SCOTTISH NATIONAL JAZZ ORCHESTRA – American Adventure
Spartacus Records STS018
Ru Pattison (as, ss); Martin Kerhaw (cl, as); Konrad Wiszniewski (ts); Bill Fleming (bs); Ryan Quigley,
Cameron Jay, Tom MacNiven, James Marr (t, fl-h); Chris Grieve, Phil O’Malley (tb); Michael Owens (b-tb); Brian Kellock (p); Calum Gourley (b); Alyn Cosker (d)
Mike Stern (g); Tommy Smith (ts, dir.); Clarence Penn (d); Donny McCaslin (fl, ts); Joe Locke (vib); David Liebman (ss); David Kikoski (p); Joel Frahm (ts); Bill Evans (ts); Kurt Elling (v); Michael Dease (tb); Randy Brecker (t)
Recorded Avatar Studios, New York; June 2013
There can now be few superlatives that have not already been used in praise of the SNJO, and the orchestra under the direction of Tommy Smith is now firmly established as one of the finest big bands in the world. Such praise could also readily be seen as hyperbole were it not for the fact that it is has been pointed out so often by so many, and also by the glowing testaments of the
distinguished US musicians that are featured on this fine disc.
Stopping off at New York’s Avatar Studios for a couple of days during their recent tour of the United States and Canada, the SNJO recorded some newly commissioned arrangements of some great compositions from the pens of Wayne Shrorter, Charles Mingus and Chick Corea in a set that looks back as well as forward in a truly creative and memorable recording.
Surprises abound in contemporary arrangements of some familiar material, some of which has not been heard in such a context previously. Fred
Sturm’s arrangement of Marcus Miller’s ‘Splatch’ (recorded on Miles Davis’ Tutu album) featuring guitarist Mike Stern is a blistering start to proceedings, building to a climax with the sparring of Stern with drummer Alyn Cosker. Also not to be missed is saxophonist Bill Evans as heard on Chick Corea’s ‘Quartet No.1 (Part 2). Taking Michael Brecker’s famous part he may be, standing in Brecker’s shadow he certainly is not with his playing commanding attention at every turn.
Donny McGaslin, pianist David Kikoski and the master, David Liebman make ‘Pendulum’ by Richie Beirach a tour de force that should be by
rights the show stopping piece on the disc if were not for a superb heart felt reading of Coltrane’s ‘Dear Lord’, again with David Kikoski at the piano and trumpeter Randy Brecker in what is a truly tremendous performance.
Kurt Elling gets his moment on a beautiful arrangement of ‘Duke Ellington’s Sound of Love’ that sounds slightly at odds with the powerhouse
playing contained elsewhere. May be Tommy and the SNJO should have given the great man an album to himself, as this all to brief and tantalising piece can merely hint at the riches that further collaboration would yield.
Quite simply this is big band playing that is difficult to surpass, and indicates that the SNJO has a long and bright future whether presenting cutting edge new material or bringing the jazz tradition to new audiences. Live performances by the orchestra may be too few and far between,
so make sure you catch them when you can.
Reviewed by Nick Lea
Ru Pattison (as, ss); Martin Kerhaw (cl, as); Konrad Wiszniewski (ts); Bill Fleming (bs); Ryan Quigley,
Cameron Jay, Tom MacNiven, James Marr (t, fl-h); Chris Grieve, Phil O’Malley (tb); Michael Owens (b-tb); Brian Kellock (p); Calum Gourley (b); Alyn Cosker (d)
Mike Stern (g); Tommy Smith (ts, dir.); Clarence Penn (d); Donny McCaslin (fl, ts); Joe Locke (vib); David Liebman (ss); David Kikoski (p); Joel Frahm (ts); Bill Evans (ts); Kurt Elling (v); Michael Dease (tb); Randy Brecker (t)
Recorded Avatar Studios, New York; June 2013
There can now be few superlatives that have not already been used in praise of the SNJO, and the orchestra under the direction of Tommy Smith is now firmly established as one of the finest big bands in the world. Such praise could also readily be seen as hyperbole were it not for the fact that it is has been pointed out so often by so many, and also by the glowing testaments of the
distinguished US musicians that are featured on this fine disc.
Stopping off at New York’s Avatar Studios for a couple of days during their recent tour of the United States and Canada, the SNJO recorded some newly commissioned arrangements of some great compositions from the pens of Wayne Shrorter, Charles Mingus and Chick Corea in a set that looks back as well as forward in a truly creative and memorable recording.
Surprises abound in contemporary arrangements of some familiar material, some of which has not been heard in such a context previously. Fred
Sturm’s arrangement of Marcus Miller’s ‘Splatch’ (recorded on Miles Davis’ Tutu album) featuring guitarist Mike Stern is a blistering start to proceedings, building to a climax with the sparring of Stern with drummer Alyn Cosker. Also not to be missed is saxophonist Bill Evans as heard on Chick Corea’s ‘Quartet No.1 (Part 2). Taking Michael Brecker’s famous part he may be, standing in Brecker’s shadow he certainly is not with his playing commanding attention at every turn.
Donny McGaslin, pianist David Kikoski and the master, David Liebman make ‘Pendulum’ by Richie Beirach a tour de force that should be by
rights the show stopping piece on the disc if were not for a superb heart felt reading of Coltrane’s ‘Dear Lord’, again with David Kikoski at the piano and trumpeter Randy Brecker in what is a truly tremendous performance.
Kurt Elling gets his moment on a beautiful arrangement of ‘Duke Ellington’s Sound of Love’ that sounds slightly at odds with the powerhouse
playing contained elsewhere. May be Tommy and the SNJO should have given the great man an album to himself, as this all to brief and tantalising piece can merely hint at the riches that further collaboration would yield.
Quite simply this is big band playing that is difficult to surpass, and indicates that the SNJO has a long and bright future whether presenting cutting edge new material or bringing the jazz tradition to new audiences. Live performances by the orchestra may be too few and far between,
so make sure you catch them when you can.
Reviewed by Nick Lea
JOHN COLTRANE – Out Of This World
Properbox 181 (4 CD Set)
CD One
Track one: Miles Davis ( tpt ) John Coltrane ( tnr ) Wynton Kelly ( pno ) Paul Chambers ( bass ) Jimmy Cobb ( drs ) Recorded Stockholm 22nd March 1960
Tracks 3 to 4:
John Coltrane ( tnr ) McCoy Tyner ( pno ) Steve Davis ( bass ) Billy Higgins ( drs )
Recorded Los Angeles, 8th September 1960
Track 5 as tracks 2 to 4 except Elvin Jones ( drs ) replaces Billy Higgins
Recorded New York City, 21st October 1960
Tracks 6 to 11 as track 5 Recorded New York City, 24th October 1960
CD Two
Track one:
Miles Davis ( tpt ) John Coltrane ( tnr ) Wynton Kelly ( pno ) Paul Chambers ( bass ) Jimmy Cobb ( drs )
Recorded New York City, 21st March 1961
Track two: John Coltrane ( sop ) Booker Little ( tpt ) Freddie Hubbard ( tpt ) Julian Priester ( tmb ) Charles Greenlee ( tmb ) Julius Watkins, Donald Corrado, Robert Northern, Jim Buffington & Robert Swiss helm ( fr. Horns ) Bill Barber ( tuba ) Eric Dolphy ( alto / bass-clt / flute ) Garvin Bushell ( piccolo / woodwind ) Pat Patrick ( barr ) McCoy Tyner ( pno ) Reggie Workman & Paul Chambers ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 23rd May 1961
Tracks 3 & 4:
John Coltrane ( tnr / sop ) Eric Dolphy ( alto / flute ) Freddie Hubbard ( tpt ) McCoy Tyner ( pno ) Art Davis & Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded New York City, 25th May 1961
Tracks 5 & 6:
John Coltrane ( tnr ) Booker Little ( tpt ) Britt Woodman ( tmb ) Carl Bowman ( euphonium ) Julius Watkins, Donald Corrado, Robert Northern & Robert Swiss helm ( fr. Horns )Bill Barber ( tuba ) Eric Dolphy ( alto / bass clt / flute ) McCOY Tyner ( pno ) Reggie Workman & Art Davis ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 7th June 1961
Track 7 :
John Coltrane ( sop ) McCoy Tyner ( pno ) Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded The Village Vanguard, NYC, 2ND November 1961
CD Three
Track 1: John Coltrane ( tnr ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded The Village Vanguard, NYC, 2nd November 1961
Track 2: John Coltrane ( tnr / sop ) Eric Dolphy ( bass clt ) McCoy Tyner ( pno ) Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded The Village Vanguard, NYC, 3rd November 1961
Tracks 3 & 4 : John Coltrane ( tnr ) Eric Dolphy ( alto ) McCoy Tyner ( pno ) Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded Stockholm, 23rd November 1961
Tracks 5 & 6: John Coltrane ( tnr / sop ) McCoy Tyner ( pno ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 21st December 1961
Track 7 & 8: John Coltrane ( tnr / sop ) Eric Dolphy ( alto / flute ) McCoy Tyner ( pno ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded Birdland, NYC, 9th February 1962
CD Four
Track 1: as tracks 7 & 8 CD Three
Track 2: John Coltrane ( tnr / sop ) McCoy Tyner ( pno ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 11th April 1962
Track 3: as Track 2 except John Coltrane plays ( tnr ) only
Recorded Birdland, NYC, 2nd June 1962
Tracks 4 & 5 as Track 3, Recorded New Jersey, 19th June 1962
Track 6: as Track 3, Recorded New Jersey, 20th June 1962
Track 7: as Track 3, Recorded New Jersey, 29th June 1962
These recordings cover just over a two year period and chart Coltrane’s progress from being a sideman in the Miles Davis group to being a leader in his own right. We find Coltrane working with a quartet and quintet to larger groups both in the studio and in live situations. The four CDs come from a variety of sources and recording labels but there are no complete albums but we do get a good cross section of his work during this period.
CD one kicks off with a live recording from Stockholm during Coltrane’s tenure with Miles Davis playing the Miles composition “So What” and finds Miles and Coltrane playing at the top of their form. The other track which features Miles “Teo” can be found on CD Two and is a studio
recording has better solos from both Miles and Coltrane although Coltrane’s repetitive phrases could have been dispensed with. Coltrane’ soloom “Dahomey Dance” is fluent and controlled but both Hubbard’s and Dolphy’s are a little uninspired. The rhythm section with two bass players works well and holds things together. “Aisha” from the same session is a cracking track with outstanding solos from all the front line players particularly Coltrane who has a good feel for this type of number. It is dismissed by the writer of the booklet, Simon Spillett as having “something of a makeweight quality to it” which I have to disagree with. McCoy Tyner’s piano solo adds much to the proceedings, in fact
all his contributions on the four CDs are worthy of attention.
Discs 3 & 4 has performances by the classic quartet, Coltrane with McCoy Tyner, Jimmy Garrison and Elvin Jones or with Eric Dolphy added and the quartet are the ones to savour, the rhythm section is so good you find yourself listening to their creative playing rather than to Coltrane.
This set covers an important period in Coltrane’s career and if you don’t have the original albums it’s a must buy.
