2 Sem 2017 - Part Eight

Ahmad Jamal
Marseille



By Roger Farbey
There are few true jazz legends left alive now let alone still recording albums of the calibre of Marseille. Ahmad Jamal is one such venerable figure and the octogenarian (born July 2, 1930) has recorded an album of consistent brilliance. Jamal prefers to refer to his playing as American classical music rather than jazz and he's been regarded as a "mainstream" pianist but to stylistically stereotype him in this fashion is to do him an injustice.
The title track is afforded three different versions, the first being a mesmeric modally-inspired instrumental foray. The title is also a paean to a country that has enthusiastically supported Jamal throughout his long career culminating in the French government awarding him the prestigious Chevalier De L'Ordre Des Arts Et De Lettres in 2007. The album itself was recorded in Malakoff, a suburb on the outskirts of Paris.
It's well-known that Miles Davis was a fan of Jamal's and admitted to being influenced by the pianist. Miles and Jamal became friends in the 1950s and Davis recorded Jamal's "Ahmad's Blues" on Workin' and "New Rhumba" on Miles Ahead. So on one level, it's not too surprising that on "Sometimes I Feel Like A Motherless Child" Jamal includes a funky quote from Davis's "Jean Pierre" from We Want Miles, released in 1982. But on another level the inclusion of this vamp, which bookends the track, demonstrates how versatile is Jamal's approach, and how a standard can be completely transformed so seamlessly.
The quoting continues on "Pots En Verre" with a repetition of two tantalisingly familiar chords from Lee Morgan's "The Sidewinder." The French rapper Abd Al Malik contributes tersely spoken words in French on the next beguiling version of "Marseille" on which Jamal evinces an alternative chordal interpretation.
"Autumn Leaves" is given a rich makeover, with percussionist Manolo Badrena and drummer Herlin Riley adding a Latin-esque feel and all underpinned by James Cammack's resonant double bass. There's even a micro-quote from Oliver Nelson's "Stolen Moments" here too. The languid "I Came To See You / You Were Not There" and the more vibrant "Baalbeck" almost conclude this set but for the addition of a sumptuous third version of "Marseille," adorned by Mina Agossi's mellifluous vocals.
It's undoubtedly Jamal's use of space and deft light and shade which characterise his playing and this proves that frenetic pyrotechnics are not necessary to make a huge impact on an audience.
This extraordinarily beautiful album, simultaneously released on CD and double vinyl, demonstrates how age alone does not diminish an artist's musical ability and creativity. This superb album's appeal will be undoubtedly very wide indeed.
Track Listing:

Marseille (instrumental); Sometimes I Feel Like A Motherless Child; Pots En Verre; Marseille (vocal #1); Autumn Leaves; I Came Back To See You / You Were Not There; Baalbeck; Marseille (vocal #2).
Personnel: 

Ahmad Jamal: piano; James Cammack: double bass; Herlin Riley: drums; Manolo Badrena: percussion; Abd Al Malik (4), Mina Agossi (8): vocals.

David Kikoski
Kayemode



By CrissCross
Since his first appearance on record (Randy Brecker's album In the Idiom), pianist David Kikoski has demonstrated an infinite capacity to swing, a rare sensitivity as a ballad interpreter and genuine harmonic savvy as a composer. He delivers once again on all counts on Kayemode.
Kikoski says:
"I'm very proud and lucky to have 2 new collaborators in my trio. I met Justin Faulkner on a Monday night at "the Jazz Standard" where I play with the Charles Mingus Big Band and was very impressed. Soon after we really hooked up on a gig with Branford Marsalis and I remember thinking I would love to try and use him on my own project. We had a ball hanging at my house and shedding and listening to music.
Joe Martin was someone we both agreed on to be the perfect bassist for the session. I recently heard him at "Mezzrow" with Spike Wilner and was blown away. His use of harmony and counterpoint is more advanced than most bass players I've known. I knew he could get inside of my concept.
We are using 1st or 2nd takes with no fixing or editing, because I wanted the freshness and honesty to be there".
Total Time: 62:15
Recorded September 20, 2016 in Brooklyn, NY, USA by Michael Marciano
Personnel:

David Kikoski (P), Joe Martin (B), Justin Faulkner (D)

Benedikt Jahnell Trio
The Invariant


By Karl Ackermann 
The Invariant, as in a "constant," is a fitting title for Benedikt Jahnel Trio who have recorded as a unit since their debut Modular Concepts (Material label, 2008) and later moving on to the ECM label with Equilibrium (2012). Jahnel, a musician and mathematician in Berlin, has a deep appreciation for complex similarities between the two disciplines and he reveals an ability to peel away the superficial elements to tinker with the inner workings of the music.
Canadian native—now Brooklyn resident—drummer Owen Howard has led his own group as well as playing with Dave Holland, Joe Lovano, John Abercrombie, Dave Liebman and a host of other well-known artists. The Spanish bassist Antonio Miguel has been performing professionally since the age of sixteen. He had studied with Chick Corea, Christian McBride, John Patitucci and Francois Moutin and—like Howard—has performed with Liebman and Abercrombie as well as Fred Hersch and Paquito D'Rivera.
Knowing his trio-mates as well as he does allows Jahnel to tailor his compositions to match their strengths. He continues to develop creative concepts around irregular meters and layering of sounds as on the opening piece "Further Consequences." Jahnel's lightning-fast piano propels "Mirrors" initially, before the piece takes a precipitous drop in tempo with Miguel's deep, woody bass solo. Accented by a superb solo from Howard, the appealingly off-kilter "Part of the Game" opens with a torrent of piano notes, in a piece that is in direct contrast to the gentle balladry of "For the Encore." "Interpolation One" has Miguel and Jahnel working independently, knit together by Howard's intricate direction.
The compositions on The Invariant include pieces the Jahnel has developed over the past five years though there is a consistency across the program that points toward a more focused pattern of creativity. As dominant as the pianist's play can be—and often is—the album is clearly a democratic model where all the artists have the opportunity to display their considerable talents.
Track Listing:

Further Consequences; The Circuit; Mirrors; Mono Lake; Part Of The Game; For The Encore; Interpolation One; En passant.

Personnel: 

Benedikt Jahnel: piano; Antonio Miguel: bass; Owen Howard: drums.


Yamandu Costa
Mafuá



By Biscoito Fino
Um belíssimo álbum instrumental, que vai do choro ao samba, passando pelo tango, em performances virtuosas e intensas de Yamandu Costa. Assim é o álbum Mafuá, primeiro projeto solo de Yamandú, que chega ao Brasil quatro anos depois de lançado na Europa. Gravado na cidade de Osnabruck, na Alemanha, em outubro de 2007, o álbum Mafuá ganha agora sua primeira edição brasileira, via Biscoito Fino. Apenas três das 13 canções de Mafuá não são de autoria de Yamandu Costa nesse projeto, gravado em dois dias no estúdio alemão Wonderland.