Out Of This World
By Dave Gelly
Piano, guitar and bass: one of the two classicjazz piano-trio formats. The other has drums instead of guitar and the difference is striking. With the three instruments on a more equal footing, and a generally cooler dynamic range, every note and phrase stands out clearly. It's the perfect set-up for these three. Newton, who spent 10 years as Stacey Kent's pianist, has a deliciously crystalline touch, well matched by Oxley's mellow guitar. Cleyndert is not only a masterly rhythm bassist; he produces a wonderfully rich cello-like tone with the bow. Outstanding tracks include a Gershwin rarity, Who Cares?, and two of Newton's own pieces, Valse Jaq and All Grown Up. No fireworks, but a set to relish.
Tracks:
1. Out of This World ; 2. Who Cares? ; 3. Valse Jaq ; 4. I'll Be Seeing You ;
Makoto Ozone/ Christian McBride/ Jeff "Tain" Watts
My Witch's Blue
By R. PeterssonA soft Makoto that highlights the tone and the melody. But be aware - there are also some upbeat that will take you away for a ride. But the main story here is a gentle Makoto Ozone with lovely intepretations of a well balanced bunch of tunes. Hank Jones is the name that comes to my mind if I have to compare his tone with someone. The rythm section is the best you can get and they do it. They really play as unit - a real trio recording in the good old school but with a great touch of modern playing. Highly recommended.
Recorded At – Avatar Studios
Mixed At – MSR Studios
Mastered At – Battery Studios, New York
Producer – Makoto Ozone, Makoto Shinohara
Recorded By, Mixed By – Joe Ferla
Mastered By – Mark Wilder
Recorded May 19-21, 2012
Tarcks:
Bouncing in My New Shoes; My Witch’s Blue; Gotta Get It !!; Longing for the Past
So Good!!; Take the Tain Train; Time We Spent Together; Nova Alvorada
Solo Improvisation “Continuum”; Satin Doll（An encore Track）
Alan Broadbent
By Dave Gelly
Piano, guitar and bass: one of the two classicjazz piano-trio formats. The other has drums instead of guitar and the difference is striking. With the three instruments on a more equal footing, and a generally cooler dynamic range, every note and phrase stands out clearly. It's the perfect set-up for these three. Newton, who spent 10 years as Stacey Kent's pianist, has a deliciously crystalline touch, well matched by Oxley's mellow guitar. Cleyndert is not only a masterly rhythm bassist; he produces a wonderfully rich cello-like tone with the bow. Outstanding tracks include a Gershwin rarity, Who Cares?, and two of Newton's own pieces, Valse Jaq and All Grown Up. No fireworks, but a set to relish.
Tracks:
1. Out of This World ; 2. Who Cares? ; 3. Valse Jaq ; 4. I'll Be Seeing You ;
5. Por Toda Minha Vida/O Grande Amor ; 6. Laverne Walk ; 7. All Grown Up ; 8. Lament
9. Looking at You ; 10. A Felicidade ; 11. Why Did I Choose You?
9. Looking at You ; 10. A Felicidade ; 11. Why Did I Choose You?
Makoto Ozone/ Christian McBride/ Jeff "Tain" Watts
My Witch's Blue
By R. PeterssonA soft Makoto that highlights the tone and the melody. But be aware - there are also some upbeat that will take you away for a ride. But the main story here is a gentle Makoto Ozone with lovely intepretations of a well balanced bunch of tunes. Hank Jones is the name that comes to my mind if I have to compare his tone with someone. The rythm section is the best you can get and they do it. They really play as unit - a real trio recording in the good old school but with a great touch of modern playing. Highly recommended.
