PAUL MOTIAN 1931 - 2011

By BEN RATLIFF NY Times
The cause was complications of myelodisplastic syndrome, a bone-marrow disorder, said his friend, Carole d’Inverno Frisell.Paul Motian, a drummer, bandleader, and composer of grace and abstraction, and one of the most influential jazz musicians of the last 50 years, died early Tuesday morning at Mount Sinai Hospital in NewYork. He was 80 and lived in Manhattan.
Mr. Motian was a living connection to some of the groups of the past that informed what jazz sounds like today: he had been in Bill Evans’s great trio in the late 1950s and early 1960s, playing on the albums “Waltz for Debby” and “Sunday at the Village Vanguard,” and in Keith Jarrett’s American quartet during the 1970s. But it was in the second half of his life that Mr. Motian found himself as a composer and a bandleader, and his own work took off.
He worked steadily, and for the last six years or so almost entirely in Manhattan, with the support of the record producers Stefan Winter and Manfred Eicher, who streamed out his albums, and Lorraine Gordon of the Village Vanguard, who eventually booked his groups for up to four or five weeks per year.
Then there were the many musicians he played with regularly, including the saxophonist Joe Lovano and the guitarist Bill Frisell, with whom he kept a working trio; the pianist Masabumi Kikuchi and the saxophonists Greg Osby and Chris Potter, with whom he played in trios and quartets; the members of the Electric Bebop Band, with multiple electric guitars, which in 2006 became the Paul Motian Band; and dozens of other musicians, from young unknowns to old masters.
For almost all of his bands, his repertory was a combination of terse and mysterious originals he composed at the piano, American songbook standards, and music from the bebop tradition: Bud Powell, Thelonious Monk, Charlie Parker, Charles Mingus.

Selected Discography:

Windmills Of Your Mind (Winter & Winter 2011)
Lost In a Dream (ECM 2010)
On Broadway Vol 5 (Winter & Winter 2009)
Live At The Village Vanguard I, II, III (Winter & Winter 2006)
Time and Time Again (ECM 2006)
Paul Motian Band, Garden of Eden (ECM Records, 2006)
Frank Kimbrough, Play (Palmetto, 2006)
Enrico Rava, Tati (ECM Records, 2005)
Bobo Stenson Trio, Goodbye (ECM Records, 2005)
Paul Motian Trio, I Have the Room Above Her (ECM Records, 2005)
Tony Malaby, Adobe (Sunnyside, 2004)
Marilyn Crispell Trio, Storyteller (ECM Records, 2004)
Paul Motian, Rarum: Selected Recordings XVI (ECM Records, 2004)
Enrico Pieranunzi, FelliniJazz (CamJazz, 2003)
Paul Motian and the Electric Bebop Band, Holiday for Strings (Winter & Winter, 2002)
Marilyn Crispell/Gary Peacock/Paul Motian, Amaryllis (ECM Records, 2001)
Paul Motian and the Electric Bebop Band, Europe (Winter & Winter, 2001)
Russell Lossing, Dreamer (Double-Time Records, 2000)
Paul Bley/Gary Peacock/Paul Motian, Not Two, Not One (ECM Records, 1999)
Paul Motian, Trio 2000 + One (Winter & Winter, 1999)
Marilyn Crispell/Gary Peacock/Paul Motian, Nothing Ever Was, Anyway: Music of Annette Peacock (ECM Records, 1997)
Keith Jarrett/Gary Peacock/Paul Motian, At the Deer Head Inn (ECM Records, 1994)
Paul Motian, On Broadway, Vol. 3 (JMT, 1992)
Paul Motian, In Tokio (JMT, 1992)
Paul Motian, On Broadway, Vol. 1 (JMT, 1989)
Paul Motian, Monk in Motian (JMT, 1988)
Paul Bley Quartet, Paul Bley Quartet (ECM Records, 1988)
Paul Bley, Fragments (ECM Records, 1986)
Bill Frisell, Rambler (ECM Records, 1985)
Paul Motian Trio, It Should Have Happened a Long Time Ago (ECM Records, 1985)
Charlie Haden, The Ballad of the Fallen (ECM Records, 1983)
Paul Motian Band, Psalm (ECM Records, 1982)
Paul Motian Trio, Le Voyage (ECM Records, 1979)
Paul Motian Trio, Dance (ECM Records, 1978)
Keith Jarrett, Eyes of the Heart (ECM Records, 1979)
Keith Jarrett, The Survivors' Suite (ECM Records, 1977)
Paul Motian, Tribute (ECM Records, 1975)
Keith Jarrett, Death and the Flower (ABC Impulse, 1975)
Paul Motian, Conception Vessel (ECM Records, 1973)
Keith Jarrett, Expectations (Columbia, 1972)
Carla Bley, Escalator Over the Hill (JCOA Records, 1971)
Charlie Haden, Liberation Music Orchestra (Impulse, 1969)
Keith Jarrett, Life Between the Exit Signs (Vortex, 1968)
Mose Allison, Wild Man on the Loose (Atlantic, 1966)
Bill Evans, Trio 64 (Verve, 1964)
Martial Solal, Martial Solal at Newport '63 (RCA Victor, 1963)
Bill Evans Trio, Moonbeams (Riverside, 1962)
Bill Evans Trio, Waltz for Debby (Riverside, 1961)
Bill Evans Trio, Sunday at the Village Vanguard (Riverside, 1961)
Bill Evans Trio, Explorations (Riverside, 1961)
Bill Evans Trio, Portrait in Jazz (Riverside, 1960)
Bill Evans, New Jazz Conceptions (Riverside, 1959)
Eddie Costa Quintet, Eddie Costa Quintet (Mode Records, 1957)
George Russell, Ezz-thetic (RCA, 1957)