Reviewed by Roy Booth
CD One
Track one: Miles Davis ( tpt ) John Coltrane ( tnr ) Wynton Kelly ( pno ) Paul Chambers ( bass ) Jimmy Cobb ( drs ) Recorded Stockholm 22nd March 1960
Tracks 3 to 4:
John Coltrane ( tnr ) McCoy Tyner ( pno ) Steve Davis ( bass ) Billy Higgins ( drs )
Recorded Los Angeles, 8th September 1960
Track 5 as tracks 2 to 4 except Elvin Jones ( drs ) replaces Billy Higgins
Recorded New York City, 21st October 1960
Tracks 6 to 11 as track 5 Recorded New York City, 24th October 1960
CD Two
Track one:
Miles Davis ( tpt ) John Coltrane ( tnr ) Wynton Kelly ( pno ) Paul Chambers ( bass ) Jimmy Cobb ( drs )
Recorded New York City, 21st March 1961
Track two: John Coltrane ( sop ) Booker Little ( tpt ) Freddie Hubbard ( tpt ) Julian Priester ( tmb ) Charles Greenlee ( tmb ) Julius Watkins, Donald Corrado, Robert Northern, Jim Buffington & Robert Swiss helm ( fr. Horns ) Bill Barber ( tuba ) Eric Dolphy ( alto / bass-clt / flute ) Garvin Bushell ( piccolo / woodwind ) Pat Patrick ( barr ) McCoy Tyner ( pno ) Reggie Workman & Paul Chambers ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 23rd May 1961
Tracks 3 & 4:
John Coltrane ( tnr / sop ) Eric Dolphy ( alto / flute ) Freddie Hubbard ( tpt ) McCoy Tyner ( pno ) Art Davis & Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded New York City, 25th May 1961
Tracks 5 & 6:
John Coltrane ( tnr ) Booker Little ( tpt ) Britt Woodman ( tmb ) Carl Bowman ( euphonium ) Julius Watkins, Donald Corrado, Robert Northern & Robert Swiss helm ( fr. Horns )Bill Barber ( tuba ) Eric Dolphy ( alto / bass clt / flute ) McCOY Tyner ( pno ) Reggie Workman & Art Davis ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 7th June 1961
Track 7 :
John Coltrane ( sop ) McCoy Tyner ( pno ) Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded The Village Vanguard, NYC, 2ND November 1961
CD Three
Track 1: John Coltrane ( tnr ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded The Village Vanguard, NYC, 2nd November 1961
Track 2: John Coltrane ( tnr / sop ) Eric Dolphy ( bass clt ) McCoy Tyner ( pno ) Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded The Village Vanguard, NYC, 3rd November 1961
Tracks 3 & 4 : John Coltrane ( tnr ) Eric Dolphy ( alto ) McCoy Tyner ( pno ) Reggie Workman ( bass ) Elvin Jones ( drs )
Recorded Stockholm, 23rd November 1961
Tracks 5 & 6: John Coltrane ( tnr / sop ) McCoy Tyner ( pno ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 21st December 1961
Track 7 & 8: John Coltrane ( tnr / sop ) Eric Dolphy ( alto / flute ) McCoy Tyner ( pno ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded Birdland, NYC, 9th February 1962
CD Four
Track 1: as tracks 7 & 8 CD Three
Track 2: John Coltrane ( tnr / sop ) McCoy Tyner ( pno ) Jimmy Garrison ( bass ) Elvin Jones ( drs )
Recorded New Jersey, 11th April 1962
Track 3: as Track 2 except John Coltrane plays ( tnr ) only
Recorded Birdland, NYC, 2nd June 1962
Tracks 4 & 5 as Track 3, Recorded New Jersey, 19th June 1962
Track 6: as Track 3, Recorded New Jersey, 20th June 1962
Track 7: as Track 3, Recorded New Jersey, 29th June 1962
These recordings cover just over a two year period and chart Coltrane’s progress from being a sideman in the Miles Davis group to being a leader in his own right. We find Coltrane working with a quartet and quintet to larger groups both in the studio and in live situations. The four CDs come from a variety of sources and recording labels but there are no complete albums but we do get a good cross section of his work during this period.
CD one kicks off with a live recording from Stockholm during Coltrane’s tenure with Miles Davis playing the Miles composition “So What” and finds Miles and Coltrane playing at the top of their form. The other track which features Miles “Teo” can be found on CD Two and is a studio
recording has better solos from both Miles and Coltrane although Coltrane’s repetitive phrases could have been dispensed with. Coltrane’ soloom “Dahomey Dance” is fluent and controlled but both Hubbard’s and Dolphy’s are a little uninspired. The rhythm section with two bass players works well and holds things together. “Aisha” from the same session is a cracking track with outstanding solos from all the front line players particularly Coltrane who has a good feel for this type of number. It is dismissed by the writer of the booklet, Simon Spillett as having “something of a makeweight quality to it” which I have to disagree with. McCoy Tyner’s piano solo adds much to the proceedings, in fact
all his contributions on the four CDs are worthy of attention.
Discs 3 & 4 has performances by the classic quartet, Coltrane with McCoy Tyner, Jimmy Garrison and Elvin Jones or with Eric Dolphy added and the quartet are the ones to savour, the rhythm section is so good you find yourself listening to their creative playing rather than to Coltrane.
This set covers an important period in Coltrane’s career and if you don’t have the original albums it’s a must buy.
Reviewed by Roy Booth
SCOTT HAMILTON QUARTET - Dean Street Nights
Woodville Records WVCD141
Scott Hamilton ( tnr ); John Pearce ( pno ); Dave Green ( bass ); Steve Brown ( drs )
Recorded at the Pizza Express, Dean Street, London, 4th January 2012
It does not seem that many years ago that Scott Hamilton was being hailed as the young pretender, the keeper of the flame because of his decision to base his style on that of the older tradition instead of following the trend and becoming a Coltrane clone. He has now become an elder statesman with a large following and critical acclaim.
His tone has changed over the years and now has a deep burnished sound, he swings at the drop of a hat and his ballad played as Duke Ellington would say is “beyond category”. He was originally based in America and after residing in London for a number of years he now lives in Italy from where he can easily commute to the countries where he is able to find gigs. This album recorded at the Pizza Express in Dean Street , London is typical of most gigs he plays across the world, a couple of swingers , a couple of slow burners and a couple of ballads.
Hamilton has the ability to unearth little known songs which rarely receive an outing and the opener is one of these. The song is “I just found out about love” by Jimmy McHugh, he starts off out of tempo before moving into a lilting swing backed by his stellar British rhythm section with who he has worked with for a number of years.
The two ballads, “If I had you” and “Spring will hang you up the most” are both as usual are spot on, with “If I had you” having the edge because of its emotional content. After the ballad, Scott’s original “Zoot’s Blues” must be the stand out track with the tenor man playing at his peak and there is no doubt that he can be compared favourably with players of Zoot Sim’s stature. The album comes to a close with the old warhorse “Cherokee” on which Scott always seems to have something new to say even though he seems to include it on most gigs.
If you have ever been to one of Scott’s performances you will want this as a reminder of how good it was, and if you have not heard him live yet you need to buy this to hear what you are missing.
Reviewed by Roy Booth
Scott Hamilton ( tnr ); John Pearce ( pno ); Dave Green ( bass ); Steve Brown ( drs )
Recorded at the Pizza Express, Dean Street, London, 4th January 2012
It does not seem that many years ago that Scott Hamilton was being hailed as the young pretender, the keeper of the flame because of his decision to base his style on that of the older tradition instead of following the trend and becoming a Coltrane clone. He has now become an elder statesman with a large following and critical acclaim.
His tone has changed over the years and now has a deep burnished sound, he swings at the drop of a hat and his ballad played as Duke Ellington would say is “beyond category”. He was originally based in America and after residing in London for a number of years he now lives in Italy from where he can easily commute to the countries where he is able to find gigs. This album recorded at the Pizza Express in Dean Street , London is typical of most gigs he plays across the world, a couple of swingers , a couple of slow burners and a couple of ballads.
Hamilton has the ability to unearth little known songs which rarely receive an outing and the opener is one of these. The song is “I just found out about love” by Jimmy McHugh, he starts off out of tempo before moving into a lilting swing backed by his stellar British rhythm section with who he has worked with for a number of years.
The two ballads, “If I had you” and “Spring will hang you up the most” are both as usual are spot on, with “If I had you” having the edge because of its emotional content. After the ballad, Scott’s original “Zoot’s Blues” must be the stand out track with the tenor man playing at his peak and there is no doubt that he can be compared favourably with players of Zoot Sim’s stature. The album comes to a close with the old warhorse “Cherokee” on which Scott always seems to have something new to say even though he seems to include it on most gigs.
If you have ever been to one of Scott’s performances you will want this as a reminder of how good it was, and if you have not heard him live yet you need to buy this to hear what you are missing.
Reviewed by Roy Booth
JACQUES SCHWARZ-BART - Jazz Racine Haiti
Motéma/Membran 233811
Jacques Schwarz-Bart (tenor sax); Erol Josué, Rozna Zila, Stephanie McKay (chants and vocals)Etienne Charles (trumpet); Alex Tassel (flugelhorn); Milan Milanovic, Gregory Privat (piano); Ben
Williams (acoustic bass); Reggie Washington (electric bass); Obed Calvaire, Arnaud Dolmen (drums); Gaston `Bonga` Jean-Baptiste , Claude Saturne (percussion)
No recording location or date given
Jacques Schwarz-Bart, a.k.a “Brother Jacques” when he appears as a sideman in other peoples bands, plays a lusty Rollins styled tenor sax and in this fascinating set convincingly combines modern, hard bop inflected jazz with Caribbean melodies and rhythms, referencing the music of Haítían Voodoo culture which manifests itself in the form of singing, chanting and drumming by two
genuine Voodoo priests. Singing both in French and Haítían Creole the various vocalists employed in this project impart real spine-tingling character to the music and in call and response dialogues with the horns achieve a haunting ritualistic atmosphere which is palpably affecting. Racine or `Rasin` is a reference to this particular brand of syncretism which dates from the late
eighties and conveys multiple layers of meaning from the political to the spiritual.
The rough hewn vocalisations chime well with the tenor’s virile vibrato, particularly in the opening “Kouzin”. “Brother Jacques’s” leaps and
hollers are as passionate as those of the incantatory cries of the singers but they are aesthetically balanced by the sharper, cooler voices of the trumpet, flugelhorn and piano which contribute massively to the music’s lyrical dimension and help to ventilate its simmering tension and pent-up
energies.
Not all the tunes feature vocals or chants; there are purely instrumental tracks in which what one might describe as the ‘core band` demonstrate their not inconsiderable jazz chops. Divested of the Caribbean brief they would appear as a slick, major league hard –bop outfit spinning ` in the
pocket` solos that swing with vigour. Clothed in their leaders long standing ambition to create a unique artistic synthesis they lose none of their potency and make this a cross –genre project that really delivers at every level. Exquisitely recorded this finely nuanced music is captured to perfection and reveals another, even more exotic dimension of Latin American jazz.
Reviewed by Euan Dixon
Jacques Schwarz-Bart (tenor sax); Erol Josué, Rozna Zila, Stephanie McKay (chants and vocals)Etienne Charles (trumpet); Alex Tassel (flugelhorn); Milan Milanovic, Gregory Privat (piano); Ben
Williams (acoustic bass); Reggie Washington (electric bass); Obed Calvaire, Arnaud Dolmen (drums); Gaston `Bonga` Jean-Baptiste , Claude Saturne (percussion)
No recording location or date given
Jacques Schwarz-Bart, a.k.a “Brother Jacques” when he appears as a sideman in other peoples bands, plays a lusty Rollins styled tenor sax and in this fascinating set convincingly combines modern, hard bop inflected jazz with Caribbean melodies and rhythms, referencing the music of Haítían Voodoo culture which manifests itself in the form of singing, chanting and drumming by two
genuine Voodoo priests. Singing both in French and Haítían Creole the various vocalists employed in this project impart real spine-tingling character to the music and in call and response dialogues with the horns achieve a haunting ritualistic atmosphere which is palpably affecting. Racine or `Rasin` is a reference to this particular brand of syncretism which dates from the late
eighties and conveys multiple layers of meaning from the political to the spiritual.