Recorded At – Avatar Studios
Mixed At – MSR Studios
Mastered At – Battery Studios, New York
Producer – Makoto Ozone, Makoto Shinohara
Recorded By, Mixed By – Joe Ferla
Mastered By – Mark Wilder
Recorded May 19-21, 2012
Tarcks:
Bouncing in My New Shoes; My Witch’s Blue; Gotta Get It !!; Longing for the Past
So Good!!; Take the Tain Train; Time We Spent Together; Nova Alvorada
Solo Improvisation “Continuum”; Satin Doll（An encore Track）
Alan Broadbent
Heart To Heart
By Dan Bilawsky
Pianist Alan Broadbent can't be accused of rushing to release his second solo piano album; Heart To Heart comes more than two decades after Broadbent initially took the solo plunge with Live At Maybeck Recital Hall, Volume 14 (Concord, 1991), but it was worth the wait.
While only Broadbent knows the exact reason for waiting so long to return to this format, it's safe to assume that it has something to do with his in-demand status in so many other musical arenas. Much of his work has been dedicated to the art of the trio, supportive sideman stints, and arranging jobs, leaving him precious little time to explore things on his own. Many people, in fact, aren't even aware of his pianistic prowess, knowing him only as the man who creates musical drapery for everybody from songbook kingpin Michael Feinstein to Natalie Cole to SirPaul McCartney; those people are missing out. Broadbent's piano work—solo or otherwise—is pure poetry in motion, filled with sophisticated musical trappings that tickle the ear and fuel the imagination.
The title of this album is a bit of a misnomer, giving the impression that Broadbent may be taking an introspective journey; that proves false from the get-go. Flowery gestures and stereotypical romantic notions are not sine qua non for solo piano success in Broadbent's world. He's far more likely to embark on a rhapsodic thrill ride than a ruminative walk on this one, and that's a good thing. He sprints along, as might be expected, on "Cherokee"; visits waltz territory with "Now And Then"; and plunges his hands into the heart of darkness on a riveting take ofOrnette Coleman's "Lonely Woman." A few numbers tend to be a tad more reflective than the rest, but none get bogged down in emotional indulgence; Broadbent is too good to fall into that trap.
Broadbent's bread and butter may be his arranging work, but his heart and soul have everything to do with his piano playing. Heart To Heart puts those thoughts in perspective for all to hear.
Track Listing:
By Dan Bilawsky
Pianist Alan Broadbent can't be accused of rushing to release his second solo piano album; Heart To Heart comes more than two decades after Broadbent initially took the solo plunge with Live At Maybeck Recital Hall, Volume 14 (Concord, 1991), but it was worth the wait.
While only Broadbent knows the exact reason for waiting so long to return to this format, it's safe to assume that it has something to do with his in-demand status in so many other musical arenas. Much of his work has been dedicated to the art of the trio, supportive sideman stints, and arranging jobs, leaving him precious little time to explore things on his own. Many people, in fact, aren't even aware of his pianistic prowess, knowing him only as the man who creates musical drapery for everybody from songbook kingpin Michael Feinstein to Natalie Cole to SirPaul McCartney; those people are missing out. Broadbent's piano work—solo or otherwise—is pure poetry in motion, filled with sophisticated musical trappings that tickle the ear and fuel the imagination.
The title of this album is a bit of a misnomer, giving the impression that Broadbent may be taking an introspective journey; that proves false from the get-go. Flowery gestures and stereotypical romantic notions are not sine qua non for solo piano success in Broadbent's world. He's far more likely to embark on a rhapsodic thrill ride than a ruminative walk on this one, and that's a good thing. He sprints along, as might be expected, on "Cherokee"; visits waltz territory with "Now And Then"; and plunges his hands into the heart of darkness on a riveting take ofOrnette Coleman's "Lonely Woman." A few numbers tend to be a tad more reflective than the rest, but none get bogged down in emotional indulgence; Broadbent is too good to fall into that trap.
Broadbent's bread and butter may be his arranging work, but his heart and soul have everything to do with his piano playing. Heart To Heart puts those thoughts in perspective for all to hear.
Track Listing:
Hello My Lovely; Heart To Heart; Alone Together; Now And Then; Journey Home; Blue In Green; Love Is The Thing; Lonely Woman; Cherokee.
Personnel: Alan Broadbent: piano.
