenta anche due sue “ Afrodita’s Dinner” e “Thanatos”: nella prima in bella evidenza la tromba di Gianluca Carollo, mentre nella seconda si fa particolarmente ammirare il contrabbasso di Edu Hebling.


Vincenzo Danise
Immaginando Un Trio, Vol. 1



By Ageofaudio
Immaginando un trio – vol. 1” è un disco nato dall’immaginario artistico di Vincenzo Danise, che lo registra in pre-produzione da solo per poi proporlo ai musicisti che lo hanno inciso nella versione definitiva. E’ un disco che si ascolta volentieri: una scrittura non particolarmente tortuosa ma che propone suggestive e raffinate ambientazioni sonore in cui il pianoforte la fa da padrone senza cadere in un jazz “barocco”.
Il cd presenta sei brani originali intervallati da due classici napoletani arrangiati in chiave free jazz.
Packaging curato nei minimi dettagli, copertina “all b/n” per omaggiare le grandi passioni per pianoforte e matita, produzione targata Walex Tricot (che, insieme alla Radar Records, tiene la “Waltex Jazz Competition” di cui Danise ha vinto la seconda edizione). La prefazione, di tutto rispetto, è di Enrico Rava, seguita da Vincenzo De Gregorio: nessun risparmio su toni elogiativi dedicati al lavoro, all’artista ed ai musicisti.
Il primo brano – da cui prende nome il cd – ci conduce subito nell’ambientazione poetica che informa un po’ in tutta l’opera, intervallando temi sognanti a rapide scale jazz, “il sogno di un’armonia perfetta”, come scrive il compositore. In “Fuoco dal Mediterraneo” prende posto alla batteria Stefano Costanzo, con un’apertura trascinante e note incalzanti intrecciate in una sorta di tarantella jazz, con sonorità a metà tra Spagna e Napoli. Poi le note si fondono in accordi minori, il ritmo sfuma, un po’ di malinconia pervade il brano, ma è roba momentanea, un ardore soltanto sopito, come un fuoco dormiente pronto a rinvigorirsi al primo alito di vento.“Ares” è il dio greco della guerra, un dio del quale diffidare. Non diffidiamo affatto della terza traccia, invece, con le sue variazioni di una sequenza di accordi minori, a tratti minacciosi ed a tratti inquietanti, con un sofisticato intermezzo centrale ed un ritorno “in extremis” al tema principale, valorizzato dalla batteria di Stefano Costanzo che ne accresce la drammaticità. “Marte” è un brano interessante, di concezione eclettica, con cambi ritmici e armonici ricchi di suggestione, “una donna, un amore, le sue contraddizioni”. Il centro del cd è caratterizzato da due arrangiamenti di brani napoletani classici come “’A Vucchella” e “La rumba degli scugnizzi”, lenta la prima con una melodia che si intravede nel fraseggio morbido, ruvida la seconda con un sound più aggressivo e ritmato. “Santosa” è un brano di Costanzo (che continua a presidiare la batteria), eppure quasi non si avverte il cambio di mano rispetto al “concept danisiano” impresso nel resto dell’opera: un elaborato e delicato accompagnamento ritmico che segue i toni di una serenata elegante ed inquieta. “Good Bye” saluta malinconicamente l’ascoltatore, descrivendo “il racconto delle speranze e delle paure racchiuse in ogni distacco”, con qualche richiamo – soprattutto nella ritmica – al Pat Metheny di “The last train home” ed un finale trascinante dal sapore sudamericano.
Speriamo che sia un arrivederci al volume 2…
Vincenzo Danise che 2006 si afferma al Concorso Chicco Bettinardi, nuovi talenti del jazz italiano, nel quale, oltre ad aggiudicarsi il primo premio da parte della giuria, ha conquistato anche il premio del pubblico, dal 2007 suona con il sassofonista Marco Zurzolo con il quale gira il mondo esportando la tradizione napoletana in chiave jazzistica. Suona con Ares Tavolazzi storico bassista degli Area. Nel 2009 è vincitore della seconda edizione del Jazz Waltex Competition. Egea/Radar.

Tracks:
1 Immaginando un Trio (V. Danise); 2 Fuoco dal Mediterraneo (V. Danise)
3 Ares (V. Danise); 4 Marte (V. Danise); 5 ‘ A Vucchella; 6 La rumba degli scugnizzi
7 Santosa (S. Costanzo); 8 Good Bye (V. Danise)
Trio: 

Vincenzo Danise Piano, Ivo Parlati Batteria, Aldo Vigorito Basso e archi, Stefano Costanzo: Batteria track 2,3,7


Bruce Henri & Villa's Voz



By Dr.Leandro L. Rocha
Bruce Henri é um músico norte-americano que há muitos anos está no Brasil já tendo trabalhado com grandes astros como Nana Caymmi,Gal Costa entre outros. Há mais de dez anos não lançava um disco como titular e,como ele mesmo diz no encarte do cd,"normalmente quando preciso encontrar inspiração ou solução,vou pelos caminhos da natureza,seja na praia ou à beira do rio no meu sítio lá no mato. Desta vez,tudo me veio repentina e atipicamente quando me encontrava deitado numa cama de hotel em São Paulo". Bendito hotel que serviu de inspiração para a realização desse trabalho extraordinariamente belo onde Bruce mistura a música clássica suprema de Villa-Lobos com o jazz e com a polirritmia brasileira do que resulta um trabalho primoroso,digno dos grandes mestres da música. Os músicos participantes são: Bruce Henri(baixos,arranjos e transcrições),Fernando Moraes(piano),Ricardo Costa(bateria e percussão),Leo Ortiz(violino), Jessé Sadoc(trumpete e flugelhorn),Jorge Pardo(flauta) e David Ganc(naipe de flautas).
Com esse time vocês preparem-se para ouvir um "senhor" disco que eu considero um dos melhores já realizados no Brasil nos últimos anos. Como diz Turíbio Santos na capa do cd: "tremendamente criativo e feito com respeito pela obra e genialidade do compositor".


