Live In Europe
By Dan McClenaghan
Fred Hersch's 2009 recording, Whirl (Palmetto Records), was where pure magic first occurred in the pianist's extensive and consistently superb discography. That particular outing introduced his now long-standing trio with bassist John Hebert and drummer Eric McPherson. Alive At the Vanguard (2012), Floating (2014), and Sunday Night At The Vanguard (2016) by the group followed, all on Palmetto Records.
For those who lauded Hersch's solo outing, Open Book (Palmetto Records, 2017) as his finest, most incisive and finely-focused outing, the pianist offers up Live In Europe, featuring his Hebert/McPherson team, to garner votes for that "Hersch's Best" slot.
Performed at Flagey Studio 4, in Brussels's former National Institute for Radio Broadcasting, Hersch was initially unaware that the set—which he regarded as one of his best trio performances ever—had been recorded. Upon finding out that it had been—and upon hearing the tape and having his belief in its extraordinary quality confirmed—he decided to release the music.
Spinning through Hersch's previous outings with this nine years and running trio says that they bring the "A" game every time. On Live In Europe it's an "A+" game. The players are as flexibly synchronized and adept at presenting their three-way improvisational and emotional expressionism as they could be, on a set that begins with a jittery take on Thelonious Monk's "We See." The group follows with six Hersch originals, including tributes to British pianist John Taylor and a calypso-esque nod to saxophone legend Sonny Rollins, before slipping into the Herbie Hancock songbook with the achingly beautiful "Miyako," that gives way to an effervescent take on a second Shorter tune, "Black Nile." It's a set where Hersch sounds freer, more open to possibilities, employing the same exploratory approach he presented on the epic "Though The Forest" on his Open Book outing.
And the sound must be addressed. It doesn't get any better—a big plus, especially on piano trio outings. The piano is crisp, like a winter sunrise. Every nuance of McPherson's intricate and energetic drumming has crystal clarity, and Hebert's empathic and emphatic bass lines come through with a clean-cut lucidity.
The show wraps it up with a solo encore of "Blue Monk," a sober and contemplative return to Monk-land, a place to which Hersch often travels.
Track Listing:
Wee See; Snape Maltings; Scuttlers; Skipping; Bristol Fog; Newklypso; The Big Easy; Miyako; Black Nile; Blue Monk.
Personnel:
Personnel:
Fred Hersch: piano; John Hebert: bass; Eric McPherson: drums.
Dieter Ilg
B-A-C-H
By Jim Burlong
It is well over half a century since The Jacques Loussier Trio launched the first of their forty plus Bach themed albums upon the world. Although the French pianist enjoyed huge commercial success with the project, he had to bear the wrath of most critics and others within the music world. It is very unlikely that either fate will fall upon this trio of highly talented contemporary jazz musicians. The leader and bass virtuoso Dieter Ilg is from Offenburg in Germany. A graduate of The Manhatten School Of Music famed for his duo performances with saxophonist Charlie Mariano, solo projects and work with US heavyweights Mike Stern, Bob Berg and David Leibman. He also has fourteen albums to date under his own name. For the Bach project(s) he has called upon his fellow countryman, the award winning pianist Rainer Bohm who is a lecturer for the instrument at The Mainz University in Mannheim as well as the recipient of The New German Jazz Prize as soloist of the year for 2016. Completing the trio is drummer Patrice Heral from Montpellier in France who is one of the busiest rhythm players on the scene and has recently appeared within bands led by trumpet players Markus Stockhausen and Tomaz Stanko.
It is often said that "You cannot play jazz without playing Bach". This may well be so, but the problem could be where and when to improvise whist at least interpreting in some way the sentiments that the father of western classical music intended. Mr Ilg overcomes this problem perfectly by prefacing the title of each piece with the very important words "inspired by". Listeners will find that Rainer Bohm processes an exquisite touch on the keys, ideal for interpreting this music, while the leader's bass is strong and searching adding the jazz feel to proceedings. The drummers decorative cymbal work also complements the musical soundscape well. There is certainly more variation than improvisation throughout, but at the same time the excellent musicianship more than keeps interest alive. The four "Goldberg" pieces, the two Praludium's plus the strong melody of "Air" adapt best to the format. The technicality and structure here will certainly appeal to those with a good knowledge of Bach, although other ears may find the recording a little cold and academic.