The rough hewn vocalisations chime well with the tenor’s virile vibrato, particularly in the opening “Kouzin”. “Brother Jacques’s” leaps and
hollers are as passionate as those of the incantatory cries of the singers but they are aesthetically balanced by the sharper, cooler voices of the trumpet, flugelhorn and piano which contribute massively to the music’s lyrical dimension and help to ventilate its simmering tension and pent-up
energies.
Not all the tunes feature vocals or chants; there are purely instrumental tracks in which what one might describe as the ‘core band` demonstrate their not inconsiderable jazz chops. Divested of the Caribbean brief they would appear as a slick, major league hard –bop outfit spinning ` in the
pocket` solos that swing with vigour. Clothed in their leaders long standing ambition to create a unique artistic synthesis they lose none of their potency and make this a cross –genre project that really delivers at every level. Exquisitely recorded this finely nuanced music is captured to perfection and reveals another, even more exotic dimension of Latin American jazz.
Reviewed by Euan Dixon
HELEN SUNG - Anthem for a New Day
Concord Records CRE3449602
Helen Sung (piano, Fender Rhodes) Seamus Blake (tenor and soprano sax) Ingrid Jensen (trumpet) Reuben Rodgers ( bass) Obed Calvaire( drums) Samuel Torres (percussion) with guests John Ellis (clarinet) Regina Carter (violin) Paquito D’Rivera (clarinet)
Recorded at Systems 2 Studios, no place or date given
Making her major label debut heralds a new day in the career of Texas born pianist Helen Sung although I think the `new day` referred to in the title piece has to do with her decision to relinquish the classical music of her formative university years in favour of jazz following her graduation in 1997.
Subsequently as a student of The Thelonious Monk Institute of Jazz Performance and an occasional member of The Mingus Big Band she has been exposed to some powerful influences and has recorded under own name for Fresh Sound New Talent, Steeplechase, and Sunnyside Records.
This new release on Concord, which features her in various group formats and in the company of high profile special guests, is impressive
and should enhance her profile considerably by exposing her to record buyers who wouldn’t normally seek out specialist labels but place a great deal of trust in the safe and solid mainstream orientated Concord.
In this recording Sung gives us a melodic but questing set of contemporary modern jazz that includes her own compositions alongside intelligently re-interpreted standards from both the songbook and the jazz repertoire . Her originals thematically reference Monk`s motivic style, perhaps out of reverential respect for her former alma mater, but her playing, whether on piano or Fender Rhodes, is all her own. Her command of the keyboard evidences the precision of classically trained technique but she doesn’t allow this to overwhelm her jazz instincts which she expresses through licks and runs that embody all the time honoured virtues whilst managing to sound freshly minted. Sample her trio version of “ It Don’t Mean A Thing` which she takes through various rhythmic permutations melding stride, bop with fugal momentum converting it from old warhorse to high stepping filly.
Ms Sung’s brilliance is, however, only part of the story : she has at her disposal an equally brilliant band comprising the talents of British born Canadian Seamus Blake, another Mingus Big Band alumnus , who speaks through his horn with ever increasing fluency and an authentic New York accent (he has a ripping solo in a back beat driven version of Monk’s “Epistrophy”); fellow Canadian Ingrid Jensen, whose trumpet style though derived from the vibrato free stylisations established by Miles, Art Farmer and Chet Baker, displays a plangent sweetness alternating with a piercing intensity that grows in distinction with every hearing. The bass chair is taken by Reuben Rogers, noted for his fine work with Charles Lloyd and Joshua Redman among others, who as well as maintaining the pulse supports the melodic statements with contrapuntal links
and takes a notable solo in the recital’s one standard ballad, a limpidly beautiful version of “Never Let Me Go” which also serves as a vehicle for guest Regina Carter on violin.
Of the other guests Paquito D’Rivera features in a spirited duo performance of Chick Corea’s “Armando’s Rhumba” for clarinet and piano which
should have been a highlight but is slightly marred by overdubbed foot tapping and clapping which obscure the felicities of the music.
The rhythmic element is better employed in the rest of the programme and Calvaire, who is a new signing for the famous SF Jazz programme,
proves to be a resourceful drummer in all contexts. He is particularly effective in the fascinating title piece which calls on him to underpin and
stitch together a tempestuously episodic free-bop theme. Starting out with an undulating four note ostinato for bass clarinet which is taken up by the tenor and jerked into headlong forward motion the piece features a quite torrid solo by Jensen and perhaps metaphorically represents Sung’s casting off her classical aspirations for the more febrile, risk taking world of jazz. A beautifully recorded and deliciously varied set, this a new release you’ll definitely want to bag.
Reviewed by Euan Dixon
Helen Sung (piano, Fender Rhodes) Seamus Blake (tenor and soprano sax) Ingrid Jensen (trumpet) Reuben Rodgers ( bass) Obed Calvaire( drums) Samuel Torres (percussion) with guests John Ellis (clarinet) Regina Carter (violin) Paquito D’Rivera (clarinet)
Recorded at Systems 2 Studios, no place or date given
Making her major label debut heralds a new day in the career of Texas born pianist Helen Sung although I think the `new day` referred to in the title piece has to do with her decision to relinquish the classical music of her formative university years in favour of jazz following her graduation in 1997.
Subsequently as a student of The Thelonious Monk Institute of Jazz Performance and an occasional member of The Mingus Big Band she has been exposed to some powerful influences and has recorded under own name for Fresh Sound New Talent, Steeplechase, and Sunnyside Records.
This new release on Concord, which features her in various group formats and in the company of high profile special guests, is impressive
and should enhance her profile considerably by exposing her to record buyers who wouldn’t normally seek out specialist labels but place a great deal of trust in the safe and solid mainstream orientated Concord.
In this recording Sung gives us a melodic but questing set of contemporary modern jazz that includes her own compositions alongside intelligently re-interpreted standards from both the songbook and the jazz repertoire . Her originals thematically reference Monk`s motivic style, perhaps out of reverential respect for her former alma mater, but her playing, whether on piano or Fender Rhodes, is all her own. Her command of the keyboard evidences the precision of classically trained technique but she doesn’t allow this to overwhelm her jazz instincts which she expresses through licks and runs that embody all the time honoured virtues whilst managing to sound freshly minted. Sample her trio version of “ It Don’t Mean A Thing` which she takes through various rhythmic permutations melding stride, bop with fugal momentum converting it from old warhorse to high stepping filly.
Ms Sung’s brilliance is, however, only part of the story : she has at her disposal an equally brilliant band comprising the talents of British born Canadian Seamus Blake, another Mingus Big Band alumnus , who speaks through his horn with ever increasing fluency and an authentic New York accent (he has a ripping solo in a back beat driven version of Monk’s “Epistrophy”); fellow Canadian Ingrid Jensen, whose trumpet style though derived from the vibrato free stylisations established by Miles, Art Farmer and Chet Baker, displays a plangent sweetness alternating with a piercing intensity that grows in distinction with every hearing. The bass chair is taken by Reuben Rogers, noted for his fine work with Charles Lloyd and Joshua Redman among others, who as well as maintaining the pulse supports the melodic statements with contrapuntal links
and takes a notable solo in the recital’s one standard ballad, a limpidly beautiful version of “Never Let Me Go” which also serves as a vehicle for guest Regina Carter on violin.
Of the other guests Paquito D’Rivera features in a spirited duo performance of Chick Corea’s “Armando’s Rhumba” for clarinet and piano which
should have been a highlight but is slightly marred by overdubbed foot tapping and clapping which obscure the felicities of the music.
The rhythmic element is better employed in the rest of the programme and Calvaire, who is a new signing for the famous SF Jazz programme,
proves to be a resourceful drummer in all contexts. He is particularly effective in the fascinating title piece which calls on him to underpin and
stitch together a tempestuously episodic free-bop theme. Starting out with an undulating four note ostinato for bass clarinet which is taken up by the tenor and jerked into headlong forward motion the piece features a quite torrid solo by Jensen and perhaps metaphorically represents Sung’s casting off her classical aspirations for the more febrile, risk taking world of jazz. A beautifully recorded and deliciously varied set, this a new release you’ll definitely want to bag.
Reviewed by Euan Dixon
TEDDY WILSON TRIO WITH JO JONES - Complete Studio Recordings
Jazz Dynamics 008 (3 CD Set)
Disc one tracks 1 to 12 : Teddy Wilson ( pno ) Milt Hinton ( bass ) Jo Jones ( drs )
Recorded New York 1 January 1955 )
Disc one tracks 13 to 23 & Disc two tracks 1 & 2: Teddy Wilson ( pno ) Gene Ramey ( bass ) Jo Jones ( drs )
Recorded New York 5 March 1956
Disc two tracks 3 to 18 & Disc three tracks 1 to 8: Teddy Wilson ( pno ) Al Lucas ( bass ) Jo Jones ( drs )
Recorded New York 13 September 1956
Disc three tracks 9 to 16: Benny Carter ( alto ) Teddy Wilson ( pno ) Jo Jones ( drs )
Recorded New York 20 September 1954
The Teddy Wilson C.V. could not be improved upon it includes, the Benny Goodman Trio, Quartet and Sextet, many recordings with both Billie Holiday and Lester Young, but on this set of recordings he is with his own trio plus a Benny Carter session. They were all recorded for the Norman Granz label and include four complete LPs from the mid fifties namely “I Got Rhythm”, “For Quiet Lovers”, “The Impeccable Mr Wilson” and “These Tune Remind Me Of You”. Also included is a complete Benny Carter Trio LP which according to the discographies is previously unissued.
All the tunes included on this set of recordings are taken from the Great American Songbook except for a couple of Teddy Wilson originals. Each tune is taken at either a medium easy tempo or medium bright tempo with a number of up-tempo numbers thrown in for good measure. The drummer Jo Jones who appears on all the tracks is a model of good taste and all three bass players on the sessions are first class timekeepers. It’s at the medium easy tempos that Teddy Wilson excels with his left hand not just merely playing the chords but complementing what he’s playing with his right hand which makes him such a marvellous two handed pianist.
CD One opens with one of the two originals on the set, “Blues for the oldest Profession” and is a straight ahead blues getting the proceedings off to a good start. “You took advantage of me” is a typical Wilson stroll through one of the better standards which you could relax to all day. “Limehouse Blues” is taken at a sprightly tempo and gives Jo Jones a chance to shine with some nifty breaks using brushes. CD Two is much the same as the same as the first with its mixture of well known standards of which three stand out, “Talk of the town”, “Laura” and “Time on my hands”.
CD Three contains the eight tracks featuring the alto of Benny Carter and gives the set a different dimension. Benny Carter is as smooth and
elegant as ever fitting hand in glove with Teddy Wilson, each taking a share of the honours, June in January” is the track to watch out for.
All in all this a superb set of recordings and demonstrates what marvellous pianist Teddy Wilson was. This is one issue that needs to be tracked
down and purchased.
Reviewed by Roy Booth
Disc one tracks 1 to 12 : Teddy Wilson ( pno ) Milt Hinton ( bass ) Jo Jones ( drs )
Recorded New York 1 January 1955 )
Disc one tracks 13 to 23 & Disc two tracks 1 & 2: Teddy Wilson ( pno ) Gene Ramey ( bass ) Jo Jones ( drs )
Recorded New York 5 March 1956
Disc two tracks 3 to 18 & Disc three tracks 1 to 8: Teddy Wilson ( pno ) Al Lucas ( bass ) Jo Jones ( drs )
Recorded New York 13 September 1956
Disc three tracks 9 to 16: Benny Carter ( alto ) Teddy Wilson ( pno ) Jo Jones ( drs )
Recorded New York 20 September 1954
The Teddy Wilson C.V. could not be improved upon it includes, the Benny Goodman Trio, Quartet and Sextet, many recordings with both Billie Holiday and Lester Young, but on this set of recordings he is with his own trio plus a Benny Carter session. They were all recorded for the Norman Granz label and include four complete LPs from the mid fifties namely “I Got Rhythm”, “For Quiet Lovers”, “The Impeccable Mr Wilson” and “These Tune Remind Me Of You”. Also included is a complete Benny Carter Trio LP which according to the discographies is previously unissued.
