International Jazz Day 2012

Martin Luther King Jr. once said that “jazz speaks for life.” This is the spirit of the
first International Jazz Day.
Jazz has defied almost every attempt at definition. The music critic John Fordham
may have captured it best when he described the music of Miles Davis as “the
sound of the skipped heart-beat, the caught breath, the sudden smile.”
Jazz is music of boundless creativity. Mixing composition and improvisation, the
formal and informal, it renews itself every time it is played. Born in the United
States, jazz is owned by the world. Rooted in African traditions and drawing on
European musical forms, it has taken on new shapes in cultures across the globe.
Jazz makes the most of the world’s diversity, effortlessly crossing borders and
bringing people together.
Jazz has been a force for positive social transformation throughout its history, and it
remains so today. This is why UNESCO created International Jazz Day. From its
roots in slavery, this music has raised a passionate voice against all forms of
oppression. It speaks a language of freedom that is meaningful to all cultures. The
same goals guide UNESCO in its efforts to build bridges of dialogue and
understanding between all cultures and societies. We work with governments and
societies and also with artists, including Herbie Hancock, UNESCO Goodwill
Ambassador. Making the most of cultural diversity is a task we all share.
This is why this first International Jazz Day will be celebrated with concerts across
the world, from Muscat to Moscow, Yerevan to Havana, Paris and New York to New
Orleans. Each of these concerts will display the power of jazz to enhance human
Message from Ms Irina Bokova,
Director-General of UNESCO
on the occasion of the International Jazz Day 30 April 2012 

Why International Jazz Day?
Jazz breaks down barriers and creates opportunities for mutual understanding and tolerance;
Jazz is a vector of freedom of expression;
Jazz is a symbol of unity and peace;
Jazz reduces tensions between individuals, groups, and communities;
Jazz fosters gender equality;
Jazz reinforces the role youth play for social change;
Jazz encourages artistic innovation, improvisation, new forms of expression, and inclusion of traditional music forms into new ones;
Jazz stimulates intercultural dialogue and empowers young people from marginalized societies.

PROGRAMME:

Friday, 27 April 2012 - UNESCO Headquarters, Paris
This programme may be subject to modification

Opening of the first International Jazz Day:
10.00 – 10.30, Miró Halls
By Irina Bokova, Director-General of UNESCO, and Herbie Hancock, UNESCO Goodwill Ambassador
Events all day long
Live coverage by French Paris TSF JAZZ radio
Photo exhibitions by the Smithsonian’s National Museum of American History and Philippe Lévy-Stab (Miró Halls)
Duke Ellington photo exhibition by the Maison du Duke in partnership with the Académie du jazz, France (Foyer)
Screening of photo montage by Blue Note Records (Foyer)
Montreux Jazz Lounge
Hosted by the Montreux Jazz Festival, with screening of legendary performances (Pas Perdus Room)

PERFORMANCES:
10.15 – 14.00, Miró Halls
10.15 Tigran
11.00 Swan Berger
11.30 Riccardo Del Fra
12.00 Raphael Gualazzi
12.30 Hamid El Kasri
13.30 Paris Conservatory Sextet
14.00 – 17.00, Miró Halls
14.00 Berklee Global Jazz Institute
14.30 Ilham Al Madfai
15.00 Giovanni Mirabassi
16.00 Paul Lay and Helene Arntzen
16.30 Dominique Fillon

MASTER CLASSES/”RENCONTRES” AND DANCE DEMONSTRATION
Master Classes: morning
Room I
10.30 Herbie Hancock
11.00 Dee Dee Bridgewater
Room IV - LIMITED ACCESS (150 seats)
10.15 Ibrahim Maalouf
11.00 Hugh Masekela
12.00 Barbara Hendricks
Japanese Garden
11.15 Nicole Slack Jones "I Sing" for Babies
"Google Jazz Experiment"
12.00, Room II
Software programmers share their latest music inventions for recording, composition and visualization
Master classes: afternoon
Room II
14.30 Klaus Doldinger
16.30 Nicole Slack Jones "I Sing"
Room IV - LIMITED ACCESS (150 seats)
14.00 Marcus Miller
16.30 Biréli Lagrène and Lionel Loueke
Jazz and Dance Demonstration
14.30, Foyer
By Fabien Ruiz, choreographer of the film "The Artist"
Hosted by the Académie du jazz (France)

JAZZ TALKS

10.30 – 12.30, Room II
“Jazz and Cinema: Great Stories of an Old Couple”
Hosted by the Académie du Jazz, featuring:
Bertrand Tavernier, Film Director
Vladimir Cosma, Soundtrack Composer
François Lacharme, President of the Académie du Jazz, Paris
Julien Delli Fiori, Director of FIP radio station
Thierry Jousse, Radio Producer, Director and Film Critic
John Edward Hasse, Curator of American Music, Smithsonian Institution

14.30-15.30 Room X
“Jazz as a Voice of Liberty – its Role in the Struggle for Democracy” Hosted by the Permanent Delegation of Germany to UNESCO, featuring:
Martina Nibbeling-Wrießnig, Ambassador, Permanent Delegate of Germany to UNESCO - Moderator
John Edward Hasse, Curator of American Music at
the Smithsonian Institution’s National Museum
of American History
Daniel Konrad, Jazz Expert (Czech Republic)
Rainer E. Lotz, Jazz Expert (Germany)
Nicolas Pflug, President Blue Note Records
Tomasz Tluczkiewicz, Jazz Expert (Poland)

15.30, Room IV - LIMITED ACCESS (150 seats)
“Global Jazz and Peace”, by Danilo Perez and Wayne Shorter
Live from New York City
Organized by the Berklee Global Jazz Institute

FILMS AND SCREENINGS

13.00, Room II
“ Round Midnight” by Bertrand Tavernier

13.00, Room IV - LIMITED ACCESS (150 seats)
Film and Jazz Performance
"Latif", silent film, with the Salman Gambarov & Bakustic Jazz

15.30, Room II
Projection of the 1976 concert of Nina Simone in Montreux
Presentation by Claude Nobs

REHEARSAL FOR THE EVENING CONCERT

12.00 – 16.00, Room I - LIMITED ACCESS
Open for observation
Tania Maria
Marcus Miller
Hugh Masekela
Biréli Lagrène

EVENING CONCERT: "HERBIE HANCOCK & FRIENDS"
20.00 – 21.30, Room I - LIMITED ACCESS

Live retransmission by Arte Live Web on www.unesco.org

Some More Italians

By Claudio Botelho
I can’t help but talking about Italians again. Through the good services of a good friend (veeery gooood services, to say it better…), I came across three new albums I will talk here about. It seems to me the air which is flowing through the Italian jazz scene is fresher, these days. The musicians from that country seem to have complete control on this musical language, as much as any other people and this includes the Americans.
As much as many say the piano trio format is exhausted and nothing more new can come any more, the reality is showing us otherwise. But, before going further, I think we must determine what is “new”. What is “new”, after all? I don’t know how can it be described in musical language, but, for me, new is something that can call attention to itself; something different from the mainstream, which, by its nature, force us to pay attention to it.
The new can be a good thing, but can be just “different” and this condition of being so does not, indeed, justifies its existence, as, at the end, it doesn’t enrich the human experience in any way and its inevitable future will be oblivion. I’m not here to despise the searchers of new sounds; new ways of musical expression in any way, as I understand the human progress has also relied upon the dreams and works of these visionaries, but, conversely, one cannot grant as inferior the works of someone who, through more commonplace ways, decides to express himself.
What advantage has the music of any contemporary composer/musician as compared to the music of, say, Bach, Beethoven or Chopin? The “Goldberg Variations” of fame was, recently, recorded by American pianist Dan Tepfner, in an album of himself alone. I must say that, some hundreds of years after it was composed, listening to this new version, I was not able to find anything new, in that sense of establishing any real contrast with the original work as done by its author. It’s just a jazzy version of the work of Bach as was, in my opinion, the rendition of the celebrated Canadian pianist Glenn Gould, done in the second half of last century. And, please, don’t misunderstand me: Tepfner is a master; he is one of the best American jazz pianists of the new breed and I’m not saying his work on Bach music deserves obscurity; far from it: it’s one of best releases of piano jazz of late and it has received its due recognition by critics.
It seems to me, this composition, through minor continuous changes, is pure jazz. If you try to put apart its main theme, you’ll find it’s a short one which goes with a nonstop sequence of mini arrangements which, as such, don´t ever go far from the main idea. Surely it was on purpose, as it should fulfill a task given by the king which suffered from insomnia. It had to have a boring atmosphere and, so, should help the king to sleep. Can a work of a genius be boring? Of course, if so he wants it to be. And, to me, it’s a boring song, although a work of greatest art…
But I’m not intending to write about Bach; I want to talk about some new Italians musicians and give you some suggestions I think you’ll certainly approve.

1- Take, for instance, an album called URBAN FABULA, from a trio led by pianist Serby Borgio which, along with bassist Alberto Fidone and drummer Peppe Tringali, recorded a ten-song album, mixing works of their own with some American standards. And these standards are “On Green Dolphin Street” and “Round Midnight”. These two songs has been an ever present part of the jazz repertory for many years now and have been explored inside out by an incommensurable number of musicians time and time again. Many wouldn’t dare to record it any more, afraid of having nothing new to bring, but not these kids: They not only included them on their first recorded album, but did their work in a most entertaining way. Nobody would be sore listening to these songs for the nth time here, I assure you. Here, and not only through these songs, these young musicians have brought novelties to the jazz scene; out of pure inspiration, although using the very same old language used by everyone. Fresh air, really! It’s a proof that there’s much to be done and it will ever be, provided one has the RIGHT means to do so!