BAPTISTE TROTIGNON - Brasil Tour 2011

by Leonardo Barroso


      Sexta-feira, 11 de novembro de 2011, Teatro Nacional de Brasília/ Sala Martins Pena, tivemos o prazer de ver e ouvir o pianista Baptiste Trotignon, um dos integrantes do novo Jazz francês (como Jean-Milchel Pilc, Franck Avitabile ). Baptiste veio ao Brasil tanto para apresentar-se tanto em uma formação Trio como Solo. Seu repertorio foi formado por suas composições originais e os standards "Ne Me Quitte Pas" e "Smoke Gets In Your Eyes". O concerto começou com sua Suite, onde pode mostrar aos que não o conheciam, seu total controle, virtuose e swing. Nas interpretações dos dois standards ele pode se soltar e colocou no piano Yamaha todo lirismo que este musico possui.
      Ir a este concerto, foi como estar em "filme noir", o teatro amplamente carpetado (acho que o mesmo desde 1980)  e com isso, tornando-se um grande armázem de fungos e bactérias. Esta foi uma situação que muito me incomodou, mas com a presença de Baptiste e um piano livre de amplificação, pude deixar tudo de lado, e me deixar envolver no prazer de ouvir um grande musico de jazz. Merci Mr.Trotignon.

THE TOOMUCHNESS OF TODAY’S CD’s CONTENTS

Rainbow Studios-Oslo,Norway

by Claudio Botelho 

One thing I miss about vinyl records: they couldn’t last more than some forty-five minutes or so. The 80 min. recording capacity of CD has been hard pressing musicians into “filling it up”all the time and surely this has been detrimental to the quality of their art.

Rarely do I listen to all the songs of a CD in one take: the quality is often at stake and boredom always prevails at some instance: seventy or eighty minutes of inspiration is a bit too much… For them, if you gather what I mean…

To make it double is jeopardize still further. I never buy a double CD, even if my excuse is the flimsiness of their jewel cases or the awkwardness of their cardboard enclosures. I always find a reason not to do…

Music is not grain, salt or sugar, which are quantity valued; music is art and five minutes of subliminal inspiration certainly is much more treasured than eighty minutes of a lesser effort. So, the artist would better invest in quality as opposed to quantity, but, it seems to me, they’ve been much obliged to write lots of songs each time they decide to make a new work.

I count not the number of unlistened last-songs CD’s I possess. This is aggravated to some extent If one takes into account that (it seems to me), other than an inaugural carefully chosen songs (mostly in faster tempi), the remaining are arranged at random. So, I would not be lying if I said I have some very secret treasured canned songs at home. You know, I’m included in the bunch of their non listeners…

The tried and tested method of distributing the songs in CD’s is to alternate slow and fast tempo ones; there’s no mistake and it’s no use trying differently, as this is in accordance to human nature which, you may know, will never change.  Otherwise, boredom arrives and, in a short time, the listener finds himself indulging in other things…

So, please, musicians, producers and sound engineers: don’t overstuff the product of yours. You’d better reshape the good into turning it better; the better into turning it excellent and the excellent into turning it exceptional. Those of us – mere humble consumers – will thank you forever!

2 Sem 2011 - Part Fifteen

Monty Alexander
Harlem-Kingston Express LIVE!

by Rick Anderson

Some may be surprised to know that reggae music actually has deep roots in jazz. Ska, reggae's stylistic precursor, came into being as a fusion of Jamaican mento, calypso, and American R&B, but some of its earliest and best players were Kingston jazz musicians, and early ska tunes were very often characterized by swinging rhythms and walking basslines. Ska eventually slowed down and its rhythms shifted, resulting first in the short-lived "rocksteady" style before it slowed further and became reggae, which dominated the island's music scene for a decade and a half before eventually being supplanted by the more raucous dancehall style. Pianist Monty Alexander has been bringing jazz back to reggae music (and vice versa) for decades; Harlem-Kingston Express finds him in a live setting, continuing to explore the connections between traditional reggae and straight-ahead jazz while also forging new ones. An example of the latter approach is his strange but intriguing take on the dub reggae classic "King Tubby Meets the Rockers Uptown." The original tune was a dub remix of Jacob Miller's "Baby I Love You So," mixed by the legendary producer King Tubby and embellished by Augustus Pablo's melodica; it is considered by many to be the finest example of 1970s dub ever recorded. Alexander starts out playing the tune more or less straight, taking the melodica part himself -- then suddenly, the ensemble erupts into a frantic Afro-Cuban middle section before modulating and coming back to the original theme. Elsewhere, he delivers a brisk but unexceptional take on "Sweet Georgia Brown," a partly successful reggae adaptation of the jazz standard "Freddie Freeloader," and a surprisingly perfect arrangement of Bob Marley's "No Woman No Cry." Alexander continues to be a highly effective ambassador between two once-fraternal musical styles that have sadly lost touch with each other since childhood. Here's hoping he plans to do a Jackie Mittoo tribute album at some point. 

Terrell Stafford

This Side Of Strayhorn

by Matt Collar
Trumpeter Terell Stafford's 2011 effort This Side of Strayhorn features the hornman performing a series of classic and lesser-known compositions from Duke Ellington's longtime collaborator Billy Strayhorn. Born out of his week-long participation the "Celebrating Billy Strayhorn" fest in Dayton, OH, the album is an urbane and well-crafted affair that finds Stafford wringing much joy improvisationally and otherwise out of these superb compositions. Joining Stafford here are such similarly adept players as saxophonist Tim Warfield, pianist Bruce Barth, bassist Peter Washington, and drummer Dana Hall. To these ends, tracks like "Smada" showcase Stafford's longstanding love of trumpeter Lee Morgan's bluesy and propulsive style, while "Little Brown Book" is a warm, cup-muted number. Elsewhere, the burnished slow-burn blues "Multicolored Blue" and the laid-back and sultry midtempo ballad "Lana Turner" are easily some of the best small group interpretations of Strayhorn you could ever find.