Pablo Ziegler & Metropole Orkest
Amsterdam Meets New Tango
By Scott Albin at JazzTimes
Pianist Pablo Ziegler will always be remembered for his auspicious role from 1978 to 1989 in Astor Piazzolla's transcendent New Tango Quintet. Upon Piazzolla's death in 1992, Ziegler became a key force in New Tango, his mentor's innovative blend of tango, jazz, and classical music. Ziegler plays both his own and Piazzolla's compositions in various settings while expanding upon Piazzolla's vision, and has drawn many jazz musicians into the fold, including Joe Lovano, Paquito D'Rivera, James Carter, Joe Locke, and Stefon Harris, all attracted by the challenge and passion of the music. This CD presents selections from a 2009 concert that brought together Ziegler's quartet with Amsterdam's Metropole Orkest, founded in 1945 and the world's largest pop and jazz orchestra, which has shared the stage with such artists as Andrea Bocelli, Ella Fitzgerald, Stan Getz, and Pat Metheny. It's a tribute to both the versatile musicianship of the Orkest's members, and Ziegler's ever-present inspiration, that the orchestra is able to play these arrangements of Ziegler's tunes with such conviction and authenticity. Ziegler's quartet includes Quique Sinesi on guitar, Walter Castro on bandoneon, and Quintino Cinalli on percussion and cajón, and while it's clear when someone from this group is soloing, this is not the case with the Orkest players since the CD notes provide no such details.
For "Buenos Aires Report," Ziegler's reverberating tones and the dissonance-tinged string section create a tense atmosphere to evoke "the chaotic, urban city of Buenos Aires." A magnetic uncredited trumpet solo, and Castro's fluid, expressive bandoneon outing precede Ziegler's energetic foray, as the Orkest blares behind him. A contrapuntal volley between strings and horns makes for an exciting finish capped by the pianist's jabbing, circular theme (first heard as the title tune of an earlier CD). The only non-Ziegler composition is Sinesi's "Milonga par Hermeto," dedicated to Hermato Pascoal, and it successfully captures Pascoal's harmonic and melodic personality. The infectious milonga rhythm builds up to the Orkest's interjection and the swirling them itself with Castro in the lead. The full textures at times give this piece a movie theme sound, but Sinesi's nimble, lucid solo, a brawny (uncredited) tenor sax statement, and Ziegler's prancing improv, with fiery orchestral support, bring things down-to-earth. The reprise has great climactic impact. Blues meets New Tango on "Blues Porteño." The initial bass ostinato is remindful of the one on the Beatles' "Come Together," and a darting Castro and bluesy Ziegler are backed by a sultry string orchestration that ebbs and flows gracefully. Sinesi contributes a subtle solo, while a saxophonist comes on more forcefully. Muted trumpets add to the overriding heady atmosphere.
"Desperate Dance" is in 7/4 rather than the usual 2/4 tango rhythm, as Ziegler visualizes "desperate dancers" trying hard to adjust to the novelty. His quartet and the Orkest have no such problem, with the dramatic, insistent pulse spurring a probing trombone solo, Castro's finely threaded trip, and an assertive trumpet turn. The zesty rhythmic framework serves as the main element of the arrangement's final section. The title "Murga del Amanecer" also defines a primitive rhythm from the 1920's of African origin. Ziegler's vamp and the strings lustily pave the way for Castro's recital of the celebratory theme. The Orkest appropriates the theme for itself in soaring fashion prior to dancing solos by Ziegler, Sinesi, and a trumpeter. The pianist entrances during the easing down of the out chorus. "Places" has a provocative melodic and rhythmic opening, and the variety of moods and harmonies in the sections that follow make this work very reminiscent of Piazzolla's modus operandi. Castro and Ziegler offer melancholy improvs prior to a more upbeat interlude sparked by the bandoneonist, Sinesi, and unyielding projections from the Orkest.