2- Get, if you can, an album by drummer Lorenzo Tucci called “Tranety”(reviewed elsewhere, in these pages, by Marco Lorenzo Faustini). Inspired from compositions by or associated with the late great saxophone player John Coltrane (AGAIN, surely more than “abused” songs…), Trucci and his companions Claudio Filippini on piano and Luca Bulgarelli on bass did a job of great impact and his drumming, on the forefront (as opposed to many works which seem to leave the percussion out of the studio…), sets the mood of every song. His iron fisted blasts are perfectly joined by the excellent Filippini, who, today, is one of the topmost piano players in Italy and these, along with Bulgarelli, present Coltrane’s repertory in a fashion which may border the fierce, sometimes and, in the least, vibrant. Excellent interplay! Try it!

3- You may also get an album named “Serenity” by another great Italian pianist; someone named Pierro Frassi. Along with cohorts Filippo Pedol, on bass and Andrea Melani on drums (CD already mentioned in these pages) and joined by the venerable alto sax player Lee Konitz (now in his eighties), they indulge on music by famous American jazz composers, such as Bill Evans, Thad Jones, Dizzy Gillespie and Horace Silver, joined by some other compositions from the classic American pop songbook , including a music from Burt Bacharach (“A House is not a Home”). Mr. Konitz plays on three songs, including Jones’ “A Child is Born”. Contrasting to the reported CD above, the mood here is more controlled, but no less excellent. If, in the former album, you find organicity and vigor, here you’ll find a very sensitive work of seasoned artists, full of that someway more reticent emotion which is the hallmark of those with more time on the road. Excellent arrangements throughout. Great integration and very good taste spice the whole work!
To round off for now, let me quote the words of Argentinean sax player Javier Girotto who, writing in the booklet of “Urban Fabula”, stated:
“I Thought also that a group composed of piano, bass and drum would have very little to offer. Instead, listening to this trio, I totally changed my mind. There is something yet to be discovered and new routes to be followed, like those taken by Urban Fabula…”

Mr. Girotto has changed his mind. How about you?

Thank you very much, Mr. Marcílio…

AUDIÇÕES DE ABRIL 2012

                             

By Dr. Carlos Couto Castelo Branco
Acontecida, parte dela, num determinado apto. da Av. Beira Mar, caixas PSB, e os adjuvantes essenciais: whisky, gelo, etc. Ausência sentida: GRETA.
Registro ainda dois eventos no Teatro GEO-SP e no Teatro Via Sul- Ce.

O melhor que rolou:

CD’s :

1.MARIA MARKESINI – excelente cantora Greco- holandesa acompanhada por um octeto de excelentes e desconhecidos batavos. Some-se ainda a qualidade do áudio deste trabalho. Este CD beira as raias da perfeição. Podem crer. O Mr. X não conhece a menina.

2.AHMAD JAMAL – Blue Moon. O velho Jamal esbanja saúde nos seus mais de 80 e qualidade neste seu último CD. Em formação de quarteto incorporando o experiente e muito bom Manolo Badrena na percussão. É a volta as origens do Jamal, dando destaque a percussão. Destaco I Remember Italy, Laura e Blue Moon. As faixas são muito longas, o que certamente não agradaria ao Edilberto, irmão do Renato. Mas isto não compromete.

3.WESLA WHITFIELD - Septuagenária e muito boa cantora. Acompanhada pelo Mike Greensill Octet. Destaco East Of The Sun e This C’ant Be Love.

4. CARLA WHITE - A Voice in The Nigth., 2005. Último trabalho da excelente Karla White, falecida em 2007. Acompanhada de quarteto composto por guitarra, baixo, bateria e o trumpete/flugelhorn do brasileiro Claudio Roditi que também é o arranjador. Muito bom CD, no qual destaco I Still Love You(Retrato em Preto e Branco de Jobim & Chico) gravada por outros músicos estrageiros como Zíngaro. E ainda May I Come in ? dentre outras.

5. TANIA MARIA – Tempo. Tania ao piano solta a voz acompanhada apenas do baixo de Eddie Gomez. Curiosissimo CD onde destaco Estate, Sentado a Beira do Caminho ( Roberto & Erasmo) e uma composição muito bonita do A C Jobim de título A Chuva Caiu. Será que o Dr. Leo conhece ?

6.MONICA BORRFORS - Lil Darlin. Estes suecos são demais. O excepcional pianista Gosta Nielson acompanha-se por Jasper Kruberg –drums e Filip augustson – bass. Monica arrasa na interpretação de Lil Darlin. Destaco Take Five; Regret Säng; I Coud’t Write a Book.

DVD’s:

1.Brad Mehldau – Live in Marcilac. Simplesmente fantástico. Recomendo ao Léo Barroso que adquira este DVD com a maior urgência. Peço desculpas se já tiver adquirido. Piano solo fantástico do Mehldau, que ultrapassa os limites da sensibilidade na interpretaçãoo de Secret Love. EXCEPCIONAL TRABALHO principalmente por se tratar de piano solo.

2. Joe Lovano & Steve Kuhn Trio – excelente desempenho dos dois. Aliás, este foi uma colaboração enviada pelo Roberto Barroso diretamente de SC para esta audição.

AO VIVO:

Stefano Bollani & Hamilton de Holanda – performance excelente de ambos. Não sei qual dos dois é melhor músico. O certo é que a parceria foi perfeita. Músicas brasileiras belíssimas mas, a interpretação do Barbone de Sevilla por piano e bandolim ficou na memória. INCRÏVEL.

Marcos Valle & Stacey Kent & Jim Tomlison – excelente show. Marcos Valle repaginou de forma bem bossa nova, suas belas composições. Em formação de sexteto com arranjos maravilhosos destacando o Jesé Sadock e o guitarrista Sergio Brasil. Junte-se a estes a razoável Stacey Kent que, no contexto, apareceu muito bem cantando bossa nova. Destaco Seu Encanto, Samba de Verão, Preciso aprender a Ser Só ( nesta o Tomlinson arrasou no sax). Foi muito bom reouvir Um Sonho de Lugar( O Dr.Leo teve um orgasmo), Pigmaleào 70, Azimuth etc, etc. O marcus Valle é o único bossanovista que continua ativo.

Mês muito movimentado !

1 Sem 2012 - Part Eighteen

Claudio Filippini Trio
Love Is The Thing...And The Blues Too




Claudio Filippini (Piano)
Massimo Moriconi (Bass)
Massimo Manzi (Drums)

Recorded Sep. 11, 2003

1 St. Louis Blues (Handy) 5:16
2 Besame Mucho (Velazquez) 4:28
3 Free Love Blues (Filippini, Moriconi, Manzi) 5:56
4 I Love You (Porter) 3:57
5 There Is No Greater Love (Jones, Symes) 4:20
6 I Fall in Love too Easily (Styne, Cahn) 6:41
7 Anato-Love (Filippini, Moriconi, Manzi) 3:52
8 You Don't Know What Love Is (Raye, DePaul) 9:46
9 Cool Blues (Parker) 5:01
10 Beautiful Love (Young) 4:47
11 Secret Love (Parish, Sherwood) 5:16

Lars Danielsson & Leszek Mozdzer

Pasodoble

By Thierry Quénum 
Swedish bassist Lars Danielsson is a great bass player in the Nordic tradition: virtuosic, musical and lyrical. On this track the bass actually carries the melody alone in the first few bars and continues doing so, alternating roles with the piano, throughout the tune. In the hands of Polish virtuoso Leszek Mozdzer, the piano likewise takes a very lyrical approach to the melody . Nevertheless, the 6/8 rhythm of this beautiful tune is not neglected, giving the melody a mellow dancing twist that adds much to its romantic charm.

Year Of Release: 2007
Label: ACT Music
Total Time: 55:24

Tracklist:
01. Praying
02. Fellow
03. Entrance
04. Prado
05. Pasodoble
06. Daughter's Joy
07. It's Easy With You
08. Hydrospeed
09. Reminder
10. Innocence 91
11. Follow My Backlights
12. Eja Mitt Hjarta
13. Berlin
14. Distances


Giovanni Ceccarelli Trio

Météores

By Jessica Di Bona
Giovanni Ceccarelli: pianoforte, tastiere
Ferruccio Spinetti: contrabbasso
Francesco Petreni: batteria
David Linx: voce
Fausto Mesolella: voce, chitarre

L'inquietudine esistenziale spinge i viaggiatori, meteore vaganti e libere, a percorrere la via, ora onirica ora realistica, breve o molto lunga, dell'intensità musicale. Non per niente il tema di Météores di Ceccarelli è dominato da un entusiastico smarrimento, delineato da verdi sensazioni di vitalità ritrovata. Sembra di assistere al franare di innevate vette di tecnica e rigore, non perché questi ultimi non siano presenti, bensì perché l'approccio è fresco e primaverile, gioiosamente salubre. Non v'è mai accenno a forme di emotività stucchevole.
Difficile far straripare il flusso del sentimento dai saldi e gretti argini del grossolano, improprio e comune utilizzo delle emozioni, quindi ancor più apprezzabile. Si tratta di un romanticiscmo che punta all'essenza, all'aleatoria, vitalistica e mai immobile creatività artistica di chi cerca sublimi impressioni da inventare piuttosto che schemi da seguire. Non mancano i momenti in cui l'attenzione alle sensazioni ha profondità più ampie, ad esempio nel brano Ti Odio, con il deciso monologo di Mesolella (già chitarrista degli Avion Travel), che nell'ultimo brano, un'esilarante versione di Chameleon, manifesta una ruvida grazia che riecheggia il virtuosismo di Hendrix. Il piano gentile e vellutato di Ceccarelli è la speculare metà dell'elegante vigoria del contrabbasso di Ferruccio Spinetti, duo che incorpora armonicamente l'attenta batteria di Petreni.
Il trio, e la compagine tutta, mai cessa d'irradiare il crepuscolare calore di un cielo rosato (evocato anche da Oceano e Chega de Saudade) che scalda il percorso degli ascoltatori, pellegrinaggio musicale trainato da meteore erranti, capaci di elargire, tra movimento e stasi, note piacevolmente evanescenti, punti di forza ed attrazione dei nostri musicanti.