The New Gary Burton Quartet

Common Ground

by Ken Dryden
Once Gary Burton retired from his duties at Berklee, he began to scale back his touring with a full-time quartet. In 2010, he assembled a new band with the phenomenal young guitarist Julian Lage (who first sat in with the vibraphonist at the age of 12), veteran bassist Scott Colley, and drummer Antonio Sanchez, all of whom have recorded as bandleaders themselves. Six of the CD's ten tracks were contributed by the quartet's members, starting with Colley's intricate "Never the Same Way," which incorporates a Latin flavor in its tricky 7/4 meter. Sanchez contributed the infectious cooker "Common Ground" (featuring great solos all around and capturing the spirit of Burton's earlier quartets), and "Did You Get It?" a lively blues with a playful call-and-response between Lage and Burton in its introduction. The leader frequently dismisses his efforts as a composer, but his bittersweet, melancholy ballad "Was It So Long Ago?" is further proof that he needs to spend more time writing; his infectious tango is a lyrical work. Lage is just as promising a songwriter as he is a guitarist. His challenging "Etude" evolved from a study piece he uses with his students; the intricate, rapid-fire introduction segues into a Spanish-flavored midsection that showcases his formidable chops. Burton also revisits songs from his past. Lage introduces "My Funny Valentine" with a well-disguised improvisation that doesn't state its well-known theme until the full band joins him near the halfway mark, then both Burton and Colley take solos, backed by Sanchez's soft but effective percussion. Burton also revisits Keith Jarrett's "In a Quiet Place," blending reflective moments with a bluesy air at times. Common Ground stands alongside the many landmark albums in Gary Burton's vast discography.

Matt Nelson Trio

Nostalgiamaniac

By Alex Mariany
According to The Oxford English Dictionary, nostalgia is defined as "a sentimental longing or wistful affection for the past," and a maniac is "an obsessive enthusiast." Chicago pianist Matt Nelson embodies both qualities on Nostalgiamaniac. The sentimentality of his ballad playing and the keen musical citation of past generations of jazz musicians clearly display the conversation he's having with his own past, and his dedication to music.
Without losing momentum in his constant foray into modernity, Nelson manages to remain firmly rooted in the rich tradition of jazz piano playing, at times sounding like a 1960s-era Herbie Hancock and at other times sounding like a current-day Brad Mehldau. He also accomplishes this by finding a stable blend of more contemporary sounding, ECM-like tunes ("Lady Luna," "Revisited") and straight-up, hard-swingin' tracks ("Compliments," "Dave's Blues"). Nelson maintains the balance by revealing his personal side through "Matthew My Boy," a song that his father wrote for him many years ago, and the maniac side with the opening track, "Infatuation."
At a superficial glance, Nostalgiamaniac can seem to get bogged down by Nelson playing nearly every moment of this lengthy album. Further review, however, reveals a continual reinvention of his playing, in order to remain compelling from start to its finish. While his accompaniment can, at times, be distracting, such as behind Graham Czach's bass solo on "Lady Luna," it's always extremely sympathetic to the soloist's cause.
With the trio's obvious command over its more delicate playing, it's easy, at times, to overlook the unbelievable technique on the more rhythmically agitated tunes like "Infatuation" or "The Epitome." Czach and drummer Matt Nischan seem to have no problem keeping the beat elastic and playful even at brisk tempos. Not only do they weave a supportive fabric for Nelson to rest on for his own improvisations, each of them also adds their own imaginative solo work, Nischan especially so on "Dave's Blues."
With this debut, Nelson and his trio have carved out a nice spot for themselves in the Chicago jazz scene. By remaining true to the tradition of jazz, they have managed to find fertile ground for their growth and expansion into what looks like a promising future.
Track Listing:
Infatuation; Closing the Door; Quiet Love (and Sunshine); The Epitome; Lady Luna; Longing For...; Revisited; Compliments; Matthew My Boy; Dave's Blues; Alternate Antioch; The Art of Suppression.
Personnel:
Matt Nelson: piano; Graham Czach: bass; Matt Nischan: drums.

2 Sem 2011 - Part Fourteen

Michel Camilo
Mano a Mano



by Ken Dryden

Michel Camilo has excelled in every project he has conceived, ranging from solo piano, small groups, big band, and working with a symphony orchestra. For this session, he returns to a trio setting with the infectious Puerto Rican percussionist Giovanni Hidalgo and bassist Charles Flores. Opening the disc is "Yes," the pianist's reworking of the familiar "Indiana" chord changes, recast as a lively Latin jazz original. The brilliant improvised introduction is a sensational duo performance by the leader and the conga player, setting up their terrific flights as the theme is revealed, with Flores providing an inventive undercurrent. Camilo's recasting of Lee Morgan's "The Sidewinder" keeps its funky edge with Hidalgo's capable percussion providing a hip flavor. John Coltrane's "Naima" is often played so seriously that no one seems to think of taking this lovely ballad in another direction. Camilo initially stays the course, though bursts free as he works into his inventive improvisation, while Hidalgo and Flores are anything but sedate with their formidable accompaniment. Camilo's interpretation of "Alfonsina y el Mar" is a moving performance of the Argentine ballad, with his shimmering piano conveying its emotion as Hidalgo and Flores provide a subtle background. There are several additional Camilo pieces of note, especially the lush ballads "You and Me" and "About You," the latter an elegant solo piano performance that wraps this delightful CD. 

Bill Anschell

Figments

by Adam Greenberg

One of the more prolific exponents of the Northwest jazz sound, pianist Bill Anschell has figured in any number of excellent recordings, both as a bandleader and as an accompanist. In Figments, he takes a turn at solo piano, running through songs from pop, jazz, and the American songbook and reworking them into wandering (he describes it as stream of consciousness) arrangements that sometimes provide jazz underpinnings for classic pop, and sometimes explode the pieces into their atomic elements, looking for interesting tidbits in the debris. "Alice's Restaurant" weaves between ragtime, nightclub jazz, and deeper introspective chunks. Joni Mitchell's "Big Yellow Taxi" is actually performed on prepared piano (a piano with objects placed in/on the strings to change their sounds), and heads toward a sort of acoustic electronica. The thing that sets Figments apart from the now-standard jazz performances of pop classics is the ease with which Anschell wanders away from tunes, finding interesting motives in them and expanding on them freely, eventually to return to the main melodies. As he wanders around the songs, Anschell shows off a striking facility with different styles of play -- he can touch on stride piano (fittingly) in "Honeysuckle Rose," he can twinkle through arpeggios in "Desperado," and he can move to the ethereal in "Ask My Why." The music is rarely bouncing on Figments, but it remains catchy despite itself. The real key here is Anschell's ability to avoid adapting the songs into a simple piano jazz format and to come up with something both remarkably new and still recognizable. An excellent set. 