All the tunes included on this set of recordings are taken from the Great American Songbook except for a couple of Teddy Wilson originals. Each tune is taken at either a medium easy tempo or medium bright tempo with a number of up-tempo numbers thrown in for good measure. The drummer Jo Jones who appears on all the tracks is a model of good taste and all three bass players on the sessions are first class timekeepers. It’s at the medium easy tempos that Teddy Wilson excels with his left hand not just merely playing the chords but complementing what he’s playing with his right hand which makes him such a marvellous two handed pianist.
CD One opens with one of the two originals on the set, “Blues for the oldest Profession” and is a straight ahead blues getting the proceedings off to a good start. “You took advantage of me” is a typical Wilson stroll through one of the better standards which you could relax to all day. “Limehouse Blues” is taken at a sprightly tempo and gives Jo Jones a chance to shine with some nifty breaks using brushes. CD Two is much the same as the same as the first with its mixture of well known standards of which three stand out, “Talk of the town”, “Laura” and “Time on my hands”.
CD Three contains the eight tracks featuring the alto of Benny Carter and gives the set a different dimension. Benny Carter is as smooth and
elegant as ever fitting hand in glove with Teddy Wilson, each taking a share of the honours, June in January” is the track to watch out for.
All in all this a superb set of recordings and demonstrates what marvellous pianist Teddy Wilson was. This is one issue that needs to be tracked
down and purchased.
Reviewed by Roy Booth
LIONEL BEUVENS – Trinité
Igloo Records IGL CD237
Lionel Beuvens Drums; Kalevi Louhivuori Trumpet; Brice Soniano Bass; Alexi Tuomarila Piano
No date given
Lionel Beuvens is no newcomer to the jazz scene, having played with some twenty ensembles over many years. This though is his first recording under his own name and it proves to be a very solid venture. The album opens with Jessica, at first subtle yet immediately swinging, as the up-tempo trumpet of Louhivuori undulates against the complementary piano of Tuomarila. Seven continues with and builds on the cadences of this bright start and the two leave no doubt that here we have forceful individuals with their own potency, but who will mutually inspire and motivate each other, bringing the music to life. Everything changes for a while as the audible sophistication moves towards a more melancholic mood in A and so continues into the atmospheric Globe.
The writing excels throughout: It always allows the players to be expressive, but exploits their talents to keep the whole in balance. When the title track, Trinité, is discovered at the end of the album, we have journeyed through Basie, Coltrane and even Steve Coleman to realise a contemporary and harmonious jazz which still recalls convention. Is this why I keep looking for the absent saxophone or is that just a personal preference? I am playing tenor in my head.
Incidentally, the album has 10 tracks not 9 as listed. Now that bonus raises a question or two.
Reviewed by Ken Cheetham
Lionel Beuvens Drums; Kalevi Louhivuori Trumpet; Brice Soniano Bass; Alexi Tuomarila Piano
No date given
Lionel Beuvens is no newcomer to the jazz scene, having played with some twenty ensembles over many years. This though is his first recording under his own name and it proves to be a very solid venture. The album opens with Jessica, at first subtle yet immediately swinging, as the up-tempo trumpet of Louhivuori undulates against the complementary piano of Tuomarila. Seven continues with and builds on the cadences of this bright start and the two leave no doubt that here we have forceful individuals with their own potency, but who will mutually inspire and motivate each other, bringing the music to life. Everything changes for a while as the audible sophistication moves towards a more melancholic mood in A and so continues into the atmospheric Globe.
The writing excels throughout: It always allows the players to be expressive, but exploits their talents to keep the whole in balance. When the title track, Trinité, is discovered at the end of the album, we have journeyed through Basie, Coltrane and even Steve Coleman to realise a contemporary and harmonious jazz which still recalls convention. Is this why I keep looking for the absent saxophone or is that just a personal preference? I am playing tenor in my head.
Incidentally, the album has 10 tracks not 9 as listed. Now that bonus raises a question or two.
Reviewed by Ken Cheetham
BRAVEHEART - Motions
Braveheart Music Bandcamp.com
Ted Crosby (saxophone and bass clarinet) James Meger (bass) Omar Amlani drums)
Recorded March/May 2013 in Banff, Alberta and White Rock, British Columbia
`Braveheart` are an improvising trio offering a fairly austere take on the type of stripped down conversational dialogue that Jimmy Giuffre first indulged in with his 1961 trio. The instrumentation is different – Jimmy didn’t like drummers much at that stage in his career- and the syntax more contemporary but the ethos is essentially the same. In this instance the drummer is the saving grace because without his contribution the conversation would be rather dull, one that might engage the participants but not those overhearing it.
There is a lot of this type of music within the contemporary jazz canon and perhaps my ear has been dulled by hearing too much of it. Within the
context of a live performance, given proximity to the musicians and the immediacy of their performance one might form a more enthusiastic opinion but via the dispassionate medium of the recording the music fails –for me anyway – to be sufficiently arresting to warrant any special
pleading. The five pieces that make up the set are all originals, perhaps freely extemporised though not particularly atonal; most are built out of simple see-sawing motifs the most interesting harmonically being a piece called `Thick Stars`: of the others moody introspection prevails
throughout
These young people can play , no doubt about that , and are courageous to present themselves in such an exposed format but probably need to widen their vocabulary of ideas before inviting others to share their conversation.
Reviewed by Euan Dixon
Ted Crosby (saxophone and bass clarinet) James Meger (bass) Omar Amlani drums)
Recorded March/May 2013 in Banff, Alberta and White Rock, British Columbia
`Braveheart` are an improvising trio offering a fairly austere take on the type of stripped down conversational dialogue that Jimmy Giuffre first indulged in with his 1961 trio. The instrumentation is different – Jimmy didn’t like drummers much at that stage in his career- and the syntax more contemporary but the ethos is essentially the same. In this instance the drummer is the saving grace because without his contribution the conversation would be rather dull, one that might engage the participants but not those overhearing it.
There is a lot of this type of music within the contemporary jazz canon and perhaps my ear has been dulled by hearing too much of it. Within the
context of a live performance, given proximity to the musicians and the immediacy of their performance one might form a more enthusiastic opinion but via the dispassionate medium of the recording the music fails –for me anyway – to be sufficiently arresting to warrant any special
pleading. The five pieces that make up the set are all originals, perhaps freely extemporised though not particularly atonal; most are built out of simple see-sawing motifs the most interesting harmonically being a piece called `Thick Stars`: of the others moody introspection prevails
throughout
These young people can play , no doubt about that , and are courageous to present themselves in such an exposed format but probably need to widen their vocabulary of ideas before inviting others to share their conversation.
Reviewed by Euan Dixon
ABDULLAH IBRAHIM - Mukashi - once upon a time
Intuition INT34312
Abdullah Ibrahim (piano, flute, vocals) Cleave Guyton (flute, clarinet, saxophone) Eugen Bazijan &
Scott Roller (cello)
Recorded at Hansahaus Studios, Bonn, Germany in 2012 & 2013
There is a valedictory quality about the music on this album that invokes a profound sense of nostalgia and induces an inner calm through its unhurried elegance and understated eloquence. At 79 Abdullah Ibrahim will have reached a time of life when one draws comfort from Proustian reflection; a time when memories claim an ever bigger portion of one’s consciousness and though recollections of the past are often suffused in sadness and melancholy the passage of time can act as a healing
balm bathing them in an autumnal glow.
These are my impressions on hearing this disc which came as a welcome antidote to the driving urgency and Byzantine complexity of much
contemporary jazz. Regardless of age and taste we all benefit from a palate cleanser between rich courses so even if you haven’t yet reached the point where sifting memories and indulging in quiet reflection is a major pre-occupation a little music to promote meditation won’t come amiss.
`Mukashi` is a Japanese word for `Once Upon A Time` and though there is nothing particularly Oriental or Asian about the music, the 14 pieces
that comprise the playlist are sufficiently succinct as to be described as the musical equivalent of Haiku or Calligraphy, forms that convey a great deal but with a startling economy of resources. Not there is anything minimalist or Spartan about the music; Ibrahim has never been a showy, over demonstrative player but his austerity of expression is never miserly thanks to the luxurious warmth of his harmonic cadences and his engaging melodic construction
The musicians he has chosen to work with him on this occasion are long time associate, Cleave Guyton, who impresses with his gentle flute
obbligati and passionate clarinet, and two cellists who provide legato textures and pizzicato bass lines as occasion demands. Guyton is particularly pleasing in his rendition of an old Ekaya (Ibrahim’s former band) favourite, `Mississippi`, a lovely tune with echoes of southern hymnody. Other highlights include `Peace`, featuring more gospel cadences and reminiscent of Victorian parlour music; `Trace Elements –for Monk`, a tasteful homage incorporating just enough references to the master’s idiosyncratic style without indulging in parody, and a single standard, `Cara Mia`, originally a trite `heart on sleeve` pop ballad by Mantovani, here rescued from banality with a solo piano rendition that
proceeds at a funereal pace redolent of profound sadness and loss.
Though much of the music is tinged with solemnity the recital closes on an optimistic note with a piece that reminds us of Ibrahim’s South
African origins and the lilt of Township dance music which has been so influential in the formation of his inimitable style. Those who are new to
Ibrahim’s music may want to visit his back catalogue first to give perspective to this late flowering muse but this isn’t absolutely necessary because the music stands on its own feet as a contemplative gem.
Reviewed by Euan Dixon
Abdullah Ibrahim (piano, flute, vocals) Cleave Guyton (flute, clarinet, saxophone) Eugen Bazijan &
Scott Roller (cello)
Recorded at Hansahaus Studios, Bonn, Germany in 2012 & 2013
There is a valedictory quality about the music on this album that invokes a profound sense of nostalgia and induces an inner calm through its unhurried elegance and understated eloquence. At 79 Abdullah Ibrahim will have reached a time of life when one draws comfort from Proustian reflection; a time when memories claim an ever bigger portion of one’s consciousness and though recollections of the past are often suffused in sadness and melancholy the passage of time can act as a healing
balm bathing them in an autumnal glow.
These are my impressions on hearing this disc which came as a welcome antidote to the driving urgency and Byzantine complexity of much
contemporary jazz. Regardless of age and taste we all benefit from a palate cleanser between rich courses so even if you haven’t yet reached the point where sifting memories and indulging in quiet reflection is a major pre-occupation a little music to promote meditation won’t come amiss.
`Mukashi` is a Japanese word for `Once Upon A Time` and though there is nothing particularly Oriental or Asian about the music, the 14 pieces
that comprise the playlist are sufficiently succinct as to be described as the musical equivalent of Haiku or Calligraphy, forms that convey a great deal but with a startling economy of resources. Not there is anything minimalist or Spartan about the music; Ibrahim has never been a showy, over demonstrative player but his austerity of expression is never miserly thanks to the luxurious warmth of his harmonic cadences and his engaging melodic construction
The musicians he has chosen to work with him on this occasion are long time associate, Cleave Guyton, who impresses with his gentle flute
obbligati and passionate clarinet, and two cellists who provide legato textures and pizzicato bass lines as occasion demands. Guyton is particularly pleasing in his rendition of an old Ekaya (Ibrahim’s former band) favourite, `Mississippi`, a lovely tune with echoes of southern hymnody. Other highlights include `Peace`, featuring more gospel cadences and reminiscent of Victorian parlour music; `Trace Elements –for Monk`, a tasteful homage incorporating just enough references to the master’s idiosyncratic style without indulging in parody, and a single standard, `Cara Mia`, originally a trite `heart on sleeve` pop ballad by Mantovani, here rescued from banality with a solo piano rendition that
proceeds at a funereal pace redolent of profound sadness and loss.