Piero Frassi Trio with special guest Lee Konitz

Serenity

1. Beautiful Love
2. Serenity
3. I'll Remember April
4. How Deep Is The Ocean
5. Have You Met Miss Jones
6. A Child Is Born
7. Night In Tunisia
8. A House Is Not A Home
9. Beautiful Love Alt.
10. Time Remembered
11. I'll Remember April Alt.

Piero Frassi(p), Filippo Pedol(double b), Andrea Melani(ds), Lee Konitz(as)
Recorded at Mu Rec Studio, Milano on September 11, 2008. 

Lorenzo Tucci

Tranety

By Marco Lorenzo Faustini
Finalmente posso parlare bene, senza timore di cadere in retorici sciovinismi, di un progetto di jazz italiano. Mi riferisco a “Tranety” di Lorenzo Tucci, cd incentrato sulla poetica di John Coltrane (1926-1967). Freschezza, intensità e feeling caratterizzano i dieci brani del trio che vede, oltre a Lorenzo alla batteria, l’ottimo Claudio Filippini al piano e Luca Bulgarelli al contrabbasso.
Una scelta felice, quella del batterista abruzzese, di concentrarsi sulla formazione a trio (tre è il numero perfetto, nella musica ed anche in altro) e nel tentare una rilettura, in questo caso felicissima, di brani dell’immenso Coltrane. Così “Equinox“, “Moment’s Notice” e compagni scorrono via rivitalizzati da un’interpretazione che tenta di districarne l’intima complessità.
Coltrane fu, in vita, personaggio carismatico, profondo innovatore del linguaggio jazzistico, ed anche personaggio caratterizzato da crescente bisogno di spiritualità (per la cronaca: la African Orthodox Church lo dichiarò Santo nel 1982). Certo è che il personaggio, a tanti anni ormai dalla sua prematura dipartita, continua ad esercitare un incredibile fascino su tanti musicisti.
Piacevole, per tornare al CD, anche “Afro Blue” del grande Mongo Santamaria (1917-2003), sulla quale sono stati apportate notevoli variazioni ritmiche rispetto alla divisione ternaria originaria. Anche “Afro Blue” fu, comunque, tema assai caro a Coltrane e dunque i nostri eroi non sono andati, come si diceva una volta a scuola, fuori tema. Tutt’altro. Piacevoli anche i tre brani originali di Tucci e Filippini. Indubbiamente un bel prodotto che prosegue il discorso bebop/hard bop iniziato, da Lorenzo Tucci, con “DruMonk” riuscendo a sfuggire al sempre incombente pericolo di cerebralità e di freddezza.

LORENZO TUCCI (ds),
CLAUDIO FILIPPINI (p),
LUCA BULGARELLI (b)

1. MOMENT’S NOTICE (J. Coltrane)
2. AFRO BLUE (M. Satamaria)
3. HOPE (L. Tucci)
4. EQUINOX (J. Coltrane)
5. SOLSTICE (L. Tucci)
6. WISE ONE (J. Coltrane)
7. IVRE A PARIS (C. Filippini)
8. LONNIE’S LAMENT (J. Coltrane)
9. COUSIN MARY (J. Coltrane)
10.AFTER THE RAIN (J. Coltrane)

Music directed by Lorenzo Tucci
Executive producer : Satoshi Toyoda
Recorded at Icarus Recording Studio Roma, Italy, on November 28 - 29, 2010
Recording engineer : Stefano Del Vecchio
Mixing & Mastering Engineer : Luca Bulgarelli
Photographer : Andrea Boccalini


Eugenio Macchia
Living In A Movie



1. Pinocchio (W. Shorter) 3:38
2. You Two (E. Macchia) 4:32
3. Ursa Minor (E. Macchia) 8:23
4. Living In A Movie (E. Macchia) 6:40
5. Herbie's Tune (E. Macchia) 5:39
6. Histeria (E. Macchia) 3:40
7. 7.'Round Midnight (T. Monk) 3:02
8. Once Again (E. Macchia) 4:41
9. Before It's Time To Say Goodbye (K. Kirkland) 5:26

Eugenio Macchia - piano
Furio Di Castri - contrabbasso
Gianlivio Liberti - batteria
Auand Records AU3001 (2011)
Recorded at Artesuono Recording Studio, Cavalicco (Ud), 7-8-9/7/2009

By Vincenzo Fugaldi/ Jazzitalia
L'elenco dei pianisti italiani emergenti si accresce di un nuovo talento: Eugenio Macchia, giovane vincitore della Luca Flores Piano Competition 2010 e miglior pianista del Jimmy Woode Award 2010. In questa sua prima incisione, Macchia si cimenta con tre brani altrui (Pinocchio di Shorter, 'Round Midnight di Monk e Before It's Time To Say Goodbye di Kirkland) e mette in gioco sei proprie composizioni. Pianista dallo stile encomiabile, asciutto, senza orpelli né una nota di troppo, interessante anche come compositore, è qui assecondato al meglio da un senatore del contrabbasso jazz come Di Castri, che suona con grande impegno, e dalla solerte e affiatata batteria di Liberti, pronta a sottolineare accenti e dinamiche dei brani.
L'ombra del miglior Hancock si staglia sullo sfondo di questa musica, sin dalla composizione shorteriana e dal conseguente You Two. Ursa Minor è un brano in ¾ a tempo medio, Herbie's Tune una ballad dedicata alle progressioni armoniche hancockiane, con un assolo di Di Castri da antologia. Notevole anche la rielaborazione del celeberrimo brano di Monk per pianoforte solo.

1 Sem 2012 - Part Seventeen

Enrico Pieranunzi
Permutation




by Ken Dryden
Enrico Pieranunzi is among the top echelon of European jazz pianists. For this session he plays his originals with veteran bassist Scott Colley and the rising young drummer Antonio Sanchez. "Strangest Consequences" is a tense post-bop opener with terrific interplay by the trio. "Critical Path" alters between a jaunty, playful air and intricate bop, showcasing Sanchez's considerable chops as a soloist. The pianist's "Permutation" has the vibe of a busy urban setting, with Colley laying down an infectious groove. Pieranunzi is at his most lyrical in the bittersweet ballad "Distance from Departure," with spacious playing and terrific, sensitive support by his sidemen. The pianist's breezy, lighthearted "Every Smile of Yours" suggests a clear spring day, played as a brisk waltz. The lonely air of the ballad "Within the House of Night" couldn't be more direct, conveying its sense of longing without a lyric. Enrico Pieranunzi is long overdue to be recognized among the jazz greats of his generation on a worldwide basis. Permutation provides ample justification for his inclusion.

Matt Slocum

Portraits

by Michael G. Nastos

Drummer/composer Matt Slocum's debut album as a leader has him sharing good company. The Wisconsin native takes full advantage of his residency in California by employing the rising star pianist Gerald Clayton, adding bassist Massimo Biolcati (on loan from Lionel Loueke), and adds saxophonists Walter Smith III, Dayna Stephens, or Jaleel Shaw on four select tracks. As a trio with Clayton, Slocum's music is taken over by the pianist's deft touch, holistic ideas, and beautiful, spontaneous inventions that supersede the written notes, while there's a better feeling of composition on the tracks featuring the saxes. It's all done quite beautifully, with the tasteful reserve many young mainstream jazz artists prefer rather than bebop bombast. "Averida Del Paraiso" is a truly gorgeous as Clayton's chiming piano moves in 4/4 time within 6/8, while the wonderful spirit song, "Cambria," also exudes the absolute resolve of a lovely persona. Alto saxophonist Shaw and Stephens on tenor team up for "Seven Stars" in modernistic parallel to the standard "Alone Together," while Smith's biting tenor goes alone with the bass and drums à la Sonny Rollins on "Homage" and the classic Billy Strayhorn ballad "Daydream" sans Clayton. Everything here is played meticulously, as these young musicians employ savvy tones far beyond their years. It seems drummers like Slocum, Dan Aran, and Daniel Freedman are coming to the forefront these days as performers who concentrate on writing their own music, proving that rhythm navigators are just as musically original as anyone. This auspicious debut should put Matt Slocum's name firmly on the jazz map of artists deserving wider recognition. 