Manu Katche
Third Round



By Nenad Georgievski
The art of making music that engages both the head and the heart is evidently not hard to pull off, but can be potentially self-defeating. But Manu Katché's exuberant and playful albums set new standards for brainy, soulful, and funky jazz, by blending his strengths as a composer and instrumentalist. His work as a drummer/composer/bandleader, much of it for ECM, shows Katché at his creative peak, stretching his capabilities to dizzying heights.
The Third Round is the next step upwards on Katché's creative ladder, a release of the highest order that combines moments of supreme beauty with the drummer's keen musical intelligence. With each successive record, Katché changes personnel, this time joined by saxophonist Tore Brunborg, pianist Jason Rebello, guitarist Jacob Young, and, finally, unleashing his secret weapon, bassist Pino Palladino. Katché and Palladino have played on numerous sessions, as well as Katché's first solo album, It's About Time (BMG France, 1991), and they possess a rare, almost telepathic musical kinship.
Dialogue in jazz—or any other music—is an essential, but Katché balances it optimally here, where empathetic encounters are built upon the basis of his quartet's s chemistry. The combination of excitement, texture and melody, individual personality, and group simpatico makes Third Round stand out. Full of fragile beauty, the opening "Swing Piece" and "Keep on Trippin'" demonstrate an unhurried pace, with the musicians' antennas fully tune to the same wavelength. Brunborg, who plays the role of a colorist-in-action with his playful and wistful saxophone, shows a broad tonal range; on the lilting and joyful "Being Ben," Katché adds delightful colors and drive, while Brunborg resonates in layers over top.
But Katché is always the center of attention—setting the pace, driving the dynamics, and establishing the mood. He is a painter who generates understated, deceptively simple grooves, shaded with various flows and colorful treatments. The quiet, mid-paced "Springtime Dancing" is a perfect example of the broad palette of his playing. Katché's bond with Palladino is apparent throughout the disc, the bassist lending a special kind of support and foundation with his purring bass lines.Trumpeter Kami Lyle, who also sings on the beautiful ballad "Stay With You," is something of a novelty on a tune that is simultaneously tender and resilient.
Third Round is full, resonant and rich in details that are typical of the ECM style; the musicians subtly commenting on and amplifying one another's nuances. These elements, combined with brilliant musicianship and Katché's compositions, provide the sort of magic that leads to repeated listening.

Track Listing: 

Swing Piece; Keep on Trippin'; Senses; Being Ben; Une larme dans ton sourire; Springtime Dancing; Out Take Number 9; Shine and Blue; Stay With You; Flower Skin; Urban Shadow.
Personnel: 

Manu Katché: drums; Tore Brunborg: saxophones; Jason Rebello: piano, Fender Rhodes; Pino Palladino: bass; Jacob Young: guitars (2, 6, 10, 11); Kami Lyle: vocal (9), trumpet (9, 10).


Anat Fort Trio
And If



By Dan McClenaghan
Working with legendary drummer Paul Motian on her first ECM release, A Long Story (2007), must have been a formative experience for pianist Anat Fort. On And If, her second release for the German label, she opens and closes the set with two readings of "Paul Motian." These are inward, time-standing-still tunes, showcasing Fort's spare and spacious approach to her instrument, with the abstractly nuanced accompaniment of her regular trio-mates, bassist Gary Wang and drummer Roland Schneider.
By and large less gregarious than A Long Story, And If can bubble with forward-leaning energy, as it does on the ebullient "Clouds Moving." And the disc bristles with a dangerous-sounding vibe on "Nu." But ballad beauty makes up the majority of the music, with the wistful "Lanesboro," the gently-rolling "Minnesota," and the holy "En If," alongside the pensive "Paul Motian" twins.
"Something 'Bout Camels," reworked and stretched out from A Long Story's version, gathers into existence on an eerie whine, eventually punctuated by single piano notes, leading to an evolution into mystic trio effervescence.
A Long Story, not initially recorded for ECM but brought there by Motian for consideration, set the bar high for Fort. It received lots of positive press and found its way onto year end top ten lists. Her sophomore And If is every bit as beautiful and more personal, delivering on the promises made by Fort's wonderful debut.