Iro Haarla Quintet

Vespers

by Something Else!
With nearly 1,800 posts under our belt, we at SER have covered a whole lot of different styles, players and instruments, but based on a cursory search, I haven't found a single piece where a harpist is the featured musician. We now have that covered: meet Iro Haarla.
Actually, one of Finland's finest is a pianist too, as well as a composer and arranger. Her most recent album, Vespers, is a showcase to all of these aptitudes, which doesn't make it so much a harp album as it does a “Iro Haarla" album. Haarla first gained the big props as a key member in percussionist Edward Vesala's bands, working as arranger and orchestrator. Her close relationship eith Vesala culiminated in their marriage, and she dedicated her career working with him until his death in 1999.
Vespers, her second for the ECM label, carries over the same quintet used for the first ECM,Northbound (2006). Mathias Eick, whose own fresh new ECM record was given a look over just yesterday is on trumpet, as well as Trygve Seim, his saxophone partner in crime onManu Katché's phenomenal Playground (2007). Former Vesala Sound & Fury band mate Ulf Krokfors mans the acoustic bass and ECM hall of famer Jon Christensen is on drums. Indeed, this is a group of Scandinavian all-stars.
These nine songs of hers are all rubatos, in the “free ballad" form that Vesala and Christensen helped to instigate with Jan Garbarek decades ago. Avant paced but lyrically flowing, Haarla has become a master of this style, and her harp is a great accessory to this style; she could have easily played it on more than the three of four tracks that she did. Krokfors' pivotal role at bass taking charge of the flow of the song with Christensen, makes Haarla's piano, which is mostly in the background, nearly superfluous. Eick and Seim carry over that great rapport from the Katché project, pouring out aching notes that assures the Norwegian jazz legacy is in good shape for the next generation.
The capacious Nordic jazz sound is in good shape for years to come, too, thanks to torch bearers like Iro Haarla. Vespers was released last April 12.

Cedar Walton
The Boucer

by Matt Collar
Continuing in his tradition of stellar Highnote label albums, pianist Cedar Walton's 2011 release, The Bouncer, features the journeyman hard bopper leading a fine quintet of like-minded individuals. Once again featuring the talents of saxophonist Vincent Herring, who appeared on Walton's 2009 effort, Voices Deep Within, The Bouncer also showcases trombonist Steve Turre, as well as longtime associate bassist David Williams, drummer Willie Jones III, and percussionist Ray Mantilla. This is urbane, no-nonsense, straight-ahead acoustic jazz, the kind that Walton has based his career on since the '60s. To these ends, listeners get the jaunty, midtempo opener, as well as the lilting pretty waltz "Halo" and the Jones-inspired "Willie's Groove," which finds both Jones and Williams showing their improvisational stuff. Elsewhere, Walton and company tackle J.J. Johnson's "Lament"; rework Walton's "Underground Memoirs" from 1996's The Composer into a stylish, roiling Latin-tinged number; and keep the Latin vibe going on Trinidad native Williams' grooving "Got to Get to the Island."

RAMBERTO CIAMMARUGHI - UmbriaJazz/Brasilia

by Leonardo Barroso

 Ontem, 01 de novembro de 2011, as 20:00h no Teatro Eva Hertz na Livraria Cultura/Shopping Iguatemi, fui ouvir mais um grande jazzman italiano, promovido pela Umbria Jazz/CAIXA. O musico em questão é o pianista Ramberto Ciammarughi. Ao chegar no palco apresentou-se e mostrou qual seria a ideia para o concerto: foi um show baseado em temas de filmes/cinema, musicas que ele amava e se indentificava, indicou que seria uma noite de Tributos aos grandes compositores da sétima arte.

Sentou-se ao piano de cauda K. Kawai (Japão) e pediu para que as palmas fossem reservadas para o fim do espetáculo.

 A única vez que ouvi Ramberto antes deste show foi no CD "Another Day" com um quarteto liderado pelo gaitista Luigi Ferrara, acompanhado do pianista, o baixista Gabriele Pesaresi e o grande baterista Massimo Manzi. Uma das coisa que mais me tinha agradado era o piano, conforme minha anotação neste blog http://worldjazz.blogspot.com/2009/07/novidades-do-jazz-em-julho2009.html.

Foi realmente uma belíssima noite. Lamentei que muitos amigos não puderam estar lá, pois o repertório teve musicas que eu ( e vários amigos, principalmente Marcio Távora ) consideramos como maravilhosas, Ramberto tocou o mais puro Jazz em temas como: Smile, When You Wish Upon a Star, Maria e em nos tributos a: Ennio Morricone, Nino Rota, Leonard Bernstein, John Williams, Walt Disney e aos pianistas dos antigos filmes não-falados. Ramberto grazie per il piacere di una notte di ricordi bellissimi e il suo Jazz.

Pedro Martins Trio at UmbriaJazz/Brasilia

by Leonardo Barroso
Abrindo o concerto UmbriaJazz/CAIXA, tocou o guitarrista Pedro Martins com seu Trio, formado por Felipe Viegas - Teclados e Renato Galvão - Bateria.
Foi um show que se mostrou alem das minhas expectativas, o Trio se manteve bem coeso com composições bem tocadas, inclusive tive a clara certeza de ver um grupo ( lembrou-me Pat Metheney & Lyle Mays ) com grande potencial ! Parabens Pedro !
Qualquer contato com o artista atráves: www.myspace.com/pedrinhomartins

2 Sem 2011 - Part Thirteen

Janette West Group
Snapshot




By Christopher Loudon

Seattle-based vocalist Janette West has been working up and down the West Coast for nearly four decades, variously fronting R&B, smooth-jazz and big-band outfits. Never, though, has West been better served than with her recently formed quartet comprising her husband, drummer Marty Tuttle, plus keyboardist Eric Verlinde, bassist Chuck Kistler and percussionist Ricardo Guity. This is a remarkably tight unit, rivaling the tautness of the Tierney Sutton Group. West is a first-rate swinger, comparable in style and gusto to Ernestine Anderson, though the warmth of her ballads is more reminiscent of Natalie Cole. Each group member is given plenty of room to stretch out and shine.