Recorded, mixed and mastered by Adrian von Ripka at Bauer Studios, Ludwigsburg
von Ripka at Bauer Studios, Ludwigsburg
Recording date: January 15 & 16, 2017
Produced by Dieter Ilg
Executive Producer: Siggi Loch
Personnel:
Dieter Ilg / bass; Rainer Böhm / piano; Patrice Héral / drums
Charlie Watts
Meets The Danish Radio Big Band
By Nenad Georgievski
A film director once said that you can't make a great film with a weak script. The same goes for bands of any kind be it jazz or rock or any kind. You can't have a great band without a great drummer. A band can get by with an average bassist or guitarist, but not with an average drummer. It's the heartbeat of any band. One of the things that has made the band Rolling Stones what they are is drummer Charlie Watts and his exceptional and unusual drumming skills. For more than 50 years, Watts has been the propulsive engine that has driven this juggernaut. Few other drummers were as integral to the development of rock and roll music by creating rollicking grooves that were executed with an unhurried elan. Watts is a player you can listen to for his sound alone as he balances the smooth and the jagged with great ease. Contemporary musicians don't come much more graceful in sound or execution than that.
Apart from his long stint as the drummer of one of the most successful and certainly the longest running rock and roll band in the world, it's not a secret Watts's true love has always been jazz and that he has always had a deep appreciation and admiration for this music which hasn't been that much exploited by the press. During the '50s and '60s, Watts fell in love with jazz music through 78 rpm vinyls and the music of musicians like saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Gerry Mulligan, trumpeter Miles Davis, to name but a few as well as the drummers they employed. Since then, he has been a passionate jazz aficionado whose knowledge about this music sits between the reverential and encyclopedic. During his sojourn with a marketing agency, he even penned an illustrated book about Charlie Parker as a tribute to him and has been collecting old drum sets used by drumming legends. During the day he would work at the agency and during the night he would play local gigs. And as many of his generation, he has learnt his trade both by listening to record and by observing jazz drummers in the London's London's jazz circles.
As a result, his drumming style has always been unorthodox and original. When he joined the Rolling Stones he used his jazz chops in order to invent his style of playing rock and blues rock that the Stones became known for and is the reason why he is so revered these days. When the Stones played in New York for the first time during their first American tour, he went to Birdland to see performances by his bassist Charles Mingus and saxophonist Sonny Rollins, and the latter would play years later with the Stones on a song named "Waiting on a Friend."
So it wasn't until the '80s and the '90s that Watts began fronting his own jazz bands whenever the demanding tours and work with the Stones would let him. Since then he has formed a number of jazz, boogie-woogie and big band outfits, including Rocket 88, the Charlie Watts Quintet and the Charlie Watts Tentet. Probably that is best portrayed in the thriller movie "Blue Ice" with actor Michael Caine playing a jazz club owner and Watts' band was the house jazz combo that brilliantly rocked the house. Charlie Watts meets the Danish Radio Big Band was instigated in 2009 by English trumpeter Gerard Presencer, who is also a member of the band. The Band had four days of rehearsals and then had a performance at the then newly opened Danish Radio Concert Hall in Copenhagen. All but two of the pieces here are rewrites of earlier, previously recorded selections either with the Rolling Stones or a selection of suits from his duet record with another drumming legend Jim Keltner. But to make a big band work has really very little to do with "star power" and has really everything to do with hard work. If it is played too conservative then everything will sound predictable and everyone will get bored. For a start, this record doesn't break any new ground. The emphasis is more on moods, harmonies and at moments the arrangements do nod at Gil Evans' or Mingus' styled approaches.
The date opens with two parts of "Elvin Suites" which as an original tune from the project with Kelter is a single composition. The original is an African styled piece with African harmonic voices meshed with piano flashes and cymbals. All of that is beautifully arranged here with dry hissing of Watts' brushes that drives the first part. It is indeed difficult to discern between what's arranged and what is spontaneous. The band's rapport is impressive and everything it plays sounds right. The second part emphasizes the drums and there are polyrhythmic runs that drive this piece with saxophonist Uffe Markussen taking the lead and soon the band steps on the gas and ups the game loud.