Track Listing: 

Paul Motian (1); Clouds Moving; En If; Some; Something 'Bout Camels; If; Lanesboro; Minnesota; Nu; Paul Motian (2).
Personnel: 

Anat Fort: piano; Gary Wang: bass; Roland Schneider: drums 

2 Sem. 2010 - Part Seventeen

Vijay Iyer
Solo



By Dan McClenaghan
Pianist Vijay Iyer may be one of the great ones; only time will tell. The pianist has risen to become a critics' darling, mostly on the basis of his quartet outings, including the much-lauded Reimagining (Savoy Jazz, 2005) and Tragicomic (Sunnyside Records, 2008). He's worked a trio magic, to, -with his piano/saxophone/drums Fieldwork group, on the high intensity Your Life Flashes (Pi Recordings, 20002), Simulated Progress (Pi Recordings, 2005), and Door (Pi Recordings, 2008).
All of Iyer's recordings, pre-2009, have featured saxophonists: the innovative Rudresh Mahanthappa on the sets under his own name, and the equally-talented Aaron Stewart and Steve Lehman on the Fieldwork sets.
Iyer's Historicity (ACT Music, 2009)—a piano trio offering—and now Solo, indicate a paring down of the approach, and also a move into more non-original material, with marvelous results.
A good one-word description of Iyer's work, pre-Historicity would be "intense." The majority of his earlier offerings are full-speed-ahead, chip-on-the-shoulder, perhaps, with a tinge of anger—sounds that are looking to kick somebody's ass. The absence of the very aggressive saxophonists he employs seems to have injected some calm introspection into his artistry. He opens Solo with "Human Nature," the Michael Jackson hit that Miles Davis brought over to the jazz side. Iyer respects the beautiful melody, and gives it a restless quality.
The restlessness continues on Thelonious Monk's "Epistrophy," a busy, clamorous rendition that leads into a tension-and-release of the American Songbook tune, "Darn That Dream." Iyer feels his way into the ruminative melody and adds dashes of Monk-like dissonance.
Iyer also proves himself a superb interpreter of Duke Ellington compositions. His take on "Black and Tan Fantasy" possesses a jaunty, devil-may-care, percussive strut. "Fleurette Africaine" drifts deep into a somber mood that suggests a fitful struggle in its more percussive sections.
Iyer's own compositions often have an inward, very personal quality to them. "Autoscopy" is a turbulent, bristling disturbance, with flashes of unfettered Cecil Taylor-like freedom before Iyer settles the sound into a soothing groove that he alternates with segments of high tension.
"Patterns" begins with a moment of peaceful reflection that builds to Iyer-esque, hard-charging intensity, while "Desiring" glows with an especially lovely and wistful mood of unrequited want.
By 2008, Vijay Iyer's work gave the feeling of an artist having reached a plateau, with a sense of sameness from one disc to the next. Now the pianist's vision expands. After the superb Historicity, the expectations for Iyer were high; with Solo, he has exceeded them .
Track Listing:

Human Nature; Epistrophy; Darn that Dream; Black & Tan Fantasy; Prelude: Heartpiece; Autoscopy; Patterns; Desiring; Games; Fleurette Africaine; One for Blount. 

Personnel: Vijay Iyer: piano.


Paczynski, Levinson, Jenny-Clark
Levin'song



By EastWind Import
A veteran French drummer who is recognized for his work both in jazz and classical music, Georges Paczynski recorded this album in 1994 with a stellar trio with pianist Jean-Christophe Levinson, who also composed all tunes, and wonderful bassist Jean-Francois Jenny-Clark, who sadly passed away in 1998.Originally released by a French minor label, this CD quickly went out of print but gained a cult status for its musical quality among Japanese jazz fans. Atelier Sawano has made this gem of an album available again, this time hopefully for a wider audience that it deserves.While clearly following the piano trio tradition pioneered by Bill Evans, these superb European musicians created wonderful music here. Their interaction is fierce and empathetic. Creative and ever-changing bass lines and dynamic drumming complement and challenge the pianist and elevate his performance. Even if you've never heard of them, it doesn't matter. This is great jazz. Highly recommended!Recorded in May 1994 in Paris. This Japanese edition was released by Atelier Sawano in August 2007.


Jean-Philippe Viret
Pour

By Citizen Jazz
Pour. Le mot tombe comme le plus fugace des éloges, comme une tendre et précise déclaration d’amour à la musique.Pour. Le mot claque comme une solide et galvanisante intention de donner du sens à la démarche. Il aura fallu Le temps qu’il faut pour que la phrase Indicible laisse planer, suspendue, la possibilité d’une dernière partie.Le temps qu’il faut pour... quoi d’ailleurs ? rêver ? s’évader ? Ou tout simplement façonner un univers comme l’ébéniste façonne le bois ?Le gracieux trio du contrebassiste Jean-Philippe Viret apporte via son sixième album un début de réponse en persistant dans une brèche où poésie de l’instant et élégante légèreté sont désormais une marque de fabrique patiemment élaborée.
Sur la pochette de ce Pour, les membres du trio sont superposés, comme pour illustrer l’harmonie homogène et la fluidité naturelle qui permet d’évoluer dans le souffle de l’illusion et le jazz des images. En témoigne l’ouverture alanguie, empreinte d’émotion - « Not Yet » - qui pourrait sortir tout droit d’un film noir. Le raffinement prend une dimension apaisée - voir la très belle « Barge rousse » - dans ces compositions nées sur scène, contrairement aux disques précédents, ce qui souligne encore le relief des teintes « spleen », entre ombre et lumière.
On se réapproprie avec plaisir l’alchimie créatrice qui unit contrebassiste et pianiste (le lyrique Edouard Ferlet et confère au trio une sonorité parsemé de réminiscences chambristes et de bribes de Debussy, de Ravel. Au centre, le batteur fait le lien ; musical et hypnotique, il s’attache davantage à la couleur qu’à la seule rythmique, pourtant subtile. Prenant la suite d’Antoine Banville, Fabrice Moreau - déjà remarqué sur Le temps qu’il faut- apporte beaucoup au disque, et notamment ce sentiment de concorde. Un disque tout entier imprégné par le timbre chaleureux de sa contrebasse, même si Viret, tout en restant aussi féru de jeux de mots, est plus parcimonieux que par le passé. Sur « Page 345 », par exemple, il laisse le champ libre à des discussions tout en astractions entre batteur et pianiste. Mais ailleurs, c’est une libre conversation à trois qui s’impose (« Le Ré grave », où la contrebasse, plus imposante, est magnifiée par la prise de son de Gérard de Haro, qui façonne depuis toujours le son du groupe).
Pourécrit un nouveau chapitre de l’aventure d’amitié qui évolue depuis près de dix ans. Nancy Huston dit joliment dans les notes de pochette que « Le trio, comme le tabouret tripode, est une structure solide » ; la contrebasse de Jean-Philippe Viret doit être faite de ces bois qui rendent les sièges plus robustes.