West is exceptionally gracious about sharing the spotlight. Verlinde demonstrates a masterfully elegant touch on “Only Trust Your Heart” and “I’m Glad There Is You,” and, on Hammond E, ably assists West in finessing an exuberant “Willow Weep for Me.” Tuttle and Guity steer a shimmering treatment of Stevie Wonder’s “Bird of Beauty.” But the two tracks that best showcase the group’s solidity are a gorgeously lithe “You Go to My Head” and a scintillating Afro-Cuban canter through “Love for Sale.”

Gerald Wilson Orchestra
Legacy

by Ken Dryden

Gerald Wilson demonstrates that age is only a number with his outstanding composing and arranging for these big-band sessions. Having celebrated his 92nd birthday around the time that he made this recording, Wilson offers a diverse program, though his deteriorating vision requires Eric Otis (his grandson) to notate the leader's music from his oral instructions as he composes at the piano. Three of his pieces are derived from famous classical works. "Variations on a Theme by Igor Stravinsky" is taken from the composer's famous early 20th century ballet The Firebird, a robust cooker that serves as a brief introduction. "Variations on Clair de Lune" gives Claude Debussy's well-known work a slow, bluesy air at first, showcasing pianist Renee Rosnes and son Anthony Wilson on guitar, though it soon transforms into a breezy setting. "Variations on a Theme by Giacomo Puccini" takes one of his most beloved moving arias ("Nessum Dorma") and gives it an uplifting bop flavor. Wilson's "Yes, Chicago Is…" consists of a seven-part suite, highlighted by the boisterous "Riffin' at the Regal" and the snappy "Cubs, Bears, Bulls, and White Sox" (a bluesy vehicle with numerous potent solos). Anthony composed and arranged "Virgo," while Eric penned "September Sky," further evidence that the apple doesn't fall far from the tree as far as music is concerned in the Wilson family. The supporting cast includes some of the most in-demand musicians on the New York City jazz scene, including bassist Peter Washington, drummer Lewis Nash, saxophonists Antonio Hart, Dick Oatts, and Gary Smulyan, and trumpeters Jeremy Pelt, Sean Jones, and Freddie Hendrix, along with trombonists Douglas Purviance and Alan Ferber, among others. This outstanding recording adds to the already substantial discography of the great Gerald Wilson.

Dave Miller Trio

Rapture

 

By Bill Milkowski

Pianist Dave Miller teams with fellow jazz vets Mario Suraci on bass and Bill Belasco on drums for a set of lightly and politely swinging mainstream jazz. From the opening strains of Gerry Mulligan’s jaunty “Line for Lyons” to Jimmy Van Heusen’s harmonically rich “I Thought About You,” Terry Gibbs’ sprightly “Peaches” and Duke Ellington’s coy “Just Squeeze Me,” the course is strictly straight-ahead. Some surprises here include a poignant reading of the Lennon-McCartney ballad “In My Life,” an interpretation of Harold Land’s Afro-Cuban-flavored “Rapture” and a clever 4/4 take on Sammy Fain’s waltzing “Alice in Wonderland,” a Disney tune closely associated with Dave Brubeck.

On this sixth CD there are revealing marks of artistic ripening and impressive blend of immutable confidence and solid pianism.  Dave's excellence is uniform across varied domains.

The repertoire reflects how well he addresses the wide arc of diversity.  His style postured with taste and finesse plus a range of timbres whether he plays ballads or swingers.  His fingers capture the heart and sould of each tune.

The rich trove of selections on this CD offers an uplifting, absorbing listening experience.

- Recorded Fantasy Records in Berkley, on Sept. 30th and Oct. 27, 2009

- Photography: Michael Collopy

- Engineered by: Adam Munoz

- Mastered by: Ken Lee

Phil & Bill

Woods & Mays

by Ken Dryden

Long one of the dominate alto saxophonists in jazz, Phil Woods meets his regular pianist Bill Mays for this intimate duo session recorded in September 2010. Both musicians have a vast repertoire and a gift for inventive improvising. They explore several songs by top-notch songwriters, including a loping, lyrical treatment of Jimmy Van Heusen's "All This and Heaven Too," a breezy, playful setting of Irving Berlin's "The Thing for You Would Be Me," and an overlooked Richard Rodgers gem, "Do I Love You?," which was featured in a Cinderella television special in the late '50s, featuring a bubbly Woods solo that is well complemented by Mays' elegant piano. Woods unveils two new originals for musicians who had passed away prior to the record date: "Blues for Lopes," a spunky bop vehicle that honors Joe Lopes, an old friend and mentor, along with "Hank Jones," a gorgeous ballad that salutes the brilliant pianist whose career spanned seven decades. This enjoyable duo date adds another important chapter to the already vast discography of Phil Woods.

Lynne Arriale

Convergence

by Ken Dryden

Lynne Arriale has made her mark with a number of CDs of her own during her career. This predominantly trio date with bassist Omer Avital and drummer Anthony Pinciotti, adding tenor saxophonist Bill McHenry on several songs, mixes originals and covers of pop songs. Arriale's songwriting skills match her chops at the piano. The driving post-bop vehicle "Elements" provides a solid opener for Arriale's trio, with the pianist's unpredictable blues constantly shifting. Her rambunctious Irish jig "Convergence" features McHenry's powerful tenor and Arriale's furious solo. "The Simple Things" is a low-key, lyrical ballad played by the trio. The infectious "Here and Now" draws from multiple musical influences from around the world, showcasing McHenry's wailing tenor. The Middle Eastern-flavored "Dance of the Rain" includes an unidentified oud player, with Pinciotti presumably being playing the hand percussion. Arriale also shines with her fresh interpretations of the Beatles' "Here Comes the Sun," Sting's "Sister Moon," and the Rolling Stones' "Paint It Black." Only Nine Inch Nails' "Something I Can Never Have" never manages to gain traction.