The Rolling Stones classics are beautifully rearranged and reharmonized. Nothing in these arrangements would hint at the original songs but a solo instrument would take a lead and directly reference the original melody. Even though named as "Faction" as soon as one hears the melody on the flugelhorn it becomes clear that this is "Satisfaction." Watt's subtle and non-flashy rhythm playing is utterly flawless and galvanizes the band. The same goes for the other two Stones classics "You Can't Always Get What You Want" and "Paint it Black." By no means is this a tribute of faithful recreations of these songs. The arranger shows a daring flair for reimagining these songs. Each of them is rethought and remodeled in order to come out with a vibrant new music. With its imaginative blend of melodies and grooves and colorful textures and timbres, these songs are a launchpad for the big band and its soloists to shine.
"I Should Care" is one of the hidden gems in this collection. There is a certain easiness and flow in this composition, but no blandness at all. The various soloists are stimulating and attentive conversationalists, always listening and often picking up on each other's quips. The album closes on a high note with a beautiful stomp "Molasses." Everything here is filled with movement. It's rich and sticky in rhythm and harmony and is exciting and boiling with energy.
This project feels good in the body and soul. The collaborative energy of this band is exhilarating and a joy to listen. More of this, please.
Track Listing:
Elvin Suite Part 1; Elvin Suite Part 2; Faction (also known as Satisfaction); I Should Care; You Can't Always Get What You Want; Paint It Black; Molasses;
Personnel:
Charlie Watts: drums; Per Gade: guitar,Anders Gustafsson: trumpet; Vincent Nilsson: trombone; David Green: acoustic bass; Peter Jensen: trombone; Steen Rasmussen: fender rhodes, piano; Uffe Markussen: tenor sax; Gerard Presencer: flugelhorn; Lars Møller: tenor sax; Steen Nikolaj Hansen: trombone; Nicolai Schultz: flute
The Jazz At Lincoln Center Orchestra
The Music Of John Lewis
By Mac Randall
When this live album was recorded at New York’s Frederick P. Rose Hall in 2013, Jon Batiste was a respected young pianist from New Orleans. Four years later, he’s that and the leader of a late-night talk-show band on a major network. His name recognition may have gone up, but it’s doubtful you’ll find him playing music like this—a stately set of nine compositions by John Lewis, with support from the Jazz at Lincoln Center Orchestra, in typically polished form—on Colbert too often.
Lewis and his Modern Jazz Quartet’s unique mix of rootsy blues and classical ambition is well suited to the JLCO’s repertory approach. All the same, the best moments here are the simplest. The opening “2 Degrees East, 3 Degrees West” keeps its early focus on Victor Goines’ expansive clarinet and Doug Wamble’s guitar, which sounds like it came straight from the swamp even before he applies a bottleneck slide. Batiste follows with a solo that zeroes in at first on a few short phrases, then a few notes, and then at last one note repeated over and over—a miniature clinic in the application of dynamics and the delicacy of touch.
Taking central position here are “La Cantatrice,” “Piazza Navona,” “Pulcinella” and “Spanish Steps,” from the MJQ’s 1962 suite The Comedy. One senses a case is being made for this as a major work, and the effort isn’t entirely successful; although the main theme of “Pulcinella” has an appealing spookiness, these pieces are just too all-over-the-place, with different styles, time signatures and tempos running into each other in herky-jerky fashion. “Delaunay’s Dilemma” is more satisfying, as Ted Nash’s alto saxophone slyly traces the outer fringes of the harmony. And Batiste’s unaccompanied take on “Django” is another standout, dizzying in its Rachmaninoff-ian romanticism.
Dieter Ilg
B-A-C-H
By Jim Burlong
It is well over half a century since The Jacques Loussier Trio launched the first of their forty plus Bach themed albums upon the world. Although the French pianist enjoyed huge commercial success with the project, he had to bear the wrath of most critics and others within the music world. It is very unlikely that either fate will fall upon this trio of highly talented contemporary jazz musicians. The leader and bass virtuoso Dieter Ilg is from Offenburg in Germany. A graduate of The Manhatten School Of Music famed for his duo performances with saxophonist Charlie Mariano, solo projects and work with US heavyweights Mike Stern, Bob Berg and David Leibman. He also has fourteen albums to date under his own name. For the Bach project(s) he has called upon his fellow countryman, the award winning pianist Rainer Bohm who is a lecturer for the instrument at The Mainz University in Mannheim as well as the recipient of The New German Jazz Prize as soloist of the year for 2016. Completing the trio is drummer Patrice Heral from Montpellier in France who is one of the busiest rhythm players on the scene and has recently appeared within bands led by trumpet players Markus Stockhausen and Tomaz Stanko.