Espen Eriksen Trio
You Had Me At Goodbye



By Phil Johnson
This tasteful, ambient-friendly Norwegian piano trio offers an accessible, slightly poppy update on the examples of Tord Gustavsen and EST.
It's a familiar-enough method: strong melodies and sensitive playing favouring ensemble depth and textural detail rather than "Look at me, ma!" solos, although it's clear that all three have chops. Like Gustavsen, the governing mood is rather melancholy with a slightly funky edge. As the eight original Eriksen tunes total no more than 37 minutes, you're left wanting more rather than less.


Gianni Basso Quartet Meets Enrico Rava
Tea For Two



By Ken Dryden
Tenor saxophonist Gianni Basso is better known to European audiences, while trumpeter and flügelhornist Enrico Rava has had greater international exposure through recordings for more widely distributed labels; but they represent some of the top players on the continent. Joined by a superb rhythm section (pianist Andrea Pozza, bassist Luciano Milanese, and drummer Stefano Bagnoli), they cruise through a set focusing mostly on standards, ranging from the 1920s through the 1950s, with a couple of surprises. Among the highlights are two lilting takes of "Bye, Bye Blackbird," a pair of warm interpretations of "All the Things You Are" (where Rava is heard on both open and muted trumpet to good effect), a relaxed "Do You Know What It Means to Miss New Orleans?," and a buoyant performance of the old warhorse "Tea for Two." Among the more interesting choices are the lush takes of "The Gypsy" (forever associated with Louis Armstrong) and Dizzy Gillespie's timeless ballad "I Waited for You." This is one of many gems that make the Philology label worth exploring at length.

2 Sem. 2010 - Part Sixteen

João Donato Trio
Sambolero



By Dr.Leandro Rocha,aquele que alçará voos mais altos no jornalismo on line
Trata-se de um dos raros e preciosos lançamentos realizados pela gravadora Dubas Música dentro do seu objetivo de só editar música de alto nível. O catálogo dessa gravadora é minúsculo mas de grande qualidade e o CD em questão não foge à regra. O trio é formado por mestres como João Donato(piano e autor de todas as músicas),Luiz Alves(baixo acústico) e Robertinho Silva(bateria) além de contar com as participações, em algumas faixas, de Sidinho(percussão),Ricardo Pontes(flautas),Paulinho Soares(cavaquinho),Zeca Pagodinho(voz) como também de cordas(violinos,viola e violoncelo). Embora o repertório seja bastante conhecido,os temas de Donato recebem um tratamento jazzístico e dançante,em muitos momentos,o que torna o disco bastante cativante,de fácil audição. É um disco prá cima !. Vale mencionar algumas faixas onde o piano balançado e inventivo de Donato mais se destaca: "Surpresa"(belíssima parceria com Caetano Veloso),"Sambolero"(com Carmen Costa onde dá vontade de sair dançando),"A rã"(parceria com Caetano Veloso),"Jodel" ou "Café com pão"( com Lysias Enio,irmão de Donato) e "Sambou,sambou"(parceria com João Mello onde se destacam o gostoso cavaquinho de Paulinho Soares além do vocal de Zeca Pagodinho duelando com Donato).Com todos esses ingredientes não foi à toa que esse trabalho ganhou, durante o 11º Grammy Latino, prêmio na categoria de Melhor Álbum de Jazz Latino.


Perrine Mansuy Trio
Alba



By EastWind Import
French pianist, lawyer and composer Perrine Mansuy debut with her trio in 1997 after graduating from the Marseille Jazz Conservatory at the top of her class. A modern and poetic jazz pianist with a prestine touch, she has a wide range of techniques--she even plays Sarangi, a bowed, short-necked lute of the Indian subcontinent.This is Ms. Mansuy's second CD released by Atelier Sawano of Japan, following her 2004 debut La Nuit. Recorded in 2006 with her regular trio with bassist Eric Surmenian and drummer Joe Quitzke, this album showcases her attractive original compositions as well as her interpretations of well-known songs. The materials are taken from a wide range of musical genres. She pays tribute to talented female musicians she admires by performing their compositions: Ricky Lee Jones's "On Saturday Afternoon in 1963", Carla Brey's "Major", Joni Mitchel's "Both Sides Now."The interactions among the three musicians are telepathic and delicate. They utilize the spaces between notes and sounds just as much as notes themselves. In some tunes they are not afraid to show their ultramodern sensibilities and a touch of avant-garde. The sound quality of the recording is very good, and adds value to this creative program. Recorded April 9-11, 2006.