Though much of the music is tinged with solemnity the recital closes on an optimistic note with a piece that reminds us of Ibrahim’s South
African origins and the lilt of Township dance music which has been so influential in the formation of his inimitable style. Those who are new to
Ibrahim’s music may want to visit his back catalogue first to give perspective to this late flowering muse but this isn’t absolutely necessary because the music stands on its own feet as a contemplative gem.
Reviewed by Euan Dixon
MARC CARY FOCUS TRIO - Four Directions
Motéma Music / Membran 233783
Marc Cary (piano, synthesisers, Fender Rhodes, Wurlitzer organ) Sameer Gupta (drums, tabla)
Burniss Earl Travis (acoustic bass, electric bass) Rashaan Carter (acoustic bass)
Recorded East Side Sound Studio, New York City, no date given
Marc Cary’s innovative Focus Trio is, with this its fourth release, poised to claim pre-eminence within the `power trio` musical genre established by the likes of E.S.T, Bad Plus and Brad Mehldau without actually sounding like any of them. The melding of acoustic and electronic keyboard sounds with percussive delivery is an obvious parallel but the Cary trio achieve a degree of cohesion that that boils with shimmering intensity, the aural textures flowing together with a molten liquidity positively giving off radiating heat.
Opening with a torrential take on a Hindustani classical raga, `Todi Blues` employs trance like layers of electronic sound borne on a hypnotic
bass line utilizing both the acoustic and electric instruments , sitting on a cushion of buoyant percussion that combines traditional Indian and Western urban rhythms. The bass players generally share duties but they come together on one other number, a ballad featuring the Fender Rhodes against double time rhythm, which offers Travis the opportunity to state his case on electric bass.
Most of the tunes are penned by Cary and start out as simple motivic cells that develop melodically and arpeggiate as they move in and out
of dialogue with bass and drums. ‘He Who Hops Around` is such a number, built from a repetitive binary motif that eventually opens up and takes off. Throughout, the rhythmic groove is tight and all pervasive but notwithstanding the emphasis on percussive momentum there is plenty of scope for variety of expression, particularly in the acoustic numbers such as `Waltz Betty Waltz`, a delightful tribute to Cary’s former employer, the late Betty Carter, which manages to build a hip-hop insouciance into the conventional ¾ meter . Boppish themes like John McLaughlin’s spiky `Spectrum` vie with heavy duty burn outs like `Boom` and the freer, rubato musings of `Outside My Window`, whilst along the away there is even space for a touch of elegiac lilt as in the disarming simplicity of `Indigenous`
The disc’s title takes its inspiration from Native American philosophy which advocates openness to diverse influences, a mindset that informs Cary’s musical aspirations but unlike some cross cultural artistic enterprises this is one that never loses it focus on the core metaphysical
elements of jazz, namely blues and soulfulness and for those wishing to keep abreast of cutting edge developments in the art of the piano trio this disc is a must.
Reviewed by Euan Dixon
Marc Cary (piano, synthesisers, Fender Rhodes, Wurlitzer organ) Sameer Gupta (drums, tabla)
Burniss Earl Travis (acoustic bass, electric bass) Rashaan Carter (acoustic bass)
Recorded East Side Sound Studio, New York City, no date given
Marc Cary’s innovative Focus Trio is, with this its fourth release, poised to claim pre-eminence within the `power trio` musical genre established by the likes of E.S.T, Bad Plus and Brad Mehldau without actually sounding like any of them. The melding of acoustic and electronic keyboard sounds with percussive delivery is an obvious parallel but the Cary trio achieve a degree of cohesion that that boils with shimmering intensity, the aural textures flowing together with a molten liquidity positively giving off radiating heat.
Opening with a torrential take on a Hindustani classical raga, `Todi Blues` employs trance like layers of electronic sound borne on a hypnotic
bass line utilizing both the acoustic and electric instruments , sitting on a cushion of buoyant percussion that combines traditional Indian and Western urban rhythms. The bass players generally share duties but they come together on one other number, a ballad featuring the Fender Rhodes against double time rhythm, which offers Travis the opportunity to state his case on electric bass.
Most of the tunes are penned by Cary and start out as simple motivic cells that develop melodically and arpeggiate as they move in and out
of dialogue with bass and drums. ‘He Who Hops Around` is such a number, built from a repetitive binary motif that eventually opens up and takes off. Throughout, the rhythmic groove is tight and all pervasive but notwithstanding the emphasis on percussive momentum there is plenty of scope for variety of expression, particularly in the acoustic numbers such as `Waltz Betty Waltz`, a delightful tribute to Cary’s former employer, the late Betty Carter, which manages to build a hip-hop insouciance into the conventional ¾ meter . Boppish themes like John McLaughlin’s spiky `Spectrum` vie with heavy duty burn outs like `Boom` and the freer, rubato musings of `Outside My Window`, whilst along the away there is even space for a touch of elegiac lilt as in the disarming simplicity of `Indigenous`
The disc’s title takes its inspiration from Native American philosophy which advocates openness to diverse influences, a mindset that informs Cary’s musical aspirations but unlike some cross cultural artistic enterprises this is one that never loses it focus on the core metaphysical
elements of jazz, namely blues and soulfulness and for those wishing to keep abreast of cutting edge developments in the art of the piano trio this disc is a must.
Reviewed by Euan Dixon
CHAOS ORCHESTRA - Island Mentality
Chaos Collective CC002
Jennah Smart (flutes) Rob Cope (clarinets) Simon Marsh, Will Scott, Mike Underwood, Greg Sinclair , Leo Richardson (saxophones) Rob Greenwood, Tom Dennis, Mike Soper, Matt Roberts (trumpets) Raphael Clarkson, Emma Bassett, Rosie Turton, George Wrench (trombones) Alex Roth (guitar) Elliot Galvin (piano) Conor Chaplin (electric bass) Corrie Dick ( drums) Lauren Kinsella (vocals) with Laura Jurd (trumpet –track 5) and Mark Lockheart ( soprano sax –track 6) Directed by Laura Jurd
Recorded at Eastcote Studios, UK -16th & 17th July, 2013.
The Chaos Orchestra is a London based aggregation of highly talented young performers founded by trumpeter/composer Laura Jurd and dedicated to the performance of self –penned new music. All
are either graduates of the Trinity Laban Conservatoire of Music and Dance located in Greenwich or the Royal Academy of Music. As one might expect their instrumental skill, individually and collectively, is impressive and they negotiate these sometimes overly complex scores with faultless technique and enthusiastic élan.
It is understandable that as young, aspiring musicians they would want to play music that showcases the fruits of their tireless study and practice but some of the pieces cover too much ground too quickly for my liking and fall into what one might call the quirky, jerky school of composition but this is purely a matter of taste and for those who get a thrill out of that which nowadays is defined as `edgy`, the bill will be fitted perfectly. Chaos was after all the God of the creative urge, shaping order out of amorphous matter, unpredictable and mischievous but ultimately resolving into harmony. Some of the pieces offered just don’t quite make it.
The numbers featuring vocalist Lauren Kinsella best illustrate my point: the opener `No Man Is An Island` utilises John Donne’s immortal lines for a piece which manages to combine a free-bop dance with a scortchy rock vamp for guitar, an episode of Elizabethan like consort music , vocal recitative and some scat, an excoriating tenor sax solo finishing up with a `Loose Tubes` style coda and a grand orchestral flourish, all within seven and a half minutes: just a bit much for the words which sink beneath the welter of incident. A similar schizoid approach informs the solipsistic `Oh So Beautiful` in which the singer intones her own virtues in an increasingly demented fashion against a marching beat and mounting frenzy in the explosive orchestral writing.
On the credit side when the band lightens up there are some wonderful swinging episodes and powerful climaxes to enjoy with luxuriant sax section passages, thrilling fanfares , tasty guitar breaks and intelligent solos from various individuals including special guest Mark Lockheart of `Polar Bear` fame. Easily the most accessible piece is the delightful `Yoh! ` with its catchy melody and skipping African township beat whilst the most ambitious is the final piece, `The Charm of Impossibilities` , a ten minute essay in avant-garde techniques which include the use of sampled sound, electronics, freeform percussion and keyboard sequences against a wall of sound edifice built by the combined orchestral forces : for all its radical use of sound resources it has a cogency that eludes some of the other experimental pieces and proves to be a powerful piece of contemporary music.
There can be no doubt that some distinguished musical careers will emerge from this enterprising collective and that they will populate the
jazz world of the near future with their ferocious talent. Here is a ground floor opportunity to tag them whilst they are flushed with youthful impetuosity. As for `Island Mentality`, I find no signs of insularity in their approach to music which will flourish as well on the world stage as it apparently does on home turf.
Reviewed by Euan Dixon
Jennah Smart (flutes) Rob Cope (clarinets) Simon Marsh, Will Scott, Mike Underwood, Greg Sinclair , Leo Richardson (saxophones) Rob Greenwood, Tom Dennis, Mike Soper, Matt Roberts (trumpets) Raphael Clarkson, Emma Bassett, Rosie Turton, George Wrench (trombones) Alex Roth (guitar) Elliot Galvin (piano) Conor Chaplin (electric bass) Corrie Dick ( drums) Lauren Kinsella (vocals) with Laura Jurd (trumpet –track 5) and Mark Lockheart ( soprano sax –track 6) Directed by Laura Jurd
Recorded at Eastcote Studios, UK -16th & 17th July, 2013.
The Chaos Orchestra is a London based aggregation of highly talented young performers founded by trumpeter/composer Laura Jurd and dedicated to the performance of self –penned new music. All
are either graduates of the Trinity Laban Conservatoire of Music and Dance located in Greenwich or the Royal Academy of Music. As one might expect their instrumental skill, individually and collectively, is impressive and they negotiate these sometimes overly complex scores with faultless technique and enthusiastic élan.
It is understandable that as young, aspiring musicians they would want to play music that showcases the fruits of their tireless study and practice but some of the pieces cover too much ground too quickly for my liking and fall into what one might call the quirky, jerky school of composition but this is purely a matter of taste and for those who get a thrill out of that which nowadays is defined as `edgy`, the bill will be fitted perfectly. Chaos was after all the God of the creative urge, shaping order out of amorphous matter, unpredictable and mischievous but ultimately resolving into harmony. Some of the pieces offered just don’t quite make it.
The numbers featuring vocalist Lauren Kinsella best illustrate my point: the opener `No Man Is An Island` utilises John Donne’s immortal lines for a piece which manages to combine a free-bop dance with a scortchy rock vamp for guitar, an episode of Elizabethan like consort music , vocal recitative and some scat, an excoriating tenor sax solo finishing up with a `Loose Tubes` style coda and a grand orchestral flourish, all within seven and a half minutes: just a bit much for the words which sink beneath the welter of incident. A similar schizoid approach informs the solipsistic `Oh So Beautiful` in which the singer intones her own virtues in an increasingly demented fashion against a marching beat and mounting frenzy in the explosive orchestral writing.
On the credit side when the band lightens up there are some wonderful swinging episodes and powerful climaxes to enjoy with luxuriant sax section passages, thrilling fanfares , tasty guitar breaks and intelligent solos from various individuals including special guest Mark Lockheart of `Polar Bear` fame. Easily the most accessible piece is the delightful `Yoh! ` with its catchy melody and skipping African township beat whilst the most ambitious is the final piece, `The Charm of Impossibilities` , a ten minute essay in avant-garde techniques which include the use of sampled sound, electronics, freeform percussion and keyboard sequences against a wall of sound edifice built by the combined orchestral forces : for all its radical use of sound resources it has a cogency that eludes some of the other experimental pieces and proves to be a powerful piece of contemporary music.