It is often said that "You cannot play jazz without playing Bach". This may well be so, but the problem could be where and when to improvise whist at least interpreting in some way the sentiments that the father of western classical music intended. Mr Ilg overcomes this problem perfectly by prefacing the title of each piece with the very important words "inspired by". Listeners will find that Rainer Bohm processes an exquisite touch on the keys, ideal for interpreting this music, while the leader's bass is strong and searching adding the jazz feel to proceedings. The drummers decorative cymbal work also complements the musical soundscape well. There is certainly more variation than improvisation throughout, but at the same time the excellent musicianship more than keeps interest alive. The four "Goldberg" pieces, the two Praludium's plus the strong melody of "Air" adapt best to the format. The technicality and structure here will certainly appeal to those with a good knowledge of Bach, although other ears may find the recording a little cold and academic.
Recorded, mixed and mastered by Adrian von Ripka at Bauer Studios, Ludwigsburg
von Ripka at Bauer Studios, Ludwigsburg
Recording date: January 15 & 16, 2017
Produced by Dieter Ilg
Executive Producer: Siggi Loch
Personnel:
Dieter Ilg / bass; Rainer Böhm / piano; Patrice Héral / drums
Charlie Watts
Meets The Danish Radio Big Band
By Nenad Georgievski
A film director once said that you can't make a great film with a weak script. The same goes for bands of any kind be it jazz or rock or any kind. You can't have a great band without a great drummer. A band can get by with an average bassist or guitarist, but not with an average drummer. It's the heartbeat of any band. One of the things that has made the band Rolling Stones what they are is drummer Charlie Watts and his exceptional and unusual drumming skills. For more than 50 years, Watts has been the propulsive engine that has driven this juggernaut. Few other drummers were as integral to the development of rock and roll music by creating rollicking grooves that were executed with an unhurried elan. Watts is a player you can listen to for his sound alone as he balances the smooth and the jagged with great ease. Contemporary musicians don't come much more graceful in sound or execution than that.
Apart from his long stint as the drummer of one of the most successful and certainly the longest running rock and roll band in the world, it's not a secret Watts's true love has always been jazz and that he has always had a deep appreciation and admiration for this music which hasn't been that much exploited by the press. During the '50s and '60s, Watts fell in love with jazz music through 78 rpm vinyls and the music of musicians like saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Gerry Mulligan, trumpeter Miles Davis, to name but a few as well as the drummers they employed. Since then, he has been a passionate jazz aficionado whose knowledge about this music sits between the reverential and encyclopedic. During his sojourn with a marketing agency, he even penned an illustrated book about Charlie Parker as a tribute to him and has been collecting old drum sets used by drumming legends. During the day he would work at the agency and during the night he would play local gigs. And as many of his generation, he has learnt his trade both by listening to record and by observing jazz drummers in the London's London's jazz circles.
As a result, his drumming style has always been unorthodox and original. When he joined the Rolling Stones he used his jazz chops in order to invent his style of playing rock and blues rock that the Stones became known for and is the reason why he is so revered these days. When the Stones played in New York for the first time during their first American tour, he went to Birdland to see performances by his bassist Charles Mingus and saxophonist Sonny Rollins, and the latter would play years later with the Stones on a song named "Waiting on a Friend."
So it wasn't until the '80s and the '90s that Watts began fronting his own jazz bands whenever the demanding tours and work with the Stones would let him. Since then he has formed a number of jazz, boogie-woogie and big band outfits, including Rocket 88, the Charlie Watts Quintet and the Charlie Watts Tentet. Probably that is best portrayed in the thriller movie "Blue Ice" with actor Michael Caine playing a jazz club owner and Watts' band was the house jazz combo that brilliantly rocked the house. Charlie Watts meets the Danish Radio Big Band was instigated in 2009 by English trumpeter Gerard Presencer, who is also a member of the band. The Band had four days of rehearsals and then had a performance at the then newly opened Danish Radio Concert Hall in Copenhagen. All but two of the pieces here are rewrites of earlier, previously recorded selections either with the Rolling Stones or a selection of suits from his duet record with another drumming legend Jim Keltner. But to make a big band work has really very little to do with "star power" and has really everything to do with hard work. If it is played too conservative then everything will sound predictable and everyone will get bored. For a start, this record doesn't break any new ground. The emphasis is more on moods, harmonies and at moments the arrangements do nod at Gil Evans' or Mingus' styled approaches.