Keisuke Ohta & Bill Mays
Blue Rondo à La Turk


By EastWind Import
Collaborations between American jazz pianist Bill Mays and Japanese independent label Five Stars Records have been very fruitful and produced several wonderful CDs. Mays met violinist Keisuke Ohta at the recording of guitarist Kazuhiko Tsumura's album Ole (FSY-509). They "clicked" musically and that led to the recording of this duo CD. Primarily known for his work in ethnic and avant-garde music, Ohta deeply loves and respects Stephane Grapelli and what he calls orthodox jazz violin. His beautiful, rich tone and passionate style, underlined by an amazing array of techniques, serve his interpretation and expression of music. Mays again proves his great skills as sensitve accompanist and imaginative soloist. The eclectic program consists of an original each by Ohta and Mays, compositions by George Shearing, Dave Brubeck, Sonny Rollins, Duke Ellington, Django Reinharrdt, Dizzy Gilliepie and Astor PIazzolla, plus a free improvisation piece. Their chemistry and joy of making music together spontaneously are palpable, making this one of the best piano-violin duo albums I've heard to date. Strongly recommended! Recorded at Wang Guang RecLabs, Tokyo, on December 17, 2009.


Bill Mays Trio
Stuffy Turkey



By EastWind Import
Bill Mays, one of my favorite jazz pianists working today, has been the main star of Five Stars Records. Mays has been on at least five CDs from the small independent label based in Yokohama, Japan, both as leader and sideman/collaborator. Mays, veteran drummer Joe La Barbera and Swedish bassist Mattias Svensson had previously recorded a trio album for Five Stars, Head Up High, with Svensson as the leader. This time, the same partners in crime reunited under Mays' leadership and recorded a fabulous album. The label's producer Yoshie Mitsukoshi proudly tole me that this is the best CD she's produced yet, and I heartily agree! With firm roots in the traditional, straight-ahead jazz, Mays has impeccable technique, great taste and a streak of adventurous mind that makes his solos unpredictable and exciting. Svensson and La Barbera are perfect both as accompanist and soloist. This is a very satisfying and enjoyable trio album by a formidable pianist in his prime! Recommended! Recorded at Wang Guang RecLabs in Tokyo on December 21, 2009.


Steve Kuhn Trio
I Will Wait For You - The Music Of Michel Legrand



By EastWind Import
One of the veteran American pianists who release new recordings from Venus Records regularly, Steve Kuhn has been admired and loved by jazz fans both in the US and Japan. His latest release is a winning trio recording of the music of Michel Legrand. The lyrical, romantic and memorable melodies written by the French composer--many of which have become part of the standard jazz repertoire--are brilliantly interpreted and performed by a superb trio that includes George Mraz on bass and Billy Drummond on drums. Kuhn and co. add a muscular, driving sense of swing to the faster tunes while digging deep emotionally on beautiful ballads. A wonderful piano trio CD! Produced by Tetsuo Hara and Todd Barkan. Recorded at The Avatar Studio in New York on February 24 & 25, 2010. Engineered by Katherine Miller. Mixed and mastered by Tetsuo Hara.

TOP 10 JAZZ ICONS

Caros amigos du JAZZ,

Segue resultado dos TOP 10 Jazz Icons:

Bill Evans

John Coltrane

Miles Davis

Louis Armstrong

Charlie Parker

Thelonious Monk

Duke Ellington

Ella Fitzgerald

Tom Jobim

Billie Holiday

2 Sem. 2010 - Part Fifteen

Bamboo
Bamboo



by Dr.Leandro "Leo" Rocha
O grupo Bamboo é composto por Alex Buck(bateria),Bernardo Ramos(guitarra e violão),Bruno Aguilar(baixo acústico),Josué Lopez (sax tenor) e Vitor Gonçalves(piano e acordeon) e é um caso sério. Música da melhor qualidade,do mais alto nível. A faixa de abertura "Maracatu no bamboo" é de autoria de Bernardo Ramos como também mais 6 composições presentes nesse trabalho; esta música lembra aqueles maravilhosos temas compostos por Moacir Santos para o disco "Coisas". "Sem início,sem fim",a música seguinte, traz um vibrante solo de piano de Vitor Gonçalves,excelente pianista e acordeonista que arrasa também nas músicas "Gratidão"(lindo tema) e no final de "Nova Bossa"(tem a cara da Bossa Nova, uma beleza!).O sax tenor de Josué Lopez soa bem suave e belo no lindo tema "Eu te amo",logo seguido por um solo arrasador de guitarra por Bernardo Ramos. Outra faixa que merece destaque é "Márcio Bahia" onde Hamilton de Holanda comparece com seu genial bandolim e se junta ao acordeon de Vitor Gonçalves num duelo emocionante.
Sem dúvidas,um dos melhores trabalhos instrumentais desse ano.