There can be no doubt that some distinguished musical careers will emerge from this enterprising collective and that they will populate the
jazz world of the near future with their ferocious talent. Here is a ground floor opportunity to tag them whilst they are flushed with youthful impetuosity. As for `Island Mentality`, I find no signs of insularity in their approach to music which will flourish as well on the world stage as it apparently does on home turf.
Reviewed by Euan Dixon
TORD GUSTAVSEN QUARTET – Extended Circle
ECM 376 0239
Tore Brunborg (tenor saxophone); Tord Gustavsen (piano); Mats Eilertsen (double bass); Jarle Vespestad (drums)
Recorded June 17-19, 2013
This is Norwegian pianist, Tord Gustavsen’s sixth album for ECM and a continuation of the work with the quartet which began within the expanded ensemble of Restored, Returned in 2009, and further
developed on the 2012 release The Well. Rather than simply consolidating on the music from the previous album, Gustavsen has followed up with a deeply exploratory set, probing the resources of the ensemble in a manner that suggests much for the future, and delivers a wholly satisfying and varied album to boot.
Bookended by two trio pieces to open and close the album, in between Gustavsen and the quartet roam freely within the given parameters of
the core working framework established by the pianist, a sense of stillness that is allowed to permeate the music remains the constant from previous works.
Working in what can initially appear a somewhat restrictive manner the music ebbs and flows with great stealth and strength, Brunborg’s
tenor takes the lead on ‘Eg Veit I Himmerik Ei Borg’ at times sounding like his fellow countryman, Jan Garbarek with his keening cries on the saxophone. On the freely improvised ‘Entrance’ and ‘Entrance, var.’ the saxophone explores the timbres within his instrument accompanied by Gustavsen’s sparse responses. ‘Staying There’ also features a forceful and muscular solo from the saxophonist, developing from the tender
lyricism of the opening bars.
Influences are perhaps more overtly in evidence on the superb ‘The Embrace’ in which the quartet play in a manner that is reminiscent of,
although not derivative of Jarrett’s Belonging band, and yet equally signs of the individual and unique sound that Gustavsen and the quartet are forging is beautifully displayed on the wonderful ‘Devotion’.
In summary, Extended Circle gives advance notice of what we can expect from a quartet that is capable of producing music of intense lyricism and profound emotional depth in a set that is wholly compelling. The variety of the music is a natural extension, and comes from within the music, and there is never any suggestion that the musicians are being anything but true to themselves, the communal experience of the quartet and the compositions.
Reviewed by Nick Lea
Tore Brunborg (tenor saxophone); Tord Gustavsen (piano); Mats Eilertsen (double bass); Jarle Vespestad (drums)
Recorded June 17-19, 2013
This is Norwegian pianist, Tord Gustavsen’s sixth album for ECM and a continuation of the work with the quartet which began within the expanded ensemble of Restored, Returned in 2009, and further
developed on the 2012 release The Well. Rather than simply consolidating on the music from the previous album, Gustavsen has followed up with a deeply exploratory set, probing the resources of the ensemble in a manner that suggests much for the future, and delivers a wholly satisfying and varied album to boot.
Bookended by two trio pieces to open and close the album, in between Gustavsen and the quartet roam freely within the given parameters of
the core working framework established by the pianist, a sense of stillness that is allowed to permeate the music remains the constant from previous works.
Working in what can initially appear a somewhat restrictive manner the music ebbs and flows with great stealth and strength, Brunborg’s
tenor takes the lead on ‘Eg Veit I Himmerik Ei Borg’ at times sounding like his fellow countryman, Jan Garbarek with his keening cries on the saxophone. On the freely improvised ‘Entrance’ and ‘Entrance, var.’ the saxophone explores the timbres within his instrument accompanied by Gustavsen’s sparse responses. ‘Staying There’ also features a forceful and muscular solo from the saxophonist, developing from the tender
lyricism of the opening bars.
Influences are perhaps more overtly in evidence on the superb ‘The Embrace’ in which the quartet play in a manner that is reminiscent of,
although not derivative of Jarrett’s Belonging band, and yet equally signs of the individual and unique sound that Gustavsen and the quartet are forging is beautifully displayed on the wonderful ‘Devotion’.
In summary, Extended Circle gives advance notice of what we can expect from a quartet that is capable of producing music of intense lyricism and profound emotional depth in a set that is wholly compelling. The variety of the music is a natural extension, and comes from within the music, and there is never any suggestion that the musicians are being anything but true to themselves, the communal experience of the quartet and the compositions.
Reviewed by Nick Lea
DANILO PEREZ - Panama 500
Mack Avenue Records MAC1075
Danilo Pérez (piano, cowbell) John Patituucci (acoustic and electric bass) Ben Street (acoustic bass)
Brian Blade (drums) Adam Cruz (drums) Alex Hargreaves (violin) Sachi Patitucci (cello) Roman Díaz (percussion, chant) Rogério Boccato (percussion)
Panama Personnel-
Milagros Blades (repicador, caja, pujador) Ricaurte Villarreal (caja, gűiro)
Guna Musicians -
José Angel Colman (Guna language vocals) Eulogio Olaidegiᾓa Benitez ( gala bissu, gala ildi, garga
ddole-bird imitations) José Antonio Hayans ( gammubrwi, garga ddole –bird imitations) Marden Panzia (Director and Co-ordinator of Guna musicians)
Recorded at Avatar Studios, New York City, no date given
Pianist, composer, Danilo Pérez will be known to most as a member of the current Wayne Shorter quartet and he is joined in this ambitious project by two other members of that group, namely John Patitucci and Brian Blade as well as members of his own trio, Ben Street and Adam Cruz; in addition he recruits the services of Patitucci’s wife, a celebrated cellist; a violinist, Alex Hargreaves plus a host of percussionists and vocalists hailing from Brazil , Cuba and Panama itself, the latter being represented by members of the indigenous Guna culture , the original inhabitants of the region. The object of their endeavour is the celebration of significant anniversaries in the history of Pérez’s native Panama: the founding of the first European settlement in 1513 by Spanish explorer Vasco Nűnez de Balboa and the centenary of the opening of the Panama
Canal.
To paint his picture of these momentous events in the history of his country Pérez combines classical elements to represent the incursions of
European civilisation with music and verse of the indigenous Guna people whose culture was threatened and nearly expunged by the colonists;
jazz elements are added to represent North American influence and mediation which enabled an ultimately peaceful accommodation between the Guna and their Spanish rulers, resulting in the modern Panamanian state.
It is a powerful story full of historical incident, conflict and sacrifice but how well these events are represented by the music is questionable. Given the pedigree of the artistes involved and the size and variety of the assembled forces I have to confess to a huge disappointment for as a piece the various elements or movements don’t hang together in a cohesive way and there is nothing that seems to highlight the inherent drama of the events portrayed.
It can’t be denied that the music is beautifully played –these musicians are, after all, at the top of their game, but apart from one or two instances like the cello feature, “Reflections on the South Sea” and the solo piano “Land of Hope” , the first movement of a three part “Canal
Suite”, nothing really claimed my attention or seemed to fulfil the narrative brief in a convincing way Even the ethnic Guna recitations seem to have been cut and pasted into the sequence in a perfunctory and casual fashion; more decoration than substance. You will have to decide for yourselves but for me this disc seems like a lost opportunity – individual pieces impress but the whole doesn’t add up to the sum of its parts. The Panamanian achievement will have to await a more momentous musical tribute than this.
Reviewed by Euan Dixon
Danilo Pérez (piano, cowbell) John Patituucci (acoustic and electric bass) Ben Street (acoustic bass)
Brian Blade (drums) Adam Cruz (drums) Alex Hargreaves (violin) Sachi Patitucci (cello) Roman Díaz (percussion, chant) Rogério Boccato (percussion)
Panama Personnel-
Milagros Blades (repicador, caja, pujador) Ricaurte Villarreal (caja, gűiro)
Guna Musicians -
José Angel Colman (Guna language vocals) Eulogio Olaidegiᾓa Benitez ( gala bissu, gala ildi, garga
ddole-bird imitations) José Antonio Hayans ( gammubrwi, garga ddole –bird imitations) Marden Panzia (Director and Co-ordinator of Guna musicians)
Recorded at Avatar Studios, New York City, no date given
Pianist, composer, Danilo Pérez will be known to most as a member of the current Wayne Shorter quartet and he is joined in this ambitious project by two other members of that group, namely John Patitucci and Brian Blade as well as members of his own trio, Ben Street and Adam Cruz; in addition he recruits the services of Patitucci’s wife, a celebrated cellist; a violinist, Alex Hargreaves plus a host of percussionists and vocalists hailing from Brazil , Cuba and Panama itself, the latter being represented by members of the indigenous Guna culture , the original inhabitants of the region. The object of their endeavour is the celebration of significant anniversaries in the history of Pérez’s native Panama: the founding of the first European settlement in 1513 by Spanish explorer Vasco Nűnez de Balboa and the centenary of the opening of the Panama
Canal.
To paint his picture of these momentous events in the history of his country Pérez combines classical elements to represent the incursions of
European civilisation with music and verse of the indigenous Guna people whose culture was threatened and nearly expunged by the colonists;
jazz elements are added to represent North American influence and mediation which enabled an ultimately peaceful accommodation between the Guna and their Spanish rulers, resulting in the modern Panamanian state.
It is a powerful story full of historical incident, conflict and sacrifice but how well these events are represented by the music is questionable. Given the pedigree of the artistes involved and the size and variety of the assembled forces I have to confess to a huge disappointment for as a piece the various elements or movements don’t hang together in a cohesive way and there is nothing that seems to highlight the inherent drama of the events portrayed.
It can’t be denied that the music is beautifully played –these musicians are, after all, at the top of their game, but apart from one or two instances like the cello feature, “Reflections on the South Sea” and the solo piano “Land of Hope” , the first movement of a three part “Canal
Suite”, nothing really claimed my attention or seemed to fulfil the narrative brief in a convincing way Even the ethnic Guna recitations seem to have been cut and pasted into the sequence in a perfunctory and casual fashion; more decoration than substance. You will have to decide for yourselves but for me this disc seems like a lost opportunity – individual pieces impress but the whole doesn’t add up to the sum of its parts. The Panamanian achievement will have to await a more momentous musical tribute than this.
Reviewed by Euan Dixon
STEPHANE GRAPPELLI ENSEMBELE - NDR 60 Years Jazz Edition
Moosicus Records n 1303-2
Stephane Grappelli ( violin ) Maurice Vander ( pno ) Hans James Last ( bass ) Rolf Ahrens (drs )
Recorded NDR Studios, Hamburg, Germany, 17 May 1957
From the period up towards the end of the 1940s Stephane Grappelli recorded quite prolifically particularly with Django Reinhardt and the Quintette du Hot Club de France until Reinhardt’s death in May 1953. From then on until the mid-1960s he rarely recorded so this radio recording is something of a rarity.
In 1939 he moved to London where he began an association with pianist George Shearing but returned to Paris in 1946 and for a number of years was fairly inactive as a leader. In the 1960s revived as there was a growing interest in jazz violin.
He recorded often with a number of diverse instrumentalists such as Yehudi Menuhin, Gary Burton, Joe Venuti, Earl Hines and Philip Catherine. With his groups he tended to play either originals or the standard repertoire and this album is of an example of that. Grappelli tended to embellish the melody rather than outright improvisation and this appealed to a much wider audience.
On this album there are two Django Reinhardt originals, one by the pianist Maurice Vander & one by Charles Trenet, all the rest of the numbers are taken from the Great American Songbook .The ballads although well played tend to have that cloying effect and are over sentimental. The up tempo numbers are a little better and have a natural swing. “Hambourg Souvenir” by pianist is a nice catchy melody and one of the best tracks on the album with a good solo by the composer.