Juri Dal Dan Trio

Trilogia Di Un Viaggiatore

By Luca di Varmo

1. Dosti riscopre la luna
2. Going to Portugal
3. Viaggiando con te a notte fonda
4. Tornando a casa
5. Dosti Blues

Juri Dal Dan-piano
Piero Cescut-bass
Alessandro Mansutti-batteria
Federico Missio-sax track 3
Ermes Ghirardini-batteria track 3

Nuovo disco dello Juri Dal Dan Trio pubblicato per artesuono. "La luna era appena spuntata come un’enorme ruota di pietra calcarea, ed era leggera come fosse stata riempita d’aria. Sembrava staccarsi da tutto e da tutti. Chissà quante persone la stavano guardando in questo momento, e quante, come me, la stavano scoprendo”. Con queste parole - tratte dal libretto allegato al cd - si chiudono i diari di viaggio di Dosti Kudret, protagonista semi-inventato, e in parte autobiografico, di una serie di racconti che ispirano e integrano la Trilogia di un Viaggiatore, opera in tre parti realizzata dal pianista pordenonese Juri Dal Dan, al suo primo disco Artesuono. Dosti, prima di essere il fulcro intorno al quale ruotano i tre momenti musicali centrali del disco (preceduti da un’introduzione e seguiti da un blues finale), è un nome, un suono su un campanello di casa. Un personaggio reale prima di tutto, amico immaginario all’inizio, poi addirittura “fratello mai avuto”, come lo definisce Dal Dan stesso. “Quando sono venuto a vivere a Pordenone - continua -, sulla targhetta del campanello di casa ho trovato il nome di questo Kudret. E’ capitato persino che mi scambiassero per lui. E’ stata l’occasione buona affinché la mia fantasia decidesse che Dosti poteva essere un personaggio vuoto da riempire. Era un alter ego perfetto per rappresentarmi in situazioni fittizie, partendo da episodi di vita vissuta. Verso un qualunque viaggio”. Si potrebbe dire che nel jazz, la tematica del viaggio sia alla base di tutto. Viaggio come diaspora del popolo africano in schiavitù, verso l’America, viaggio dalla campagna alle “big cities”, quando il blues e altro ancora diventavano jazz urbano, viaggio come momento compositivo ideale per uno come Duke Ellington che, accompagnato perennemente dal fido Harry Carney - autista nonché sax baritono -, scrisse sul sedile posteriore della vettura pagine preziosissime della musica di tutti i tempi. “Nel periodo in cui ho cominciato a scrivere la Trilogia, ero appena uscito dall’ospedale per una malattia seria. Ero molto provato fisicamente, e l’ascolto di Ellington - uno sempre in viaggio, che con le sue composizioni ti faceva rivivere i posti in cui era stato - accentuava quella voglia di viaggiare che ti viene quando sei costretto a letto. Sentivo anche la necessità di dare sfogo a molte tensioni interiori. Dovevo scavare in profondità, dentro me stesso. E il viaggio era il mezzo giusto”. Un alter ego quasi reale, che compie un viaggio parzialmente autobiografico dunque, come pretesto per scendere nell’io più profondo: questa è Trilogia di un Viaggiatore. Quella che ritroviamo accanto al piano di Juri Dal Dan, nel disco si conferma una vera e propria famiglia musicale. Prima di tutto, c’è un trio rodato e longevo, costituitosi nel 2002, il cui organico è variato nel tempo, fino alla formazione attuale, che vede Piero Cescut al basso elettrico e - da quasi due anni - Alessandro Mansutti alla batteria. Ospiti speciali, per grande affetto e stima artistica reciproca, il sassofonista Federico Missio - copilota di Dal Dan in un prezioso progetto che musica il cinema muto - e il batterista/percussionista Ermes M. Ghirardini. “Per quanto mi riguarda - dice Juri -, lavorare con le stesse persone, crescendo insieme fa la differenza. Una ritmica che nasce insieme, ha tempo di affiatarsi e creare un bell’interplay. Gian Piero (Cescut) è per me un fratello musicale. Dal ’96 con lui faccio coppia fissa. Con me ha attraversato tante fasi, dal funky puro alla trasformazione più recente (non evoluzione, badate bene). Alessandro (Mansutti) è un talento, una persona squisita e ha le qualità di un “grande”. E’ flessibile e capisce subito cosa deve fare raggiungere il risultato”. Il flusso musicale del cd (che conviene accompagnare con la lettura dei racconti abbinati, scritti dal pianista stesso), comincia con la fine della storia. Dosti riscopre la luna - la cui spiegazione del titolo è riportata nel nostro incipit - scorre con accordi cosiddetti aperti e un tema largo, che dipingono il momento in cui Kudret/Dal Dan - personaggio semplice e visionario - riscopre la propria complessità e il senso di appartenenza al mondo, alla natura di un paesaggio lunare in una notte d’estate. Il primo brano della suite, Going to Portugal, rappresenta invece la scintilla che ha fatto nascere tutta la Trilogia. E’ un 3/4 sereno, solare, sudamericano, che esprime la partenza da casa, l’inizio del viaggio, l’evasione in cerca di nuovi stati d’animo. E il tema “respira”, e ti porta con lirismo ed euforia alla “meta”, in questo caso il Portogallo. Dosti fa un lavoro snervante e poco appagante. Il viaggio dovrebbe servirgli per alleviare la condizione di cui è prigioniero. Ma accade un forte litigio con la compagna. La situazione è ben descritta nella prima parte di Viaggiando con Te a Notte Fonda, in cui monta una nervosa improvvisazione libera, come un feroce scambio di battute. Dopo la tempesta però, arriva la quiete. Nella seconda parte, il clima diviene notturno, ricco di pace estrema, ritrovata dopo la sofferenza, e dipinge il riappacificamento tra Dosti e la compagna. Non c’è niente che possa descrivere a parole l’energia positiva che si riscopre dopo un viaggio ricco di situazioni emotivamente difficili. In Tornando a Casa, Juri Dal Dan racconta in musica come Dosti abbia scoperto qualcosa in più di sé stesso, i propri limiti. E racconta di come ora sia in grado di accettarli, insieme ai propri fallimenti. E’ il primo step per migliorarsi. Ai suoi occhi, lasciate dunque le tensioni interiori, tutto prende una luce diversa. L’energia di questa traccia è forte, e il ritmo latino usato nella composizione del brano rappresenta l’entusiasmo per aver compreso un importante aspetto di sé stessi. E così il viaggio, catartico, si conclude. “Titoli di coda”, come dice Dal Dan, con un sottofondo liberatorio. Non c’è niente di meglio che un buon blues per riemergere dai travagli interiori. Dosti Blues però non è il classico blues che ci si potrebbe aspettare. E’ prima di tutto un mantra, un qualcosa che gira su sé stesso, e cresce, lasciando in sottofondo, una vena di malinconia positiva.

Francesco Negro Trio
Silentium



By Marco Sabellico
Il titolo già la dice lunga. Silentium. Pace, Calma. Intimità. Francesco Negro ci sta regalando un percorso attraverso dieci brani, dieci riflessioni. Dieci frammenti (come alcuni dei suoi pezzi si chiamano). Adorabili piccole perle da vivere fino in fondo, per cogliere l’essenza di un lavoro, di una ricerca che definire Jazz francamente mi sembra limitativo. Francesco, pianista dalla raffinatissima tecnica e dotato di straordinario tocco e sensibilità, si propone in trio con due eccellenti musicisti, il batterista Ermanno Baron ed il bassista Igor Legari.
Bene, se per un attimo provate ad eliminare il fantasioso ed improvvisativo drumming di Baron e il collante di Legari alla frase pianistica di Negro, il risultato è davvero un’altra cosa. Siamo in pieno Novecento, troverete reminiscenze di Satie e di Debussy e tanti altri prima di arrivare alle pulsazioni swing e all’hard bop, fino alle frasi melodiche più originali e ai suoni più attuali. Un bel viaggio da vivere trasognati e contemplativi, esplorando le nostre sensibilità, il gusto, i profumi e sapori che brani come La Mia Africa (mandorle nocciole fondente), Koala (tavoletta con granella di croccante), Angiolina (Africa) riescono a evocare.
Un viaggio del gusto in cui i dieci cioccolati artigianali di Maurizio Maglio - d’autore come i brani in questione - possono essere il giusto fill-in, come un sorso di puro malto o un vecchio cognac assieme a loro. Un gioco? Sì, un gioco bellissimo. Di rimandi, citazioni, contaminazioni tra Africa, Mediterraneo, Nuovo Mondo. Di suoni e sapori. Dove poi alla fine rimangono le cose vere e pure. Tre straordinari affiatatissimi musicisti, sapori eleganti nati da maestria e straordinaria materia prima. Interpretazioni, insomma, che sta a noi saper leggere.