Dudu Lima
Ouro de Minas


by Leandro "Leo" L. Rocha
"Quase caí duro quando o vi tocando contrabaixo". A afirmação é de Milton Nascimento e está estampada na capa do encarte do disco desse notável baixista mineiro,Dudu Lima que juntamente com Ricardo Itaborahy(piano acústico,teclados e escaleta) e Leandro Scio(bateria) compõem o Dudu Lima Trio. O disco conta ainda com as participações preciosas e luxuosas de João Bosco(voz e violão inigualáveis em "O ronco da cuíca"), Milton Nascimento(voz e violão em "Um cafuné na cabeça,malandro,eu quero até de macaco") e outros músicos convidados como: Dudu Viana(piano),Emmerson Nogueira(vocal),Fofinho Forever(percussão),Hermanes Abreu(vocal na obra-prima de Milton,"Cravo e canela"),Ivan Conti(bateria),Marcos Suzano(pandeiro,endiabrado,) e Weber Martins(bateria).
A performance do trio é precisa e inventiva,demonstrando o alto nível desses músicos que passeiam por três temas de João Boscoe Aldir Blanc ("Corsário","Bala com bala" e"O roco da cuíca"), três canções de Milton("Um cafuné...", "Cravo e canela" e "Fé cega,faca amolada") e ainda revivem a belíssima "Nascente" da dupla Flávio Venturini e Murilo Antunes. Há também três faixas da autoria do baixista líder do grupo. Enfim, o Ouro de Minas é garimpado aqui nesse CD que pode ser considerado como um dos melhores trabalhos instrumentais desse ano.


Fay Claassen
Sings Two Portraits Of Chet Baker - In Remembrance Of His 75th Birthday



by Jeffrey Epstein
This two-CD set, which comes with a lavishly appointed booklet and pictures, is intended as a tribute to Chet Baker (1929-1988) the famed trumpeter and singer of American jazz. Baker is considered to be a stylistic innovator, particular during his rise to fame in the bebop era of the 1950s. Although raised in Oklahoma, he was a global traveler, and particularly in the 1980s played mostly in The Netherlands and elsewhere in Europe. This project is a creation of some of the musicians he played with during that time. The Volume One CD contains instrumental pieces associated with Baker during his tenure in the Gerry Mulligan Quartet in the 1950s. Volume Two focuses on songs from his solo years when he began singing. Dutch vocalist Fay Claassen sings these, as well as performing bebop scat over the tunes in Volume One. Together, the discs comprise 25 tracks. The producers and musicians specifically disclaim any attempt at imitating Baker’s distinctive brass and vocal styles, a task that would be both impossible and perhaps degrading to his uniqueness as an artist. Since Baker was not a composer, however, we are then reduced to the awkward reality that this set contains no Chet Baker at all. Once the squirmy premise is set aside, we are left with the music on its own merits. The arrangements are inoffensive and generally well done, although a little of Claassen’s scat goes a long way. Her vocals on the second set are pleasant enough. The material includes many of the old standards Baker worked with, such as “My Funny Valentine” and “The Thrill Is Gone.” These tunes have been interpreted by many artists, and Claassen and company offer their interpretations here. But the end result will likely seem strange to anyone who remembers the originals. These tracks are neither an original declaration of a band nor an authentic reading of Baker. They are more like a scientist reading out a dead comedian’s jokes. Perhaps these so-called portraits will evoke memories of Chet Baker as the group intended. Still, given the man’s extensive discography, including anthologies, it would seem a much simpler matter to remember Baker by purchasing those discs that actually feature his own work.

Musicians:
Fay Claassen, vocals; Jan menu, baritone sax; Jan Wessels, trumpet; Karel Boehlee, piano; Hein Van de Geyn, double bass; John Engels, drums.



Francesco Cafiso
4 Out


By JazzLogical.net
Francesco Cafiso (sa, f, ss)Dino Rubino (p)Paolino Dalla Porta (ctb)Stefano Bagnoli (bat).
Escrevi há não muito tempo sobre Francesco Cafiso e eis que um novo disco me chega às mãos. Gravado já este ano com um trio de ilustres desconhecidos músicos italianos, o jovem Cafiso não pára de nos surpreender. 4 Out é a confirmação do que antes tinha observado, que Francesco Cafiso não é mais um subproduto artificial da indústria, mas que ganha a cada dia o seu espaço próprio no sobrelotado mundo dos saxofonistas. Ele é um parkeriano óbvio, mas creio que ninguém ousará já dizer que se trata de um clone. O que ele herdou de Bird é antes de mais um entusiasmo esfusiante e uma linguagem clara e exuberante, mesmo se este será porventura o mais contido dos seus discos. Classificar Francesco Cafiso de mero bopper poderá ser menorizador (mesmo se eu penso que o bop persiste a maior das escolas) e é claro que ele evoluiu muito rapidamente para um saxofonismo moderno. 4 Out balança entre os clássicos e alguns temas escritos por Cafiso onde o saxofonista parece procurar alguma atenção. Enigmatic night é uma balada lenta, iniciada com uma flauta dir-se-ia cinematográfica e um acompanhamento «exótico», completada no saxofone. Mais despretensioso e interessante é King Arthur que arranca com um inflamado solo do saxofone, e que se completa com um solo tayloriano do pianista Dino Rubino, seguido de dois outros curtos solos da bateria e do contrabaixo. O contrabaixista introduz Bach’s Flower, uma melodia simples interpretada por Cafiso no saxofone soprano, bastante radiofónica, mas que pouco acrescenta ao disco. Outra coisa são os clássicos: o disco começa com Everything I Love de Cole Porter, e outros standards são How About You de Gershwin, I Hear a Rapsody tocadas em tempos médios e um rapidíssimo Just In Time; todos eles em interpretações inspiradas, a revelar também a eficácia da secção rítmica.Nem sempre feliz nos temas próprios, 4 Out confirma Cafiso como instrumentista, mas adia um pouco mais a entrada no escalão seguinte dos saxofonistas contemporâneos. Apesar das reticências, um disco que se ouve com muito prazer.