This album will appeal to Grappelli fans and to listeners who like their music not too demanding.
Reviewed by Roy Booth
Stephane Grappelli ( violin ) Maurice Vander ( pno ) Hans James Last ( bass ) Rolf Ahrens (drs )
Recorded NDR Studios, Hamburg, Germany, 17 May 1957
From the period up towards the end of the 1940s Stephane Grappelli recorded quite prolifically particularly with Django Reinhardt and the Quintette du Hot Club de France until Reinhardt’s death in May 1953. From then on until the mid-1960s he rarely recorded so this radio recording is something of a rarity.
In 1939 he moved to London where he began an association with pianist George Shearing but returned to Paris in 1946 and for a number of years was fairly inactive as a leader. In the 1960s revived as there was a growing interest in jazz violin.
He recorded often with a number of diverse instrumentalists such as Yehudi Menuhin, Gary Burton, Joe Venuti, Earl Hines and Philip Catherine. With his groups he tended to play either originals or the standard repertoire and this album is of an example of that. Grappelli tended to embellish the melody rather than outright improvisation and this appealed to a much wider audience.
On this album there are two Django Reinhardt originals, one by the pianist Maurice Vander & one by Charles Trenet, all the rest of the numbers are taken from the Great American Songbook .The ballads although well played tend to have that cloying effect and are over sentimental. The up tempo numbers are a little better and have a natural swing. “Hambourg Souvenir” by pianist is a nice catchy melody and one of the best tracks on the album with a good solo by the composer.
This album will appeal to Grappelli fans and to listeners who like their music not too demanding.
Reviewed by Roy Booth
ELENI KARAINDROU – Medea
ECM 376 2816
Socratis Sinopulos (Constaninople lute & lyra); Haris Lambrakis (ney); Nikos Ginos, Marie-Cecile Boulard, Alexandros Arkadopoulos (clarinet); Yiorgos Kaloudis (violoncello); Andreas Katsigiannis (santour); Andreas Pappas (bendir); Eleni Karaindrou (voice); Female Chorus; Antonis Kontogeorgiou (chorus director)
Recorded June 2011
Quite where this intriguing album stands in a website such as this, or indeed in many a collection, is a matter for debate but it is undeniable that Eleni Karaindrou has created some beautiful music despite the dark undercurrents of the drama that it depicts.
A further collaboration with stage director, Antonis Antypas, having previously worked together on the earlier Trojan Woman, the new work Medea was created to accompany performance at the Ancient Theatre of Epidauras. Euripedies’ play, first staged in 431 BC, is a harrowing tale of betrayal, rage and retribution, madness and infanticide after Jason abandons Medea to marry another, and the spurned Medea’s wrath knows no limits.
Despite the fury and rage that unfurls as the plot unfolds, much of the music is calm and tranquil with Karaindrou’s tremendous orchestrations
bringing together traditional instruments such as santori, ney and lyra with the more familiar sound of the clarinets. The voice of Karaindrou is heard on ‘Medea’s Lament I’ with its mournful lyrics of self-pity and despair and joined the female chorus under the direction of Antonis Kontogeorgiou for ‘Medea’s lament II’, and it is the blending of female voices with the gentle restraint of the instrumental pieces that combine
to create a music that is quietly and enigmatically compelling and disturbing by turns. The depth of the music can often be at odds with the darkness of the play itself, and this lends a delicious tension to this beautiful album.
Reviewed by Nick Lea
Socratis Sinopulos (Constaninople lute & lyra); Haris Lambrakis (ney); Nikos Ginos, Marie-Cecile Boulard, Alexandros Arkadopoulos (clarinet); Yiorgos Kaloudis (violoncello); Andreas Katsigiannis (santour); Andreas Pappas (bendir); Eleni Karaindrou (voice); Female Chorus; Antonis Kontogeorgiou (chorus director)
Recorded June 2011
Quite where this intriguing album stands in a website such as this, or indeed in many a collection, is a matter for debate but it is undeniable that Eleni Karaindrou has created some beautiful music despite the dark undercurrents of the drama that it depicts.
A further collaboration with stage director, Antonis Antypas, having previously worked together on the earlier Trojan Woman, the new work Medea was created to accompany performance at the Ancient Theatre of Epidauras. Euripedies’ play, first staged in 431 BC, is a harrowing tale of betrayal, rage and retribution, madness and infanticide after Jason abandons Medea to marry another, and the spurned Medea’s wrath knows no limits.
Despite the fury and rage that unfurls as the plot unfolds, much of the music is calm and tranquil with Karaindrou’s tremendous orchestrations
bringing together traditional instruments such as santori, ney and lyra with the more familiar sound of the clarinets. The voice of Karaindrou is heard on ‘Medea’s Lament I’ with its mournful lyrics of self-pity and despair and joined the female chorus under the direction of Antonis Kontogeorgiou for ‘Medea’s lament II’, and it is the blending of female voices with the gentle restraint of the instrumental pieces that combine
to create a music that is quietly and enigmatically compelling and disturbing by turns. The depth of the music can often be at odds with the darkness of the play itself, and this lends a delicious tension to this beautiful album.
Reviewed by Nick Lea
MODERN JAZZ QUARTET - NDR 60 Years Jazz Edition (Volume 4)
Moosicus Records N1304-2
John Lewis ( pno ) Milt Jackson ( vibes ) Percy Heath ( bass ) Connie Kay ( drs )
Recorded at NDR Studios, Hanover, Germany, 28 October 1957
The Modern Jazz Quartet from it’s inception in 1952 to it’s disbanding in 1974 had only one change in personnel when the drummer Kenny Clarke left in 1955 unhappy with the musical policy and was replaced by Connie Kay who was more suited to the group set up. The group reformed in 1982 with the same personnel and continued until the demise of its members.
The nominal leader of the group pianist John Lewis was responsible for taking them out of the confines of the jazz club and to the concert hall with his musical policy. The group appeared in evening suits and in the main wore sombre expressions. The groups library contained many John Lewis original composition along side well known standards. The musical policy of the group under the direction of John Lewis tended to chamber jazz rather than the hard swinging jazz which was prevalent at the time. Not all jazz commentators were taken with the group in particular British critic Benny Green who wrote “Lewis has refined jazz out of existence, which raises the question, vulgar in comparison to what?”
The contents of this album are taken from the archives of NDR radio broadcasts and John Lewis’s announcements are retained but add little to the appeal of the album. The programme they play contains nothing new and all the numbers have previously been issued as studio recordings. The opening track “Vendome” is a typical John Lewis original with lots of counterpoint but not a lot of room for the instrumentalists to express their individuality. Another John Lewis original “Venice” from the film score of “One never knows” which is much better and contains a very good John Lewis sprightly piano solo.
One of the best numbers in the MJQ’s repertoire is Milt Jackson’ original “Bluesology” which swings along nicely and contains good solos from both Jackson and Lewis. The album closes with one of the groups most popular numbers, the John Lewis original “The Golden Striker” another from the film score “One never knows” with Milt Jackson acting the role of the striker and shows the group at it5s most animated.
This album would appeal mostly to MJQ completists and to people who would just like a sample of their work. The music is fine but with a playing time of 31 minutes it is a little skimpy.
Reviewed by Roy Booth
John Lewis ( pno ) Milt Jackson ( vibes ) Percy Heath ( bass ) Connie Kay ( drs )
Recorded at NDR Studios, Hanover, Germany, 28 October 1957
The Modern Jazz Quartet from it’s inception in 1952 to it’s disbanding in 1974 had only one change in personnel when the drummer Kenny Clarke left in 1955 unhappy with the musical policy and was replaced by Connie Kay who was more suited to the group set up. The group reformed in 1982 with the same personnel and continued until the demise of its members.
The nominal leader of the group pianist John Lewis was responsible for taking them out of the confines of the jazz club and to the concert hall with his musical policy. The group appeared in evening suits and in the main wore sombre expressions. The groups library contained many John Lewis original composition along side well known standards. The musical policy of the group under the direction of John Lewis tended to chamber jazz rather than the hard swinging jazz which was prevalent at the time. Not all jazz commentators were taken with the group in particular British critic Benny Green who wrote “Lewis has refined jazz out of existence, which raises the question, vulgar in comparison to what?”
The contents of this album are taken from the archives of NDR radio broadcasts and John Lewis’s announcements are retained but add little to the appeal of the album. The programme they play contains nothing new and all the numbers have previously been issued as studio recordings. The opening track “Vendome” is a typical John Lewis original with lots of counterpoint but not a lot of room for the instrumentalists to express their individuality. Another John Lewis original “Venice” from the film score of “One never knows” which is much better and contains a very good John Lewis sprightly piano solo.
One of the best numbers in the MJQ’s repertoire is Milt Jackson’ original “Bluesology” which swings along nicely and contains good solos from both Jackson and Lewis. The album closes with one of the groups most popular numbers, the John Lewis original “The Golden Striker” another from the film score “One never knows” with Milt Jackson acting the role of the striker and shows the group at it5s most animated.
This album would appeal mostly to MJQ completists and to people who would just like a sample of their work. The music is fine but with a playing time of 31 minutes it is a little skimpy.
Reviewed by Roy Booth
SZILARD MEZEI’S INTERNATIONAL IMPORIVISERS ENSEMBLE - Karszt
SLAM Records SLAMCD 550
Szilárd MEZEI – viola, lead and conductor; Bogdan RANKOVIC – bass clarinet, alto sax; Péter BEDE – tenor sax, alto sax, tarogato; Gergõ KOVÁTS – tenor sax, soprano sax; Béla BURÁNY – baritone sax; Ádám MEGGYES – trumpet; Branislav AKSIN – trombone; Jens BALDER – trombone; Laura LÉVAY-AKSIN – flute, piccolo; Gergely ITTZÉS – flute, alto flute, bass flute, piccolo; Andrea BERENDIKA – flute, alto flute, piccolo; Máté POZSÁR – piano; Jon HEMMERSAM – acoustic guitar; Tijana STANKOVIÆ – violin; Albert MÁRKOS – violoncello; Zoltán CSÁNYI – double bass; Ervin MALINA - double bass; Ernõ HOCK – double bass; Joel GRIP – double bass; Ivan BURKA – marimba; Jelena RASKOVIÆ – vibraphone; Hunor G.SZABÓ – drums, percussion; István CSÍK – drums, percussion
Recorded in Serbia, January 2012
The sleeve notes even list the order of solos, but you don't need that here and I suspect that for many of us, the musicians are little known: I believe I have heard something of Bogdan Rankovic and Gergõ Kováts before, but do not recall the context. I have spoken of categorization in other reviews and although I don't want to dwell on that, I would like to say that the piece Hep
20 on CD 1 really does start out in a modern, classical, chamber format, albeit a large chamber, but by half-way through modern jazz composition takes over, then seems to yield once again to a classical style. There is also an overriding feeling that there should be voices in there, especially after listening to Erika Dagnino's Signs. The two albums are not in the least alike, but the sombre moods of this mammoth production are perhaps looking for a statement. It is indeed a truly multifaceted composition and arrangement.
The title track Karszt starts out in an even more sombre mood, very cinematic, very sinister. Then it develops into passages which are much lighter in weight, plucked and bowed strings echoing sounds of folk music from Eastern Europe.
The second CD largely consists of shorter tracks around the 15minutes mark and these reveal a closer proximity to jazz, especially Kéreg,
which delivers a vital, jazz-orchestrated swing that illustrates just how much power there is in this ensemble. It also demonstrates the influence of arrangements by Carla Bley, Duke Ellington and Charles Mingus. Throughout the whole of this imposing work though, the creative authority
of Anthony Braxton's compositional technique has been of the essence. This is a magnificent work, worthy of much of your time.