VEIN (Thomas Lahns,Michael Arbenz,Florian Arbenz)

Plays Porgy & Bess

By Unitrecords
Product Information First VEIN are indeed classically trained musician. And love, as such, the opera as a genre.
Second, Gershwin's entire music not only close to the Jazz, but it has penetrated from the beginning and (with, I Got Rhythm ') marked forever. And thirdly, the jazz history and a long history of jazz interpretations of Porgy & Bess (with the illustresten, dazzling example of Gil Evans and Miles Davis). A mortgage that is too large, will for anyone new to add?Who knows the musicians of VEIN know: no. Because if VEIN goes to work, there is not a simple replay foreign music (what else), but always to create the challenge and self-image, it just something as idiosyncratic Independent.
And so with Porgy & Bess once again a gorgeous VEIN album was created, bursting with ideas, full of surprising tempo, rhythm and dynamics of change and studded with enchantingly lyrical and witty and whimsical Impromptus.
It is precisely because they love this music so seriously, take all three again the freedom of their own, unique way to play with the music: from the explosive iridescent overture of cranky-playful tone picturesque distorted solo lots and wonderfully harmonious interpretations of, I Loves You Porgy 'or' Strawberry Woman 'to unusually fast-paced versions of' It Is not Necessarily So 'or' There is a boat leavin 'soon for New York'.
How to say in general is that it has become a VEIN-album, which is in between very carelessly allowed to come thus ternary, fantastic swinging, and identifies its protagonists as a veritable jazz virtuosos.
Virtuoso in the best sense. Because each of the three white always take back the right moment. And is such a great dramatic arc, and the subtly balanced musical structure its grip.

1 Ouverture

2 Summertime
3 Bess, you is my woman now
4 I got plenty o' nuttin'
5 Here come de honey man
6 I lonesome here all by myself
7 I loves you Porgy
8 Summertime
9 It ain't necessarily so
10 Crab man
11 My man's gone now
12 Strawberry woman
13 There's a boat dat's leavin' soon for New York
14 Oh Bess, where's my Bess / Oh Lawd, I'm on my way



Anthony Wilson
Seasons: Live At The Metropolitan Museum Of Art



By Michael J. West/JazzTimes
Seasons is best approached as a DVD release with bonus audio CD, not vice versa. The April 2011 performance features four guitarists (Anthony Wilson, Steve Cardenas, Julian Lage and Chico Pinheiro) on gorgeous, custom acoustic archtop guitars built by luthier John Monteleone. (The instruments were on display in the Met’s “Guitar Heroes” exhibit earlier this year.) With each part of Wilson’s four-movement Seasons suite, the leaders—and guitars—rotate. There’s no knowing who plays what without visual aids.
The suite itself, commissioned by Monteleone, is a winning, eclectic piece. It varies its styles to capture seasonal moods: Pinheiro nimbly leads a samba on “Spring,” for example, and “Autumn” features Lage in a wistful folk ballad. However, each movement has a cadenza that echoes themes from the previous movement, binding them together without stepping on the surprises. “Spring” and the bluegrass “Summer” are the most lyrical and memorable (though the latter bears an unfortunate resemblance to “Dueling Banjos”). “Autumn,” though more challenging, compensates with its sweetness as well as an expressive valedictory solo by Cardenas. He also leads on the opening “Winter,” dissonant and austere to the point of being avant-garde; the movement locates its main theme in an off-kilter descending figure that’s simultaneously discomfiting and an earworm.
Wilson, who leads on “Summer,” finds other ways to dominate the full suite, whether in a prominent solo on “Spring,” or closing “Autumn” with a “Winter” recapitulation. This isn’t a complaint: It’s his piece, and his work is superlative, as is everyone’s. The CD is filled out with four solos and an ensemble take on Joni Mitchell’s “The Circle Game.” All are nice, Lage’s “April Kisses” especially, but essentially Easter eggs.

Tracks of the Week - April 2012

By Claudio Botelho
#01- Roberta Gambarini and The Dave Brubeck Trio performing "Alice in Wonderland"

This is the track # 7 of the CD "Everybody Wants to be a Cat" - Disney Jazz, Vol. 1. If there’s any other extremely tuneful jazz singer south of Ella Fitzgerald, this is Ms. Gambarini…

#02 – Antonio Faraó, along with Darryl Hall (b) and Andre Ceccarelli (dr), playing “Izieu”

This is track #3 from “Domi”, his latest album. In a word: wonderful!
#03 - "Everlasting" From Gordon Goldwin's BIG PHAT BAND "That's How We Roll" 

#04- "It´s Not Polite To Point", From the Same Album. 

Two very different renditions, one from the other, but having the convergence of freshness...
#05- "Sad Princess" - From Alex Domschot's "Venusian Commute"

More than eleven minutes of virtuose reflexive beauty in a combination of guitar, cello and bass, makes this tune un unforgetable experience!...

By Leonardo Barroso

1- Laurence Hobgood and Charlie Haden building a masterpiece: "Que Sera Sera"

 Beautiful ! Pure music ! Pure Jazz !
2- Canada's Power Trio: Holly Cole Trio - Holly Cole, Aaron Davis, David Piltch

Jazzin' on "Calling You" ! Eargasm !!!!

3- "Send In The Clowns". Sent from heaven: Carmen McRae's Trio: Shirley Horn, Charles Ables, Steve Williams. 
Recorded in 1991 it's McRae last recording, in a homage to Sarah Vaughan - Sarah: Dedicated To You.

THE DEATH OF JAZZ

By Claudio Botelho
Think it’s already happening? Think it’s gonna happen? Afraid of it?
Jazz isn’t and will never be a very popular kind of music, for the simple reason of lack of accessibility: it’s not easy to follow someone who, at will, doesn’t follow the previously established score of a song. The music inside other music isn’t accepted or even perceived by many (the great majority). If the listener is not aware of what’s going on, he may find the musician unskilled or, worse still, fraudulent. Those who have listened jazz on any regular basis know this very well.
If it was ever popular, it was on those years when it was a vehicle of dance music, in the first half of last century, chiefly in the United States. But, in that days of yore, to be possible to associate it with another leisure practice (dancing), it had to follow certain rules which assured it could be so used: appropriated and constant rhythm; little spontaneous improvisations, other than the previously planned and repertoire of great popular appeal. In short: it was a jazz very little “jazzy”. By then, there were orchestras like Harry James, Woody Herman and Les Brown which epitomized the so called “Swing Era”. Their popularity spanned from 1936 to 1946 and I’d say these were the golden years of the popularity of jazz, although, as I sad above, a jazz somewhat sterilized by those regulations.
From 1946 on, the big musical groups disbanded, as a result of the bankruptcy of post war years. But, some of them went on: Duke Ellington; Count Basie and Stan Kenton. But these were in a higher level and were the exception that confirmed the rule and, if I’m not wrong, had strength to keep on playing at least until the passing of their leaders.
Now, the jazz went on by itself: its sole point of interest was music itself. So, jazz musicians, free from any limitations, let loose their inner instincts and expressed their feelings in abandon.
Certainly no country more than United States documented, analyzed and classified all kinds of jazz manifestation and terms like east coast jazz, west coast jazz, mainstream jazz, free jazz, cool jazz and a bunch of others were coined along the time and gained the world.
Now comes the core of this writing: Is it possible jazz, in any day of the future, to vanish; to disappear; to become extinct so that nobody will ever listen a single note of it? No, never, for the simple reason that it was never invented; it was not a kind of music but just a way to play music and, as such, has always been practiced. Johann Sebastian Bach, to name one, knew this very well…
The North Americans had the venture of identifying it before any other people and the greatness of the United States helped to make it their own. As a matter of fact, jazz has always been around and, in my view, it’s nothing more than instantaneous arrangements; the kind of music one introduces into another when performing it. It can be as subtle as it can be fierce, in such a way as making the original composition barely recognizable or even unrecognizable for many.
To exemplify: you may have singers like Brazilian João Gilberto, as an example of jazz at its utmost subtleness: the only thing he does when singing is to make tiny changes in time; sometimes he advances his phrasings, others he delays it. It’s a jazz barely perceptible and I’m sure many never had any clue of it. Those who don’t like his singing simply don’t like jazz and, so, prefer to listen to other more conventional artists. In spite of this, his understated jazzy way of singing may pass unaware for many, which, even though not necessarily jazz fans, might like his performances.
You may also have artists like Betty Carter and Anita O’Day who had took jazz to the other extreme; the first one having serious problems of recognition, when she first appeared in the music scenery, due to her great uniqueness. Both, in my opinion, represent the quintessence of jazz singing and, for my money, Ms. O’Day is a little ahead, as she is even more tantalizing. Ms. Carter, being her greatest contender, is an artist of more prominence, for being akin to Art Blakey in his keen eyes (or ears) in recognizing new talents; many of them she discovered and introduced to wider audiences, just like Blakey did so many times. So, she was a bit more than just a single super singer…
You even have jazz singers who are not jazz singers at all. Many of them earning prizes as such, without ever spitting a miserable note different from those from the previous arrangements, usually done by some other musicians. So, these jazz singers never did any arrangements or improvisations and the sole reason for being so classified must go to the musicians they work with. Here, you have a territory belonging all to them; a land of make-believe of those who make their mouth, throat and tong their musical instrument, but nothing more than just that, if taken into account the realms of the subject hereon discussed…
You also have players which seem to be improvising from the very first note they play and you may have a hard time trying to distinguish the theme from the improvisations. Cecil Taylor, for instance, comes to my mind. Maybe too much room for improvisations… An excess of freedom for my liking…
So, why all this blah, blah, blah? To express my feelings that jazz is an innate state of mind, which come standard with some people, musicians or just listeners like me. It is a feeling of “inadequacy” with the written chords; an inner force to make them different, each one having his way of doing it, which may or may not suit the taste of a listener. That’s why those who like jazz follow the musicians in the first place, letting the songs he performs to play a secondary (but not unimportant) role.
(On account of this, I don’t believe when someone tells me he likes “music in general”; he “likes every music”. For me, it seems more like he doesn’t like “music in general”. He’d rather watch TV…)
All said, if jazz comes in all sizes, shapes, textures and colors; is independent from the will of anybody; germinates in any place, in any weather and, in its early days in the core of each of the “chosen ones”, is undetectable, how come it may ever end?
(As a matter of fact, our editor – Mr. Leonardo Barroso – when proclaims that “jazz is alive” (and he does it a lot…) seems to me to be afraid of awaking one day and discover that there’s no jazz anymore.)
The question is: jazz is and will ever be the nth most listened way of playing music, but this should not mislead you into thinking it is dying. Besides, remember: it is “insidious” sometimes, being unknowingly present in many presentations and this is what makes it an enemy difficult to destroy…
Still afraid? You don’t need to be. The title of these writings is a fake, as much as the skull and bones which illustrate it...