The slow waltz "Pájaro Angel" begins with interplay between Ziegler and Sinesi before romantic strings and horns emerge and oscillate around the pianist and guitarist's lyrical and thoughtful solos. This beautiful tune was originally written for a '70's episode of a popular Argentinian TV series of the same name, and was no doubt quite evocative of its subject matter. Ziegler composed "Buenos Aires Dark" during the tumultuous 2001 political crisis in Argentina. The orchestration is indeed dark and foreboding, with a biting Castro up front as he and the Orkest reach a crescendo that is transformed into a mournful interlude and then a staccato urgency that frames vibrant solos by a trombonist, Sinesi, and a tenor. Castro and Ziegler's tango rhythm launch the dramatic cry of protestation that comprises the finale. "Que Lo Parió" revolves around Malambo, an Argentinian folk rhythm danced to by the Gauchos, and is a tribute to the late author Robert "El Negro" Fontanarrosa and his comic strip "Inodoro Pereyra" that featured a Gaucho and his talking dog. The performance seems to portray the spirit and determination of the dancers, with Ziegler, Castro, and Sinesi cavorting gaily and a trombonist expounding with gusto. The Orkest's concluding passages mix whimsy with assertiveness to dizzying effect.
Personnel: Alan Broadbent: piano.
Pablo Ziegler & Metropole Orkest
Amsterdam Meets New Tango
By Scott Albin at JazzTimes
Pianist Pablo Ziegler will always be remembered for his auspicious role from 1978 to 1989 in Astor Piazzolla's transcendent New Tango Quintet. Upon Piazzolla's death in 1992, Ziegler became a key force in New Tango, his mentor's innovative blend of tango, jazz, and classical music. Ziegler plays both his own and Piazzolla's compositions in various settings while expanding upon Piazzolla's vision, and has drawn many jazz musicians into the fold, including Joe Lovano, Paquito D'Rivera, James Carter, Joe Locke, and Stefon Harris, all attracted by the challenge and passion of the music. This CD presents selections from a 2009 concert that brought together Ziegler's quartet with Amsterdam's Metropole Orkest, founded in 1945 and the world's largest pop and jazz orchestra, which has shared the stage with such artists as Andrea Bocelli, Ella Fitzgerald, Stan Getz, and Pat Metheny. It's a tribute to both the versatile musicianship of the Orkest's members, and Ziegler's ever-present inspiration, that the orchestra is able to play these arrangements of Ziegler's tunes with such conviction and authenticity. Ziegler's quartet includes Quique Sinesi on guitar, Walter Castro on bandoneon, and Quintino Cinalli on percussion and cajón, and while it's clear when someone from this group is soloing, this is not the case with the Orkest players since the CD notes provide no such details.
For "Buenos Aires Report," Ziegler's reverberating tones and the dissonance-tinged string section create a tense atmosphere to evoke "the chaotic, urban city of Buenos Aires." A magnetic uncredited trumpet solo, and Castro's fluid, expressive bandoneon outing precede Ziegler's energetic foray, as the Orkest blares behind him. A contrapuntal volley between strings and horns makes for an exciting finish capped by the pianist's jabbing, circular theme (first heard as the title tune of an earlier CD). The only non-Ziegler composition is Sinesi's "Milonga par Hermeto," dedicated to Hermato Pascoal, and it successfully captures Pascoal's harmonic and melodic personality. The infectious milonga rhythm builds up to the Orkest's interjection and the swirling them itself with Castro in the lead. The full textures at times give this piece a movie theme sound, but Sinesi's nimble, lucid solo, a brawny (uncredited) tenor sax statement, and Ziegler's prancing improv, with fiery orchestral support, bring things down-to-earth. The reprise has great climactic impact. Blues meets New Tango on "Blues Porteño." The initial bass ostinato is remindful of the one on the Beatles' "Come Together," and a darting Castro and bluesy Ziegler are backed by a sultry string orchestration that ebbs and flows gracefully. Sinesi contributes a subtle solo, while a saxophonist comes on more forcefully. Muted trumpets add to the overriding heady atmosphere.