Corea, Clarke & White

Forever

by Thom Jurek

This double-disc set documents Return to Forever's unplugged tour of 2009. Its 19 tracks consist mainly of rearranged RTF tunes and jazz standards for piano trio, though there are wonderful surprises on disc two. Disc one is taken directly from concert appearances across the globe. The standards work well -- considering how busy Chick Corea, Stanley Clarke, and Lenny White can be together as well as solo. "On Green Dolphin Street," "Waltz for Debby," and "Hackensack" all swing, though they do feature moments of RTF's requisite knotty counterpoint. Originals include Clarke's new tune, the beautiful "La Canción de Sophia," as well as "Bud Powell" and "Windows" from two Corea solo recordings, and "Señor Mouse" and "No Mystery," both RTF tunes, round it out. The small complaint is that these three play so stridently and "perfectly" that they sound more like a studio band instead of a quick-thinking live unit. Everything is exceptionally played and recorded. The gems are saved for disc two, which consists mainly of rehearsals for the tour recorded at Mad Hatter Studios in San Francisco, complete with off-mike banter. Corea dons his Rhodes and other keyboards for an excellent version of "Captain Marvel" and a fully fused-out “Señor Mouse,” “Space Circus,” and “After the Rain,” all with original RTF guitarist Bill Connors playing his ass off with his former and future bandmates (Frank Gambale will assume guitar duties on tour). Violinist Jean-Luc Ponty will also join the new band formally in 2012, and he begins in that role here, appearing on "Armando's Rhumba" (he played on the original off Corea's My Spanish Heart LP), his own "Renaissance," a fine rendition of "I Loves You, Porgy" (one of two tunes with Chaka Khan on vocals), "After the Cosmic Rain," and "Space Circus." The other two surprises on disc two are a very soulful duet between Corea (on acoustic piano) and White on John Coltrane's "Crescent" and a stellar acoustic trio version of RTF's standard "500 Miles High," which was recorded at the Monterey Jazz Festival and contains plenty of fire. With its looseness, this second disc offers the real dynamic potential for RTF in the future and reveals the depth of near symbiotic communication between the bandmembers.

Roger Davidson & David Finck

Umbrellas & Sunshine: The Music of Michel Legrand

by Alex Henderson

In popular culture, Michel Legrand (who turned 79 on February 24, 2011) is best known for his accomplishments as a composer. But people who really know their jazz also respect the Paris native for his work as an acoustic pianist, and on Umbrellas & Sunshine: The Music of Michel Legrand, fellow acoustic pianist Roger Davidson pays tribute to both Legrand the composer and Legrand the pianist. Forming an intimate duo with upright bassist David Finck, Davidson salutes Legrand's pianistic style, but does so on his own terms. In other words, Davidson acknowledges elements of Legrand's playing, but isn't actually trying to emulate him; the lyrical Davidson still sounds like himself. And he tackles an intriguing variety of Legrand pieces on this 2009 recording. Many of the songs are well-known standards, including "You Must Believe in Spring," "Watch What Happens," "The Summer Knows," and "What Are You Doing the Rest of Your Life?" (which is part of a medley that also includes "The Easy Way"). But Davidson makes his share of less obvious choices as well. Among them: "His Eyes, Her Eyes" (from the 1968 film The Thomas Crown Affair), "The First Time" (which was heard in Falling in Love Again, a romantic comedy from 1980), and the obscure "Look." Many people who are big admirers of Legrand are unfamiliar with "Look," and the very fact that Davidson included that rarity shows that he wasn't afraid to do his homework. So even though Umbrellas & Sunshine has its share of well-known standards, Davidson obviously didn't want this 52-minute CD to have an all-standards-all-the-time approach. Davidson is hardly the first jazz musician to pay homage to Legrand, and he certainly won't be the last. But his sense of adventure makes Umbrellas & Sunshine one of the more memorable Legrand tributes of the 2000s.

2 Sem 2011 - Part Twelve

Ron DiSalvio
Happily Evans After




By Bill Milkowski

Ron Di Salvio has a knack for conjuring up clever arrangements for his flexible piano trio, a skill he demonstrated on 2007’s Essence of Green: A Tribute to Kind of Blue. Here he summons up the spirit of pianist Bill Evans on the delicate waltz-time title track and “Carol’s Waltz,” both featuring highly interactive support from bassist Tom Knific and drummer Keith Hall. “Child’s Play” incorporates themes from The Wizard of Oz along with “London Bridge Is Falling Down” and “Pop Goes the Weasel.” The serene “My Space” is a chamber-jazz offering that opens with a quote from Beethoven’s “Sonata in D Minor” before segueing into a spirited Keith Jarrett-ish romp. Other direct influences can be heard on the Afro-Cuban-flavored “Montuno for Monty” and the off-kilter blues “Monk’s Sphere,” which quotes liberally from “Little Rootie Tootie.”


Cyrus Chestnut Trio
Journeys

by Ken Dryden

Cyrus Chestnut's approach to piano is a mix of his gospel roots, effortless swing, lively bop, and lyrical ballad playing. His formative years included a stint with Jon Hendricks and the demanding Betty Carter, although here, accompanied by bassist Dezron Douglas and drummer Neal Smith, his session focuses on his original works -- aside from a playful romp through the standard "Lover." His breezy bop vehicle "Smitty's Joint" showcases each member of the trio in turn and is destined to be a perfect set opener. Smith switches to brushes for Chestnut's delicate jazz waltz "Eyes of Angel," a spacious number that shimmers. "Journeys" deceptively opens in a subdued manner, building from a soft ballad setting into an intense climax without ever losing its lyricism. "Goliath" combines various influences from Chestnut's background, incorporating a familiar classical theme and his church pianist roots in a meditative yet gently swinging setting. Cyrus Chestnut's journeys have taken him to many musical destinations, yet he remains a distinctive original pianist whose work has continued to grow.