2012 Desert Island "Top Ten" JAZZ CD's

By Leonardo Barroso
Every now and then, I try to select from my cd collection, 10 records that I would take to a desert island.
I don't care when it was made or how many musicians are in it.
What really matters is the joy and eargasm, I get every time the cd spins in my player.
I made some changes from the last Top 10 post ( 2010 ).
Search all your records, and choose the ones you have goosebumps !
Send it through my e-mail:
worldjazzblog@yahoo.com
worldjazzblog@gmail.com

1) Bill Evans 

    You Must Believe In Spring  





By Chris M. Slawecki
After more than a decade as one of the pianist’s most sympathetic bassists, this was Eddie Gomez’s last recording with Evans, a trio set with drummer Eliot Zigmund recorded in 1977 and released after Evans’ death in 1980.
Evans never stopped searching for new ideas. He might be faulted for repeatedly looking for them in the same tunes, but this program is quite varied, including Johnny Mandel’s “Suicide is Painless” (the theme from M.A.S.H. ); Michel Legrand’s title track; Gary McFarland’s waltz “Gary’s Theme,” complementing Evans’ own “B Minor Waltz (For Ellaine),” composed for Evans’ wife; and “We Will Meet Again (For Harry),” Evans’ tribute to his brother.
In Evans’ hands, melodies and time signatures are often more whispered, more shadowed, than stated, as in the opening “B Minor Waltz (For Ellaine)” and the somber, reflective title track, which blossoms, after Gomez’ mid-song solo, like dogwoods on a mid-May morning. Evans boasted such a unique, unmistakable touch—emotional and beautiful and even soft, but never sweet. (Gomez is pretty amazing himself on “M.A.S.H.,” laying down the foundation rock solid yet pushing the music forward, too.)
Among this reissue’s bonus tracks, “Without a Song” is about as ebullient as you’ll ever hear this pianist, and “Freddie Freeloader,” the one track on Miles Davis’ landmark album Kind of Blue where Evans did not play, presents the rare sound of Evans on electric piano.
As a rule, Evans could pick up the program from an elementary school chorus festival and play it inventively and beautifully. This set is no exception.
Track listing:

B Minor Waltz (For Ellaine); You Must Believe in Spring; Gary's Theme; We Will Meet Again (For Harry); The Peacocks; Theme from M*A*S*H; Without A Song; Freddie Freeloader; All of You
Personnel: 

Bill Evans, acoustic and electric piano; Eddie Gomez, bass; Eliot Zigmund, drums.

2) Tomasz Stanko Quartet

    Suspended Night

By Jeff Stockton
If you’re reading this review, there’s little doubt that you consider yourself a jazz fan. And as such, you’ve probably heard a person say to you with all conviction: “I don’t like jazz.” Miles in the ‘50s? Coltrane on Atlantic? What’s not to like? But when I hear this, I usually just let it go, frustrated by past attempts at persuasion, overwhelmed by my own disbelief. Now when this situation arises, however, I can hand them Suspended Night, jazz of delicacy, classical European beauty, sadness and hope.
Ten years ago Stanko, the 50 year old Polish veteran, began playing with a teenage rhythm section, scoring films and performing live fairly close to home. For this, the quartet’s second release for ECM, his band proves to be an ensemble of tight musicianship and sympathetic interaction. The opening piece, “Song for Sarah,” begins with pianist Marcin Wasilewski’s profound lyricism in deft, colorful strokes. Even if you’ve never heard Stanko play a note, you’re immediately drawn in by the cautious tempo and undercurrent of longing. When he does enter, the piano is in perfect complement to Stanko’s slightly roughened tone, honed by years of work and experience. Over and over on this recording the connection between trumpeter and pianist is palpable.
The rest of the CD is made up of ten “Suspended Variations” that integrate bassist Slawomir Kurkiewicz, who offers resonant pizzicato playing, and drummer Michal Miskiewicz, who contributes subtle percussive accents and shimmers. As one comes to expect, Wasilewski carries the tunes forward with modal vamps and poetic improvisation, Stanko gliding above with tense restraint.
Listening to the Tomasz Stanko Quartet puts you in another place, where the overcoats are heavy and the wine is homemade. Where people do most of their living indoors, informed by a past when life had to be directed inward, away from disapproving eyes. It’s this existential intimacy that has formed Stanko’s melodic grace and soulful tranquility. In the end, Stanko endures, and his band play with the fire of those participating in an ongoing discovery, using the vocabulary of jazz. How can you not be a fan of that?


3) The Alan Broadbent Trio 

     Personal Standards

by Stephen Cook
Since gaining fame as a member of Charlie Haden's excellent Quartet West, Alan Broadbent has seen his own catalog rise in stature. A welcome development, since a wider audience should check out the many fine recordings this unique pianist/composer/arranger has made. And in spite of the admission that his highly lyrical bent and soft touch come out of the work of Bill Evans, Red Garland, and Nat "King" Cole, among others, Broadbent is able to produce fresh solo conceptions and plenty of original material of his own. In fact, as the title implies, Personal Standards consists almost entirely of self-penned cuts, save for one by bassist Putter Smith. (This seamless piano trio is rounded out by drummer Joe LaBarbera.) Along with material also heard on variousQuartet West recordings like "The Long Goodbye" and "Song of Home," the disc features a nice mix of ballads ("Ballad Impromptu"), mid- to up-tempo swingers ("Consolation"), as well as some blues ("Uncertain Terms"). And even though Broadbent favors slow and melancholy numbers, he can still vigorously turn on the technique, especially on the faster numbers here. In addition to his solo piano outing for the Maybeck Recital Hall series, Personal Standards offers a great introduction to Broadbent's work.


4) Ellis Marsalis Trio

by Scott Yanow
Pianist Ellis Marsalis is in excellent form for this trio outing with bassist Bob Hurst and drummer Jeff "Tain" Watts. The performances fall generally into the medium-tempo range, with Ellis scattering some witty song quotes throughout the lightly swinging renditions. The high points include one of the more delightful versions ever of Johnny Mandel's "Emily," some close interplay during "Little Niles" and a tongue-in-cheek version of "Limehouse Blues" that includes slapped bass, parade rhythms and Marsalis trying in vain to sound Dixielandish. One programming error should be noted: there is no such song as "Just Squeeze Me" and, rather than the one performed being Fats Waller's "Squeeze Me," it is actually Duke Ellington's "Squeeze Me, But Please Don't Tease Me."

5) Marc Johnson
    Shades Of Jade

By JOHN KELMAN 
Some would argue that it's impossible to call a recording classic until sufficient time has passed to determine its true staying power. Still, one can say that a recording has the makings of a classic—especially in its ability to be simultaneously of its time and timeless. Bassist Marc Johnson has only released a handful of albums under his own name since emerging in the late 1970s. And while they've all been very, very good, often in distinctly different ways—and experiences you can go back to time and time again, year after year—none could really be considered classic.
Until now. Returning to the ECM label as a leader for the first time since 1987's Second Sight, Johnson has turned Shades of Jade into the kind of artistic achievement that most musicians can only hope to accomplish. He's recruited a veritable supergroup, consisting of saxophonist Joe Lovano, guitarist John Scofield, pianist Eliane Elias, and drummer Joey Baron, plus organist Alain Mallet, who appears on two tracks. It's not about the playing, yet it's all about the playing. The performances on Shades of Jade could only come from a group of players so comfortable and assured that they can dispense with ego and surrender completely to the demands of the music.
The material—all but one piece written by Johnson and/or Elias—evokes a breadth of emotion, but in a subtle way that relies on players with nothing to prove yet plenty to say. Only after a full 25 minutes does the album display any sign of energy. Yet on the relaxed "Ton Sur Ton, the gentle "Aparaceu, the dark-hued title track, and the melancholy "In 30 Hours, there's still a deep emotional connection. The swinging "Blue Nefertiti —cleverly taking the signature line from Wayne Shorter's "Nefertiti and subsuming it into a sixteen-bar blues—presents a strong contrast while remaining wholly in context.
Given such strong musical personalities, what's most remarkable about Shades of Jade is how everyone retains their unmistakable identity yet openly explores new directions. Both Lovano and Scofield turn in the most purely textural playing of their careers. Scofield's long swells on the title track are out of character, yet they could come from nobody else. Lovano's feathery solo on "Ton Sur Ton is distant from his normally robust tone and strong lines, sounding at times like Charles Lloyd, but with a more purposeful sense of construction. Elias' lyricism has never been so profound, Baron's ability to speak with gentlest of touches so essential. Johnson, always able to find the nexus between elegance and power, has never sounded better.
What makes Shades of Jade a contender for "classic status is its remarkable ability to bring together multitudinous musical experiences without sounding explicitly like any one of them. At times inward-looking, at others more extroverted, intrepid without losing its accessibility, Shades of Jade timelessly blends the musicians' lifetimes of stylistic breadth into an experience that's completely familiar, yet totally fresh and innovative in the most understated way imaginable.
Track Listing:

Ton Sur Ton; Aparaceu; Shades of Jade; In 30 Hours; Blue Nefertiti; Snow; Since You Asked; Raise; All Yours; Don't Ask of Me.
Personnel: 

Joe Lovano: tenor saxophone; John Scofield: guitar; Eliane Elias: piano; Marc Johnson: double-bass; Joey Baron: drums; Alain Mallet: organ.