Manabu Onishi Trio
Wish



By EastWind Import
Japanese pianist Manabu Ohishi's debut CD from Atelier Sawano marks a major milestone for Sawano: As the catalog number indicates, it's the 100th album released by the boutique jazz label.Label owner and producer Yoshiaki Sawano decided to do something special for this occasion. First he met and fell in love with the pianist who had never recorded for the label, and then he took him to France to record a trio date with his favorite bassist in the world, Jean-Philiippe Viret, and his bandmate and great drummer Simon Goubert. A very special Fazioli piano was prepared for this occasion. Aided with a superb rhythm section and the fantastic piano, Ohnishi performs a program consisting mostly of his original compositions (two exceptions are "My Foolish Heart," and a solo piano rendition of "What A Wonderful World") with deep lyricism and romanticism. His piano style is economical and elegant, and his touch is prestine. As is typical of Sawano's release, the recording quality is superb -- natural, detailed, delicate and dynamic. Strongly recommended to fans of lyrical piano jazz! Recorded May 8, 2010 in Paris, France.

2 Sem. 2010 - Part Fourteen

Nicki Parrott
Black Coffee



By Swing Journal
Australian-born and New York-based Nicki Parrot is a double threat: She plays the bass fabulously, and has a singing voice that shares the relaxed sexiness of Julie London and the coquettishness of Blossom Dearie. Since she's moved to New York, she has performed and/or recorded with the late guitar legend Les Paul, and pianists Rachel Z and Rossano Sportiello, among many others.Her two earlier albums released by Venus Records (Moon River and Fly Me To The Moon were met with wild popularity and critical acclaim, both of them becoming Swing Journal Gold Disc and receiving two Jazz Disc Awards in a row.Nicki's eagerly awaited third album is a sultry and attractive tribute to Peggy Lee and Julie London. She is againg surrounded by a hugely talented cast that includes pianist John di Martino, tenor saxophonist Harry Allen and guitarist Paul Myers as well as her sister Lisa Parrott who plays baritone and soprano sax and bass clarinet.Highlights include the title track which displays Nicki's tremendous vocal talent, whimsical "Dark Eyes" where Nicki sings in unison with her own arco bass, and "Fever" where she substitutes the famous vocal-drum duet section by Peggy Lee with a duet with her own bass! The audiophile recording enhances the value of this wonderful CD, too. Very highly recommended!Produced by Tetsuo Hara and Todd Barkan. Recorded at Avatar Studio in New York on December 17-19, 2009. Engineered by Katherine Miller. Mixed and mastered by Tetsuo Hara / Venus Hyper Magnum Sound Direct Mix. Swing Journal Gold Disc.


Seamus Blake Quintet
Live At Smalls



by CanadaCD
Seamus Blake, the Canadian-born tenor player, has been garnering an estimable reputation as a hard-edged modernist. He is a member of the award winning group The Bloomdaddies which he describes as “ a funky, alternative grunge jazz band”. For this live date he brings pianist David Kikoski, drummer Bill Stewart and guitarist Lage Lund, who is a real discovery and seems destined for guitar-hero status. The music is fresh and original with one standard “Stranger In Paradise” which gets treated in a sensitive, yet unconventional fashion. This is an exciting and original live project and one well worth listening to.


Vijay Iyer Trio
Historicity



by Michael G. Nastos
Vijay Iyer has captured the ears of critics and listeners like only a handful of the most elite jazz pianists since McCoy Tyner, Cecil Taylor, or Misha Mengelberg initially burst onto the scene. There's no other single player who sounds even remotely like him, few who can match his inventive and whimsical sense of play or seriousness, and absolutely nobody who presents the stunning, highly intelligent music he dishes out. With Historicity, he touches on many different levels of acumen, influenced by contemporary alternative rock, Motown, show tunes, pop fusion, the early creative music of the '70s, and ethnic strains. Iyer also revisits two of his older compositions, with the majority of this progressive jazz -- whether "covers" or originals -- done completely in his own scintillating style. Iyer's working/touring band of drummer Marcus Gilmore and bassist Stephan Crump is more than up to the task, with this well-rehearsed music retaining a spontaneous, liquid, chameleonic urgency that consistently staggers the imagination. Iyer's mind-blowing virtuosity on the title track/opener is loaded with mutated repeat phrases that tumble from his brilliant, busy hands. Clearly, he is not like all the others. His love for Andrew Hill is demonstrated during "Smoke Stack," a scattershot, inventive, tangential swinger, while Julius Hemphill's deeply bluesy and tribal "Dogon A.D." is perfectly interpreted in its thorny, craggy, unpredictable rhythmic base, as Crump's bowed bass and Gilmore's juggernaut funk stagger the mixed meters, very faithful to the original. M.I.A. fans are treated to "Galang" in a hardbound big beat with summarily contrasting bright or dark piano lines, while Stevie Wonder's "Big Brother" sports a tom-tom-fed New Orleans syncopation contrasting Iyer's strident piano. The suggestive, introspective original "Helix" is different for the pianist in a diffuse setting, and he conversely incorporates a circle-the-wagons approach on the romantic Leonard Bernstein/Stephen Sondheim evergreen "Somewhere," juxtaposed against a bluesy swing, again atypical. Perhaps the most unusual choice is R&B fusioneer Ronnie Foster's "Mystic Brew," a straight funky version, not at all smooth, but way cool. The recapitulated tracks include "Trident: 2010" in a roiling, nearly boiled motion, while "Segment for Sentiment #2" is magnificently spiritual, again a twist for Iyer's more animated notions. Crump's bass playing and especially his soloing should be something to marvel at for anyone who appreciates finely crafted, artistic jazz musicianship, while Gilmore is amazing in his ability to keep up and push the more complex sounds. Vijay Iyer has mad skills, overwhelmingly and powerfully demonstrated on all of his recordings, but especially this one. He's also maturing at a rapid rate, while at the height of his powers on this incredible effort that sounds like much more than a mere piano-bass-drums mainstream jazz trio. This is an incredible CD, and a strong candidate for best jazz CD of 2009.