"Desperate Dance" is in 7/4 rather than the usual 2/4 tango rhythm, as Ziegler visualizes "desperate dancers" trying hard to adjust to the novelty. His quartet and the Orkest have no such problem, with the dramatic, insistent pulse spurring a probing trombone solo, Castro's finely threaded trip, and an assertive trumpet turn. The zesty rhythmic framework serves as the main element of the arrangement's final section. The title "Murga del Amanecer" also defines a primitive rhythm from the 1920's of African origin. Ziegler's vamp and the strings lustily pave the way for Castro's recital of the celebratory theme. The Orkest appropriates the theme for itself in soaring fashion prior to dancing solos by Ziegler, Sinesi, and a trumpeter. The pianist entrances during the easing down of the out chorus. "Places" has a provocative melodic and rhythmic opening, and the variety of moods and harmonies in the sections that follow make this work very reminiscent of Piazzolla's modus operandi. Castro and Ziegler offer melancholy improvs prior to a more upbeat interlude sparked by the bandoneonist, Sinesi, and unyielding projections from the Orkest.
The slow waltz "Pájaro Angel" begins with interplay between Ziegler and Sinesi before romantic strings and horns emerge and oscillate around the pianist and guitarist's lyrical and thoughtful solos. This beautiful tune was originally written for a '70's episode of a popular Argentinian TV series of the same name, and was no doubt quite evocative of its subject matter. Ziegler composed "Buenos Aires Dark" during the tumultuous 2001 political crisis in Argentina. The orchestration is indeed dark and foreboding, with a biting Castro up front as he and the Orkest reach a crescendo that is transformed into a mournful interlude and then a staccato urgency that frames vibrant solos by a trombonist, Sinesi, and a tenor. Castro and Ziegler's tango rhythm launch the dramatic cry of protestation that comprises the finale. "Que Lo Parió" revolves around Malambo, an Argentinian folk rhythm danced to by the Gauchos, and is a tribute to the late author Robert "El Negro" Fontanarrosa and his comic strip "Inodoro Pereyra" that featured a Gaucho and his talking dog. The performance seems to portray the spirit and determination of the dancers, with Ziegler, Castro, and Sinesi cavorting gaily and a trombonist expounding with gusto. The Orkest's concluding passages mix whimsy with assertiveness to dizzying effect.
Lunar
By CDUniverse
Lunar is a journey into the magical freedom of Lorenzo Tucci and Luca Mannutza. Is there any need to say that 'Duke's Nightmare' is their eccentric and fascinating rework of 'Caravan', and Tucci at the drums delivers six minutes of pure magic? Hard to believe, there hasn't been any overdubbing. Is there any point in noticing that Mannutza switches from Lunar intro to Lunar , from piano to electronic keys and back with disarming simplicity? Or, is it pointless to mention their ability to express in music the uneasiness of a 'sidereal breakdown'? This musical journey at the end leaves us astonished and almost drunk, and exalts for the sureness with whom these musicians can afford unexpected drifts, swoops and loops....
Track Listing:
1 Jungle & Space; 2 Lunar Intro; 3 Lunar; 4 Moon Boots; 5 Voyager; 6 Avaria
7 Jet Leg; 8 Duke's Nightmare; 9 Tea for Two; 10 Earth; 11 Inception
By CDUniverse
Lunar is a journey into the magical freedom of Lorenzo Tucci and Luca Mannutza. Is there any need to say that 'Duke's Nightmare' is their eccentric and fascinating rework of 'Caravan', and Tucci at the drums delivers six minutes of pure magic? Hard to believe, there hasn't been any overdubbing. Is there any point in noticing that Mannutza switches from Lunar intro to Lunar , from piano to electronic keys and back with disarming simplicity? Or, is it pointless to mention their ability to express in music the uneasiness of a 'sidereal breakdown'? This musical journey at the end leaves us astonished and almost drunk, and exalts for the sureness with whom these musicians can afford unexpected drifts, swoops and loops....
Track Listing:
1 Jungle & Space; 2 Lunar Intro; 3 Lunar; 4 Moon Boots; 5 Voyager; 6 Avaria
7 Jet Leg; 8 Duke's Nightmare; 9 Tea for Two; 10 Earth; 11 Inception
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