Bill Charlap & Renee Rosnes

Double Portrait

by Ken Dryden

Pianists Bill Charlap and Renee Rosnes married in 2007, so the had plenty of time to practice for this duo piano date, since they have twin grand pianos in their apartment and have played a few gigs together as well. Both of them have long résumés as leaders and in support of other musicians. Recorded at the 92nd Street Y in New York City (where Charlap took over the reins from Dick Hyman for Jazz in July series a few years earlier), the husband-and-wife team put together a wide-ranging set list. Their arrangement of fusion keyboardist Lyle Mays' "Chorinho" is a brilliant opener, crackling with its infectious Brazilian rhythm. The soft emotional setting of "My Man's Gone Now" proves haunting; the quiet interpretation of Gerry Mulligan's tender ballad "Little Glory" suggests parents watching a sleeping infant; their rendition of Wayne Shorter's "Ana Maria" shimmers with a subtle energy; and Rosnes' "The Saros Cycle" sounds as if it were written for film, suggesting a journey. Although some writers and musicians dismiss two piano meetings as a mere gimmick, this session by proves that two pianists who are in sync with one another's thoughts can produce timeless music. No time should be wasted in scheduling a follow-up.

Richie Beirach Trio

What Is This Thing Called Love ?

by Melodius Thunk

Although somewhat underrated, Richie Beirach is a consistently inventive pianist whose ability to play both free and with lyricism makes him an original. After studying classical piano, Beirach switched to jazz. He studied at Berklee and the Manhattan School of Music, and took lessons with Stan Getz, Dave Holland, and Jack DeJohnette.
His classical training can sometimes be heard in his more advanced improvisations, along with the sensitivity of a Bill Evans and this disc nicely covers those bases. But its Richie's reharmonisations of these standards that one notices the most. The opening track is a driving, urgent take of the original, Nardis full of tension, Autumn Leaves is wonderfully rhapsodic. As expected with such great sidemen of George Mraz and Billy Hart this CD doesn't just showcase Richie's talent, there's plenty of space to hear their musicianship too.


Roseanna Vitro
The Music Of Randy Newman

 

by Ken Dryden

Vocalist Roseanna Vitro has had big ears when it comes to looking for material for her jazz record dates, investigating songwriters overlooked by others. This Randy Newman songbook is obviously a labor of love, interpreting the veteran composer's lyrics, whether sentimental or sardonic. Her band includes the seasoned rhythm team of pianist Mark Soskin (who also provided arrangements), bassist Dean Johnson and drummer Tim Horner, along with the promising young violinist Sara Caswell (who often adds a sublime touch). The rich-voiced alto's rendition of "Sail Away" showcases Caswell to good effect. Vitro has a lot of fun with Newman's hilarious description of attending a pot party in "Mama Told Me Not to Come," with Caswell's whimsical licks complementing the leader's playful, outgoing vocal. The singer captures the essence of Newman's sardonic "Baltimore," though she transforms it with a brisk setting, adding guitarist Steve Cardenas. Vitro's dramatic interpretation of "In Germany Before the War" is also a high point. Jazz fans who grew up listening to Randy Newman will be particularly interested in Roseanna Vitro's novel approach to his music.  

2 Sem 2011 - Part Eleven

Gordon Goodwin's Big Phat Band
Swingin' For The Fences



by Scott Yanow
Saxophonist Gordon Goodwin (heard on this CD on alto and soprano) has loved big bands since he was a child. He arranged all of the music for his 18-piece big band's release, contributing nine of the ten compositions (all but Bach's "Two Part Invention in D Minor") and getting several notable guest soloists to make appearances. The music is mostly modern mainstream, swinging while utilizing some advanced harmonies. There are a few departures including "Sing Sang Sung" (a number based a bit on "Sing Sing Sing"), the Bach selection, a couple Latin jazz pieces, and the funky "There's the Rub" and "A Few Good Men." Among the main soloists from the orchestra are Goodwin, trombonist Andy Martin, pianist Tom Ranier, and tenorman Dan Higgins. The guests (on two songs apiece) are trumpeter Arturo Sandoval, clarinetist Eddie Daniels, and altoists Eric Marienthal and Brandon Fields. Fans of contemporary big bands will find much to enjoy on this fun set.

Gonzalo Rubalcaba
Faith



By Dan McClenaghan
Cuban-born/Miami-based pianist Gonzalo Rubalcaba boasts a discography of some 25 albums, including a dozen discs for the esteemed Blue Note label. Having established star status for himself with numerous Grammy nominations and two wins, Rubalcaba steps out with the first release on his independent 5Passion label, Fe...Faith.
Over the course of his career, Rubalcaba has worked with some of the best modern jazz players, including Joe Lovano, Michael Brecker, Charlie Haden, Paul Motian, but introduces his new record company with a solo outing--an eighty-minute jazz prayer. The music is graceful and refined, largely introspective and deeply reverential in tone, with the pianist's technical prowess on full display in a meditative and often economical fashion.
Rubalcaba's brief “Derivado 1” opens the set with a short declaratory note, drifting into the spare and sacred mood of another original, “Malerefun lya Lodde Me,” a beautifully ruminative exploration of the spirit of the music of the Cuban Santeria religion. “Improvisations 2 (based on Coltrane),” features the pianist at his most virtuosic, as he invites the soul of the ever-spiritual saxophonist John Coltrane into the mix.
Rubalcaba also delivers two versions of Dizzy Gillespie's “Con Alma” that are tranquil, fluid examinations of its familiar melody. There are also two takes of the Miles Davis/Bill Evans classic, “Blue in Green.” Both have a melancholy feeling, as if they are prayers of mourning, before and after the set's more joyful moment, “Oro,” inspired by the Santeria religion, and a gorgeous and reverential triptych of tunes celebrating Rubalcaba's children,”Joan,” “Joao” and “Yolanda Anas.”
Rubalcaba revisits Coltrane with “Improvisation 1 (based on Coltrane),” to add a sparkle to the set, and closes out with another brief original, “Derivado 3,” a delicately pretty “amen” of sorts, to Rubalcaba's most personal of records.
Track Listing:
Derivado 1; Maferefun Iya Lodde Me; Improvisation 2 (based on Coltrane); Derivado 2; Con Alma 1; Precludio Corto #2 (Tu Amor Vera Falso); Blue in Green 1; Oro; Joan; Joao; Yolanda Anas; Blue in Green 2; Con Alma 3; Improvisation 1 (based on Coltrane); Derivado 3.
Personnel: Gonzalo Rubalcaba: piano.          