6) Laurence Hobgood & Charlie Haden

    When The Heart Dances

by Michael G. Nastos

NAIM label stablemates Laurence Hobgood and bassist Charlie Haden countermand the current frenetic state of events in modern-day rat race soundbyte society with this beautiful recording of duets, solo piano tracks, and three offerings with Kurt Elling. Soothing the savage society, this music is sure to appeal to those who need a leaner, trimmed back, more serene dose of reality to balance what has become a world torn by strife, uncertainty, and fear. This is not to say this is music lacking substance or intrigue -- far from it. Both pianist Hobgood and bassist Haden, clearly virtuosos, think on their feet together and separately, creating cohesive vistas of beauty, spirituality, emotional depth, or in a general sense, togetherness. They've chosen well-known standards adapted to their sensitive natures, in the case of "Que Sera Sera" an acceptant reverent and quiet adaptation of the oh well/whatever theme. Hoagy Carmichael's "New Orleans" starts in a clever, modernized two step folded into a blues frame, "Why Did I Choose You?" is both romantic and quizzical, and the incredible pretty and dark melody of Don Grolnick's "The Cost of Living," immortalized by Michael Brecker, is as stunningly emotional a tango inferred piece as has ever been written. Haden's "Chickoree" is bouncier in midtempo pace, still low key, with Hobgood's stride flavorings, while the pianist composed the title selection in a cascading waltz to light terpsichore that Haden follows along with beautifully. The tracks with the ever coy and wistful Elling include Haden's famous reflective ballad "First Song," including the poignant lyric about a "song that lightened up the world, when love was new." "Stairway to the Stars" showcases the vocalists spontaneous quality in elongating phrases and dynamics, while the Duke Ellington penned, drifting away waltz "Daydream" has Elling in a very deep, very midnight blue mood. Hobgood's solo works are as captivating as anything else, especially "Leatherwood" with its spirited and folksy stance, or the sheltering "Sanctuary," half church, half wedding song. An excellent recording from start to finish, played with extraordinary intimacy, heart and soul, this wondrous music is specifically built for those times in life when relaxation is a prerequisite to get one on to the next better day. 

7) Kurt Elling 

    The Messenger 

By JIM SANTELLA
Kurt Elling is different. He rants. In the liners, the singer defines the term to mean "improvising both the melody and lyrics simultaneously." With saxophonist Ed Peterson conversin', Elling shouts unrelated words and phrases as they pop into his mind. "Icebergs." "Viruses." "Planets." "Ice cream." Peterson is improvising, Elling is shouting, and he is also crooning traces of melodic lines around and through the conversation. Add piano, bass, and drums to this demonstration, and you have the quirkiness of Kurt Elling in a nutshell.
Comparable to Mark Murphy and Bobby McFerrin, delivering lightning-fast vocalese like Eddie Jefferson or Jon Hendricks, telling stories like Jack Kerouac or Lord Buckley, and influenced by Ella Fitzgerald, Frank Sinatra, Lambert, Hendricks & Ross, Tony Bennett, Joe Williams, King Pleasure, and Betty Carter, the 29-year-old baritone has continually pushed the envelope since his professional debut in 1994 and his recording debut on Blue Note a year later. The Messenger, his sophomore recording, includes spoken poetry, pretty ballads, scatting, vocalese, two rants, and one funky soul-jazz tune.
The creative-thinking singer gets capable support from muscular pianist and partner Laurence Hobgood, guest tenor saxophonists Ed Peterson and Eddie Johnson, guest singer Cassandra Wilson, bassists Eric Hochberg and Rob Amster, drummers Paul Wertico and Jim Widlowski, and trumpeter Orbert Davis. With Hobgood, Amster, and Wertico, Elling supplies impromptu lyrics on "The Beauty Of All Things" to begin a suite in three movements. Part Two, "The Dance," adds handclaps, tambourine, and a joyful rhythm that could easily supply the backdrop for lines of high-stepping uniformed clog-dancers. The suite reaches its peak when Orbert Davis joins on flugelhorn to blend with the gentle lyrics about "his ironic smile," and "the bell of a shimmering horn," on "Prayer For Mr. Davis."
Cassandra Wilson's deep and lovely contralto voice blends with Elling's on the Zombie's 1967 pop ballad "Time Of The Season." The arrangement incorporates John Coltrane's "Body And Soul", and the two singers work rather well together on it. "Tanya Jean" is Donald Byrd's composition, with lyrical references to Dexter Gordon, Charlie Parker, Herbie Hancock, and Elvin Jones. "It's Just A Thing" is a fascinating tale of friendship whipped out in the language of beat poetry (739 words in four and a half minutes) spun alongside walking bass and ride cymbal.
"Prelude To A Kiss" features the lush tenor saxophone of Eddie Johnson along with a similar ballad treatment from Elling. "Ginger Bread Boy" is Jimmy Heath's up-tempo bebop standard performed with the leader's lightning-fast vocalese. "Nature Boy" and "April In Paris" open the session with scatting, singing, piano and vocal interplay, and rhythmic stability. The title track features Ed Peterson's tenor sax in a setting that pits three beats over two, as he, Elling, and Hobgood work both as ensemble and individually to deliver the message. Ironically, on this final track of the recording, Hobgood adds a quote from the first track, "Nature Boy." The session proves to be well-rounded, a suitable sophomore outing for the unique singer, and a promise that Kurt Elling is indeed different. Highly recommended.
Track Listing:

1. Nature Boy, 2. April in Paris, 3. Beauty of All Things, 4. The Dance, 5. Prayer for Mr. Davis, 6. Endless, 7. Tanya Jean, 8. It's Just a Thing, 9. Gingerbread Boy, 10. Prelude to a Kiss, 11. Time of the Season, 12. The Messenger

8) Steve Kuhn 

    Oceans In The Sky 

By Dr.Judith Schlesinger
Recorded in 1989 for Owl Records and finally reissued, Oceans in the Sky is a timeless gem from impressionistic veteran pianist Steve Kuhn. Although he was John Coltrane's original pianist and worked with Stan Getz and Art Farmer, Kuhn's detour into electric piano, commercial music and accompaniment (most notably for Sheila Jordan) has to some extent diluted his pedigree. It's good to be reminded of his gifts, which include lyricism and taste and composition; his title track is powerful and harmonically intriguing, and "Ulla" is lovely.
Kuhn's tastefulness is also evident in his choice of, and approach to, material. Frank Lacey's thoughtful and pretty "Theme for Ernie" is rarely covered; the Jobim he picks is "Angela," one of the less hackneyed in the pantheon; and he gives a new pulse to "The Island." Being a third-stream fan, I especially enjoyed how he wove Debussy's "La Plus Que Lente" into a samba version of Ellington's "Passion Flower" with no seams showing; he also pairs "His Is the Only Music That Makes Me Dance" with Satie's "Gymnopedie," while straining all the Streisand schmaltz out of Jule Syne's beautiful Broadway showstopper.
Kuhn swings hard on Dorham's "Lotus Blossom" and subtly on Brubeck's "In Your Own Sweet Way." Drummer Aldo Romano contributes the pretty "Do" as well as sensitive and unobtrusive percussion. It's good that Miroslav Vitous is a strong bassist, since Kuhn tends to lean towards the treble side of things. Oceans in the Sky is an understated and graceful outing – delicious.
Track listing: 

The Island, Lotus Blossom, La Plus Que Lente [Debussy]/Passion Flower, Do, Oceans in the Sky Theme for Ernie, Angela, In Your Own Sweet Way, Ulla, The Music That Makes Me Dance
Personnel: 

Steve Kuhn (piano), Miroslav Vitous (bass), Aldo Romano (drums)


9) Charles Lloyd 

    The Water Is Wide 

by David R. Adler
Like 1999's Voice in the Night, The Water Is Wide features Charles Lloyd in the company of one of his dearest friends, drummer Billy Higgins, who would pass away less than a year after the album's release. Guitarist John Abercrombie also remains on board, but Lloyd extends the group's generational span by recruiting two younger players: pianist Brad Mehldau and bassist Larry Grenadier. The album begins with a straightforward, elegant reading of Hoagy Carmichael's "Georgia." Lloyd goes on to lead his ensemble through two lesser-known Ellington pieces, "Black Butterfly" and "Heaven"; Strayhorn's "Lotus Blossom"; two original ballads, "Figure In Blue" and "Lady Day"; and Cecil McBee's "Song of Her," a track from Lloyd's 1968 classic, Forest Flower. It's a glorious amalgam of sound: the leader's unique, glissando-laden phraseology, Mehldau's harmonic nuances, unerring rhythmic backbone from Grenadier and the majestic Higgins — and only occasionally, pointed and eloquent guitarism from Abercrombie. The session ascends to an even higher level with the inclusion of two spirituals, "The Water Is Wide" and "There Is a Balm in Gilead." The latter features just Lloyd and Higgins, starkly setting the melody against a hypnotic drum chant. In addition, Lloyd's closing "Prayer," written for Higgins during a life-threatening episode back in 1996, features just the composer, Abercrombie, and guest bassist Darek Oles. (Oddly, Oles' credit is relegated to the fine print.) These tracks, most of all, resonate with personal meaning and profundity.