The date opens with two parts of "Elvin Suites" which as an original tune from the project with Kelter is a single composition. The original is an African styled piece with African harmonic voices meshed with piano flashes and cymbals. All of that is beautifully arranged here with dry hissing of Watts' brushes that drives the first part. It is indeed difficult to discern between what's arranged and what is spontaneous. The band's rapport is impressive and everything it plays sounds right. The second part emphasizes the drums and there are polyrhythmic runs that drive this piece with saxophonist Uffe Markussen taking the lead and soon the band steps on the gas and ups the game loud.
The Rolling Stones classics are beautifully rearranged and reharmonized. Nothing in these arrangements would hint at the original songs but a solo instrument would take a lead and directly reference the original melody. Even though named as "Faction" as soon as one hears the melody on the flugelhorn it becomes clear that this is "Satisfaction." Watt's subtle and non-flashy rhythm playing is utterly flawless and galvanizes the band. The same goes for the other two Stones classics "You Can't Always Get What You Want" and "Paint it Black." By no means is this a tribute of faithful recreations of these songs. The arranger shows a daring flair for reimagining these songs. Each of them is rethought and remodeled in order to come out with a vibrant new music. With its imaginative blend of melodies and grooves and colorful textures and timbres, these songs are a launchpad for the big band and its soloists to shine.
"I Should Care" is one of the hidden gems in this collection. There is a certain easiness and flow in this composition, but no blandness at all. The various soloists are stimulating and attentive conversationalists, always listening and often picking up on each other's quips. The album closes on a high note with a beautiful stomp "Molasses." Everything here is filled with movement. It's rich and sticky in rhythm and harmony and is exciting and boiling with energy.
This project feels good in the body and soul. The collaborative energy of this band is exhilarating and a joy to listen. More of this, please.
Track Listing:
Elvin Suite Part 1; Elvin Suite Part 2; Faction (also known as Satisfaction); I Should Care; You Can't Always Get What You Want; Paint It Black; Molasses;
Personnel:
Charlie Watts: drums; Per Gade: guitar,Anders Gustafsson: trumpet; Vincent Nilsson: trombone; David Green: acoustic bass; Peter Jensen: trombone; Steen Rasmussen: fender rhodes, piano; Uffe Markussen: tenor sax; Gerard Presencer: flugelhorn; Lars Møller: tenor sax; Steen Nikolaj Hansen: trombone; Nicolai Schultz: flute
The Jazz At Lincoln Center Orchestra
The Music Of John Lewis
By Mac Randall
When this live album was recorded at New York’s Frederick P. Rose Hall in 2013, Jon Batiste was a respected young pianist from New Orleans. Four years later, he’s that and the leader of a late-night talk-show band on a major network. His name recognition may have gone up, but it’s doubtful you’ll find him playing music like this—a stately set of nine compositions by John Lewis, with support from the Jazz at Lincoln Center Orchestra, in typically polished form—on Colbert too often.
Lewis and his Modern Jazz Quartet’s unique mix of rootsy blues and classical ambition is well suited to the JLCO’s repertory approach. All the same, the best moments here are the simplest. The opening “2 Degrees East, 3 Degrees West” keeps its early focus on Victor Goines’ expansive clarinet and Doug Wamble’s guitar, which sounds like it came straight from the swamp even before he applies a bottleneck slide. Batiste follows with a solo that zeroes in at first on a few short phrases, then a few notes, and then at last one note repeated over and over—a miniature clinic in the application of dynamics and the delicacy of touch.
Taking central position here are “La Cantatrice,” “Piazza Navona,” “Pulcinella” and “Spanish Steps,” from the MJQ’s 1962 suite The Comedy. One senses a case is being made for this as a major work, and the effort isn’t entirely successful; although the main theme of “Pulcinella” has an appealing spookiness, these pieces are just too all-over-the-place, with different styles, time signatures and tempos running into each other in herky-jerky fashion. “Delaunay’s Dilemma” is more satisfying, as Ted Nash’s alto saxophone slyly traces the outer fringes of the harmony. And Batiste’s unaccompanied take on “Django” is another standout, dizzying in its Rachmaninoff-ian romanticism.
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