Giovanni Mirabassi Trio
Live @ The Blue Note, Tokyo



by Choc Classica – Jean-Pierre Jackson
  An exceptionally precise and dynamic sound recording. After the release of the two outstanding albums Terra Furiosa in 2008 and Out of Track, last year, the new album by the same trio recorded between 21st and 23rd April at the Blue Note in Tokyo is a great success. This is first due to the melodic and rhythmic richness of the nine compositions of the CD’s répertoire, displaying in turn pianist Giovanni Mirabassi’s elegiac and lilting style (My broken heart, World changes) and the swing and energy that characterize him (NY#1, It’s us). The rich improvisations with their brilliant internal logic are always followed by poetical undulating efflorescences, which are typical of the pianist’s style.
   The success of this new album is also due to the trio itself, in perfect osmosis, with exceptional Leon Parker’s impressively precise drum playing and Gianluca Renzi, who constantly creates bass lines which do not only provide the melodic and rhythmic foundations of the phrasing, but can also approach what can sound like the human voice , when playing solo. This new album of remarkable sound quality which is a legendary characteristic of all CDs under Japanese label Vénus, renders Giovanni Mirabassi’s musical generosity when playing in concert, and certainly has the polished touch of all great classics.

Jean-Michel Pilc
True Story

by Ken Dryden
Jean-Michel Pilc has established himself as one of the major jazz pianists to emerge from Europe around the beginning of the 21st century. Joined by Mingus Big Band bassist Boris Kozlov and veteran drummer Billy Hart, Pilc mixes creative arrangements of several familiar songs with his demanding originals. His take of Cole Porter's "My Heart Belongs to Daddy" is full of humor (adding a quick dash of "You and the Night in the Music") while retaining a sensual undercurrent and a sense of adventure with his wild variations, with potent solos all around. Pilc's adaptation of "Try to Remember" (from the long-running Broadway musical The Fantastiks) incorporates dissonant bass chords and several twists that keep it from getting overly sentimental, while the haunting "Relic" is a reworking of a Franz Schubert theme. The high point of Pilc's compositions is his five-part suite "True Story," which incorporates many contrasting styles in its brief segments. Although many jazz journalists have high regard for the work of Jean-Michel Pilc, he remains a treasure awaiting discovery by many American jazz fans.


Karrin Allyson
'Round Midnight


by Matt Collar
Vocalist/pianist Karrin Allyson's 2011 effort 'Round Midnight is a smoky, afterglow affair that builds upon the singer's noted skill for interpreting jazz and pop standards. Conceptualized around the classic Thelonious Monk title track, the album plays like a darkly cool nightclub set -- not dissimilar to the kind of live performances Allyson is known for. Backing Allyson here is a superb lineup featuring guitarist Rod Fleeman, bassist Ed Howard, and drummer Matt Wilson, as well as saxophonist Bob Sheppard and harmonica player Randy Weinstein. Together, Allyson and her ensemble deliver intensely dramatic and romantic takes on such standards as the leadoff "Turn Out the Stars," the mid-album "Spring Can Really Hang You Up the Most," and of course the title track, which Allyson performs starkly with just bass accompaniment. Elsewhere, Allyson gives a sweetly moving take on Paul Simon's "April Come She Will" and goes against the usual uptempo style of "I'm Always Chasing Rainbows," instead delivering a ruminative, impressionistic slow-ballad version that allows her to reveal the nuances of Gene Lee's lyrics. Ultimately, it's Allyson's emotive voice and her ability to bring out these soft, bittersweet nuances in every track that makes 'Round Midnight such a listenable and heartfelt album.

LOOSE QUESTIONS TO TEASE YOU

BY CLAUDIO BOTELHO 

1- Does singing along with, say, Alan Broadbent, Marc Johnson and Joey Baron a jazz singer make?
2- Can someone who sings strictly following what was written on the charts, with only minor changes in rhythm, be called a jazz singer?
3- Aside from the likes of Dianne Reeves, Diana Krall, Roberta Gambarini, Cassandra Wilson, Tierney Sutton, Nancy King, Janis Siegel, Jay Clayton, Jane Monheit, Carol Sloane, Judy Niemack and a handful few others (not counting that friend of yours who sings in that bar around the corner, of course), do you think there exists, today, much more? Don’t you think many a jazz magazines are a bit too much populated by animals of other natures than reasonable expected?
4- Have you ever seen some pop singer taken erroneously as a jazz one and – worse still – earning prizes as an artist of this gender of music?
5- Heard about a so-so piano player who became a wonderful singer, without abandoning the piano?
6- Conversely, heard of a wonderful piano player who became a so-so singer, also without firing her playing instrument? Who are they?
7- The greatest pop singer of all time was a jazz artist? Would his Jobinian “shah.bah.dah.bah.dah” qualify him as such? Or, for instance, his rendering of “I’ve Got You Under My Skin” would suffice? What about his colleague Tony Bennett?
8- How would they compare (in their “jazziness”) to the great Kurt Elling and the no less important Mark Murphy? And speaking of these two, which one would you stay with, if improvisation skills were the main concern?
9- Wouldn’t you agree some scats could help a lot to forge a real jazz vocalist and could , as well, distinguish men/women from boys/girls?
10- Why is it there’s much more jazz and “jazz” female vocalists than their male counterparts?
11- Which singer (non American) is the only one in the scenes today who resembles, at the same time, Ella, Carmen and Sarah?
12- I agree Miles Davis was really great, but what about helping living jazz musicians feed their children?