10) Nancy King & Fred Hersch

      Live At Jazz Standard 

by Ken Dryden
It's no wonder that Fred Hersch had the confidence to tape his initial meeting with Nancy King. King is one of the best jazz vocalists of her generation, though she is unjustly not as widely recognized as a number of major-label artists who don't begin to compare with her. King and Hersch put together a wide-ranging program at the Jazz Standard, frequently extending their interpretations well beyond the expectations for a vocal/piano duo. Hersch, who has long since proved his abilities as a solo accompanist for singers (especially Janis Siegel), is never less than brilliant throughout the evening, though the singer is equally impressive, an adventurous spirit who is unafraid of taking chances. King's expressive voice is full of humor in the swinging take of "Ain't Misbehavin'," while she scats up a storm in Antonio Carlos Jobim's neglected gem "If You Never Come to Me." She's equally inspired as she revives once popular standards that have fallen out of favor like "There's a Small Hotel" and "Everything Happens to Me." But the finale clearly steals the show as King devours "Four" whole, throwing caution to the wind as she playfully adds her own twists to Jon Hendricks' vocalese setting of Miles Davis' famous tune. This beautifully recorded set is a tribute to the musicianship of both artists, as well as the foresight of Fred Hersch to request that the soundboard operator record it without notifying Nancy King in advance.

By Rick Cornell "RC"

When I heard that Nancy King and Fred Hersch had recorded an album live, at the Jazz Standard in NYC, of piano-voice duets, I rushed out to get my copy. I expected something fantastic. But that can be a problem due to the fact that disappointment can come crashing down more easily when you have such expectations.
I am not disappointed in the least.
This CD confirms two major truths: First, with the passing of Ella Fitzgerald and Betty Carter, Nancy King is the finest living scat singer in the world. Like Ms. Carter, Ms. King sounds like an instrument truly searching for the "less obvious" note that nevertheless fits in the chord. Ms. King is also a great story teller. She didn't make me forget Shirley Horn or Mark Murphy, but at times she certainly reminded me of them here.
Second, Fred Hersch truly is one of the finest piano accompanists in the world. What amazes me about him is that he sounds quite different in accompanying Nancy King than he does in accompanying Janis Siegel, and in turn those recordings sound different than how he accompanies Renee Fleming. He basically knows what works for each singer.
Here, consistently throughout he lets Ms. King take the lead in the first chorus, then gradually gets more adventurous as she scats away. Then, when he solos, he plays even more "outside" than he does ordinarily with most singers--because that's how Ms. King sings. By the time he's done, we the audience have been in for quite a ride.
In the contest of most underrated jazz singer in the world (if there is one), Nancy King now is in the lead. Hopefully, someone soon will overtake her--but that will take some doing. Meanwhile, major kudos to Maxjazz: In the last few years, they have put out superlative vocal jazz recordings with Rene Marie, Dena DeRose, Erin Bode, and now this one. More, please. 

Aonde estão as listas/ Where are your TOP 10 Desert Island ?
PS - Alterações serão permitidas ! You can change anytime !

Italian Musicians You Should Take Notice

Enrico Rava, Leonardo B. N. Gondim, Joyce Gondim


Stefano Bollani and Claudio Botelho

By Claudio Botelho

Some say jazz has crossed the Atlantic and is well established in Europe. The truth is that Americans don’t take it much seriously and, in Europe and Japan, Jazz seems to have a better recognition.
With the passing of the American jazz great masters (the likes of Duke Ellington, Bill Evans, Ella Fitzgerald, Count Basie, Oscar Peterson, Bud Powell, Bird, John Coltrane, Sarah Vaughan, Carmen McRae, Stan Kenton, Art Blakey, Stan Getz, Gerry Mulligan, Wes Montgomery, Charles Mingus, Dexter Gordon, Frank Rossolino – probably the greatest trombonist ever to grace this planet -, Cannonball Adderley, Shelly Manne and many others), each one with a voice all his own, jazz lovers have lost their references, as it used to be very easy to distinguish one from the other, just at the outset of listening each.
The globalization of these days has concurred much to minimize individual differences, as everybody knows what others are doing. The instantaneity of information makes everybody part of the happenings and, thus, regional differences have vanished.
Today, the quality of information – with the plethora of HD photos, sounds and motion images – makes us to be at the core of the actions; the waters of the tsunami, in Japan, almost took our houses away…
In view of this, well kept secrets are becoming increasingly rare and, as a result, it is a hard time to tell one thing from another: The mini-cars made in China are very similar to their counterparts from Europe…
In music, some stylists remain unique, but they are becoming fewer and fewer. As I will talk about Italians, is still easy, for instance, to distinguish someone like Enrico Pirannunzi from other piano players. Probably, more out of the extreme refinement of his playing than from any particular way of his artistry ethos. This side of the ocean, you have Jarrett, Jamal, Mehldau, Corea and a few others (again, piano players…) You see, even Glasper has his mimickers and, when the matter is straight jazz, there are some others who can deceive us into thinking it’s him. He used to be easily recognizable. No more!
Some think art must evolve, just like other things man do. Some say piano trios are a thing no one cares much about and, so, they must reinvent themselves. Glasper is one of them, as attests recent interview of his. Not by accident, his last two CD outings have some experiments and these have made him a voluntary guinea pig, in my view, as the results lack unicity and, as such, in general, will be difficult to please the listeners. Of course, one will love track one and hate track two. For someone else it is the other way around. How will lovers of tested and proven straight jazz deal with something so out of ordinary? This is an issue Glasper, as a seeker of new forms, is willing to afford. It’s a kind of game: a gamble he’s indulging with uncertain outcome. He must know the dangers he’s into, but, as a restless spirit, he has decided to pay the price. Will his endeavors bring something new; paths hitherto followed? We don’t know yet. At least I don’t, but I think we need people like him who, through pioneering efforts, may show us new lights.
All said, he’s right! Go on, Glasper!
In spite of this, I don’t quite agree with him when he says the trio format is exhausted. We must consider that, in general, 90% of what exists is common-place and the trio format follows this corollary and, so, wouldn’t be any different. But, as it has ever been, music is, first and foremost, inspiration and it may come in a multitude of ways, including formats we are familiar, without losing any value whatsoever. If we’re talking about jazz, this is truer still, as, like any other music, it is a language of the player as much as of its composer or it wouldn’t be so called. The freedom allowed to the former is unlimited and, even following common approaches, he has much headroom to work, so that, in any situation, he can always come with new insights.
But, it should speak directly to our heart, irrespective of the path the interpreter decided to follow, and, conversely, the chosen path, alone, does not ensure any success…
So, to show things are not exactly as he says, I invite you to check the following CD’s – mostly of piano trios – and, in special, this time, show you what the Italians have learned to do:

1-VINCENZO DANISE – “IMMAGINADO UN TRIO” VOL. 1 

2- PIERO FRASSI TRIO – “EVERYTHING I LOVE” – INTRODUCING PIERO FRASSI TRIO 

3- GIOVANNI MIRABASSI TRIO – “LIVE AT BLUE NOTE, TOKYO” 




4- GUIDO MANUSARDI – “SO THAT” 




5- ETTORE CARUCCI TRIO – “FORWARD” 




6- ANTONIO PRINCIPE TRIO – “NEW AND OLD SWING” 



7- LUIGI MARTINALE TRIO – “LE SUI ALI” 




8- CLAUDIO FILIPPINI TRIO – “THE ENCHANTED GARDEN” 






9- DANILO REA – “INTROVERSO” 







10- ANTONIO FARAÒ – “WOMAN’S PERFUME”








I’ll refrain from talking about the evanesque Enrico Pierannunzi, the impressionist Franco D’Andrea, the iconic Enrico Rava or the chameleonic Stefano Bollani as these guys are very well known worldwide. Nor will I talk about Roberta Gambarini which, in my view, is in the very top echelon of jazz singing, today…
Of course, the main reason of this essay was to show jazz is a world music, more than any other, as it is mainly a way of expression.
It happens that, nowadays, no country more than Italy embraces it with so much aplomb. So, to be fair, I feel obliged to make this registration and have decided to choose, among so many others from that country, the recordings listed above which I think excel in musicality and creativity.
Thus, I submit these renderings to you which, IMHO, clearly show what I’m trying to say. And believe me: this is just a hint of what they’re doing out there…