Giuseppe Delre
Sings Cole Porter & The Beat Of A Yearning Desire



by Cinzia Guidetti/Jazzitalia
Affascinato dal mondo dei cantautori nel corso degli ultimi anni Giuseppe Delre si è avvicinato alla musica di Cole Porter. Cercando di approfondire alcuni degli aspetti stilistici e compositivi è rimasto affascinando dal tema del desiderio che aleggia nei versi del compositore.Così, coadiuvato da ottimi musicisti come il trombettista Luca Aquino, con una big band di dieci elementi, e un quartetto d'archi, ha dato vita a questo suo lavoro.
I brani, tutti di Cole Porter a esclusione di "In a Porter mood for love" dello stesso Delre, sono stati riarrangiati con gusto, riuscendo a coniugare tradizione e modernità grazie anche a un'interpretazione sobria e elegante. Si passa così da "Love for sale", a "I've got you under my skin", a "What is this thing called love?" fino a chiudere con "Night And Day". Curiosa la citazione di "Libertango" di Astor Piazzola in "Get out of town".
Il disco si presenta godibilissimo, energico e passionale come la musica dello stesso Porter.


Steve Turre
Delicious and Delightful



by Ethan Krow
Steve Turre, trombone & shells; Billy Harper, tenor saxophone; Larry Willis, piano; Russell Malone, guitar; Corcoran Holt, bass; Pedro Martinez, Bata & djembe drums; Dion Parson, drums.
On his latest release on High Note Records, Steve Turre surrounds himself with some familiar faces and, while keeping the relaxed and easy rhythms of his 2008 release Rainbow People, explores a variety of different compositions. Turre brings back Dion Parson on drums from 2006’s Keep Searchin’ and adds impressive newcomer Corcoran Holt on bass to round out his rhythm section. He completes the band with label mate Larry Willis on piano and old friend Billy Harper on tenor sax.The album starts with Light Within, composed by Harper. Turre opens in classic style, with light playing on three different types of shells. When Harper eventually comes in to double Turre on the main theme, the interaction of the two instruments is warm and lively. Harper has a laid-back solo, followed by Turre and then Willis. Turre’s solo especially plays off the tight rhythm section. Parson distinguishes himself with complex, energetic playing that effortlessly settles into a strong groove.Next is Duke Rays, which works off Ellington’s In a Mellotone. Turre starts off the track and settles the melody into its slow deep swing. Holt’s walking bass line is subtle and easily lost in the mix, but nevertheless forms the heart of the track‘s groove. Harper’s solo near the three and half minute mark is probably his best work on the album. Willis follows him with a brief, sparse solo. Towards the end of the song the band falls back and lets Holt take focus. Even when all of the attention is on him he continues to play subtly and quietly, and scores the best solo on the track. Dance Of The Gazelles is probably the best track on the record.. It begins with a funky rhythm line from Holt, upon which Willis lays a surreal and repetitive melody. This mysterious theme, aided by guest percussionist Pedro Martinez on Bata and Djembe drums, settle into a deep trance until Turre starts braying lightly over it. Martinez extends his solo by teasing it out instead off erupting with sound. Around the five and a half minute mark Willis has a superb, delirious and off-kilter solo. The title track, Delicious And Delightful, opens with guest Russell Malone on guitar, followed by the horns sections playing an energetic, upbeat theme. They riff on the theme for quite some time, until Turre has a chance to slow down and dissect it. Malone follows with a tricky playful solo, and Harper responds with the most frenetic playing on the album.Blackfoot starts with Holt playing a drum roll to announce that this will be his track. He takes center stage as the band plays between his drum breaks for about a minute until Harper lets loose with all of the energy that the composition has built up. His solo flies out like he is worried he won’t be able to finish in time. This forces Turre to up his game and he lets loose a furious solo. Toward the end of the song Parson takes control again, barely letting the band in between his intense drum breaks.Delicious and Delightful continues the string of quality records from Turre and will impress and delight any of his fans.TrackList: Light Within, Duke Rays, Speak To Me Of Love, Speak To Me Of Truth, Dance Of The Gazelles, Delicious And Delightful, Tenderly, Sunala Nobala, Blackfoot, Ray’s Collared Greens.