Reviewed by Ken Cheetham
Szilárd MEZEI – viola, lead and conductor; Bogdan RANKOVIC – bass clarinet, alto sax; Péter BEDE – tenor sax, alto sax, tarogato; Gergõ KOVÁTS – tenor sax, soprano sax; Béla BURÁNY – baritone sax; Ádám MEGGYES – trumpet; Branislav AKSIN – trombone; Jens BALDER – trombone; Laura LÉVAY-AKSIN – flute, piccolo; Gergely ITTZÉS – flute, alto flute, bass flute, piccolo; Andrea BERENDIKA – flute, alto flute, piccolo; Máté POZSÁR – piano; Jon HEMMERSAM – acoustic guitar; Tijana STANKOVIÆ – violin; Albert MÁRKOS – violoncello; Zoltán CSÁNYI – double bass; Ervin MALINA - double bass; Ernõ HOCK – double bass; Joel GRIP – double bass; Ivan BURKA – marimba; Jelena RASKOVIÆ – vibraphone; Hunor G.SZABÓ – drums, percussion; István CSÍK – drums, percussion
Recorded in Serbia, January 2012
The sleeve notes even list the order of solos, but you don't need that here and I suspect that for many of us, the musicians are little known: I believe I have heard something of Bogdan Rankovic and Gergõ Kováts before, but do not recall the context. I have spoken of categorization in other reviews and although I don't want to dwell on that, I would like to say that the piece Hep
20 on CD 1 really does start out in a modern, classical, chamber format, albeit a large chamber, but by half-way through modern jazz composition takes over, then seems to yield once again to a classical style. There is also an overriding feeling that there should be voices in there, especially after listening to Erika Dagnino's Signs. The two albums are not in the least alike, but the sombre moods of this mammoth production are perhaps looking for a statement. It is indeed a truly multifaceted composition and arrangement.
The title track Karszt starts out in an even more sombre mood, very cinematic, very sinister. Then it develops into passages which are much lighter in weight, plucked and bowed strings echoing sounds of folk music from Eastern Europe.
The second CD largely consists of shorter tracks around the 15minutes mark and these reveal a closer proximity to jazz, especially Kéreg,
which delivers a vital, jazz-orchestrated swing that illustrates just how much power there is in this ensemble. It also demonstrates the influence of arrangements by Carla Bley, Duke Ellington and Charles Mingus. Throughout the whole of this imposing work though, the creative authority
of Anthony Braxton's compositional technique has been of the essence. This is a magnificent work, worthy of much of your time.
Reviewed by Ken Cheetham
ERIKA DAGNINO QUARTET - Signs
Slam Records SLAMCD 546
Erika Dagnino, poetry, voice; Ras Moshe, flute, soprano sax, tenor sax; Ken Filiano, double bass, effects; John Pietaro, vibraphone, glockenspiel, snare drum, tom-tom, various bells, suspended cymbals, triangle, wind chimes, shaker
Recorded in New York in November 2012
This is a bilingual, music/poetry production in which the words are spoken first of all in Italian then narrated again in English, all in an air of free jazz dialogue. The words are leached into the music, just as the musical expression bleeds its way into the obdurate meaning of the words: the whole is disquieting. Even in the Italian, which I do not speak, a sense of their dark meaning is evoked by Erika's annunciation. Both words and music are free-flowing, yet grave and the balance between
the voice-sound and use of instruments is inspired and sublime.
Erika Dagnino uses her words and voice as elegant tools with which to interrelate with the musicians as an equal player in the quartet. This is not new, of course, words and music, words and jazz have long been seen together, but it seems less common (perhaps less acceptable) in Europe than in the States. I recall suggesting to friends that we go to a David Murray concert in Birmingham. They were not aware until we got to the theatre that he was to be accompanied by a poet and a whistler and they were horrified – until they heard the performance. Europeans' minimal interest in such forms of free expression in music and poetry possibly explains why such an obviously Italian Italian should find her artistic home in the US, where her work was received with much enthusiasm.
The artist contributes regularly to arts journals such as New York First Literary Review East, French/Italian Littéraire Quaderni d'Altri Tempi and Suona Sonda. She has worked with saxophonists Anthony Braxton and George Haslam and in New York with The Dissident Arts Orchestra and The Front Extreme Arts. Erika writes and recites protracted, ingenious and inventive passages, passionately describing emotions in words, which she declaims plainly and stridently in her beautiful voice.
The album is beautifully recorded and all participants deliver a commanding and haunted performance, an exceptionally gratifying experience. Given the nature of this artwork, I have heard nothing so good, so exciting, since Meredith Monk in the 70s and 80s.
Reviewed by Ken Cheetham
Erika Dagnino, poetry, voice; Ras Moshe, flute, soprano sax, tenor sax; Ken Filiano, double bass, effects; John Pietaro, vibraphone, glockenspiel, snare drum, tom-tom, various bells, suspended cymbals, triangle, wind chimes, shaker
Recorded in New York in November 2012
This is a bilingual, music/poetry production in which the words are spoken first of all in Italian then narrated again in English, all in an air of free jazz dialogue. The words are leached into the music, just as the musical expression bleeds its way into the obdurate meaning of the words: the whole is disquieting. Even in the Italian, which I do not speak, a sense of their dark meaning is evoked by Erika's annunciation. Both words and music are free-flowing, yet grave and the balance between
the voice-sound and use of instruments is inspired and sublime.
Erika Dagnino uses her words and voice as elegant tools with which to interrelate with the musicians as an equal player in the quartet. This is not new, of course, words and music, words and jazz have long been seen together, but it seems less common (perhaps less acceptable) in Europe than in the States. I recall suggesting to friends that we go to a David Murray concert in Birmingham. They were not aware until we got to the theatre that he was to be accompanied by a poet and a whistler and they were horrified – until they heard the performance. Europeans' minimal interest in such forms of free expression in music and poetry possibly explains why such an obviously Italian Italian should find her artistic home in the US, where her work was received with much enthusiasm.
The artist contributes regularly to arts journals such as New York First Literary Review East, French/Italian Littéraire Quaderni d'Altri Tempi and Suona Sonda. She has worked with saxophonists Anthony Braxton and George Haslam and in New York with The Dissident Arts Orchestra and The Front Extreme Arts. Erika writes and recites protracted, ingenious and inventive passages, passionately describing emotions in words, which she declaims plainly and stridently in her beautiful voice.
The album is beautifully recorded and all participants deliver a commanding and haunted performance, an exceptionally gratifying experience. Given the nature of this artwork, I have heard nothing so good, so exciting, since Meredith Monk in the 70s and 80s.
Reviewed by Ken Cheetham
SLOWLY ROLLING CAMERA
Edition Records EDN 1048
Donne Bennett (vocals, lyrics); Dave Stapleton (keyboards, composer); Deri Roberts (sound design, electronics, saxophone, trombone); Elliot Bennett (drums) with Jasper Hoiby (double bass); Matt Robertson (synths); Chris Montague (guitar); Mark Lockheart (tenor and soprano saxophones); Neil Yates (trumpet); Jon Visanji, Catrin Win Morgan, Victoria Stapleton, Katy Rowe (violin); Ilona Bondar, Rebekah Frost (viola);Alice Hoskins, Sarah Stevens (cello)
Recorded 2013
Anyone familiar with Dave Stapleton's music will hear at once that here is a large shift from his earlier direction. Do I detect an echo of Oddarrang here, the Finnish band whose In Cinema I reviewed in September 2013?
Certainly there is an atmosphere of cinematic music – listen to the opulent textures and the fluid harmonies of 'The Bridge' followed by the dramatic vitality of 'Slowly Rolling Camera'. These two segue eventually into the temperamental disposition of 'Fragile Ground', in which the soulful warmth of Dionne Bennett's stunning voice adds to the overall thread that almost shouts of anthem. Throughout the album, this band sounds both unearthly and primeval, but there is unbridled intelligence too, with compensatory passion and splendour.
The four key members have been seen and heard around Cardiff for some ten years and their experience and understanding of each other contribute to a tremendous collaboration and excellent musicianship.
Had Brian Eno not been here first, this one might have been called ‘Music for Films’ (1978) but the ambience is very, very different.
Reviewed by Ken Cheetham
Donne Bennett (vocals, lyrics); Dave Stapleton (keyboards, composer); Deri Roberts (sound design, electronics, saxophone, trombone); Elliot Bennett (drums) with Jasper Hoiby (double bass); Matt Robertson (synths); Chris Montague (guitar); Mark Lockheart (tenor and soprano saxophones); Neil Yates (trumpet); Jon Visanji, Catrin Win Morgan, Victoria Stapleton, Katy Rowe (violin); Ilona Bondar, Rebekah Frost (viola);Alice Hoskins, Sarah Stevens (cello)
Recorded 2013
Anyone familiar with Dave Stapleton's music will hear at once that here is a large shift from his earlier direction. Do I detect an echo of Oddarrang here, the Finnish band whose In Cinema I reviewed in September 2013?
Certainly there is an atmosphere of cinematic music – listen to the opulent textures and the fluid harmonies of 'The Bridge' followed by the dramatic vitality of 'Slowly Rolling Camera'. These two segue eventually into the temperamental disposition of 'Fragile Ground', in which the soulful warmth of Dionne Bennett's stunning voice adds to the overall thread that almost shouts of anthem. Throughout the album, this band sounds both unearthly and primeval, but there is unbridled intelligence too, with compensatory passion and splendour.
The four key members have been seen and heard around Cardiff for some ten years and their experience and understanding of each other contribute to a tremendous collaboration and excellent musicianship.
Had Brian Eno not been here first, this one might have been called ‘Music for Films’ (1978) but the ambience is very, very different.
Reviewed by Ken Cheetham
I GIGANTI DELLA MONTAGNA - L'Arsenale delle Apparizioni
Slam Records SLAMCD 548
Ferdinando d’Urso, alto saxophone; Lorenzo Paesani, piano and Federico Sconosciuto, cello; with Antonio Moncada, guest drum on 'Al Qantar' (Track 1)
Recorded January 2013
My first thoughts were of the names both of the trio and the album, even though the source was known to be Italian, for they were familiar to me.
L'Arsenale delle Apparizioni is a place in an unfinished work by dramatist and prolific short story writer Pirandello, a major Sicilian artist born in Agrigento in 1867 (d.1936). He anticipated many of the topics exploited later by existentialists such as Sartre and Beckett, even using formidable techniques such as resolving a scenario so concisely that it looked more like paradigm than reality. His 'folk tales' were truly Sicilian, but by this I mean to exploit the thinking of a one-time Professor of Modern History from Palermo University, who wrote that a Sicilian nation does not exist, but that for centuries different races superimposed their cultures one upon another and failed to fuse, never even coming close to each other.
Ferdinando d’Urso plays alto and other saxophones and writes profusely and profoundly on a range of jazz cultural matters. His writing moves from the clever play of light and shadow, as though created by an unnatural source outside of the canvas, in a work by Caravaggio, to American
altoist Julius Hemphill and his second album ‘Coon Bid’ness’. D'Urso discusses its primary meaning, ‘Black pride’ and the notion that in the album title the expression is reversed, given a positive, proud, racist and elitist value to create an identity from the ghetto.
I believe that d’Urso has applied his considerable profundity to the notion of the folk tale and to Pirandello’s story to allude to the theories of Gunther Schuller regarding the ‘third stream‘ in music, the topic of his musicology thesis at Bologna University. L'Arsenale delle Apparizioni, the Place of Apparitions (or Ghosts) in the dramatist's work, is where dreams and reality congregate and where adversity is banished, so that even when public acceptance of a contemporary art fails – as it did with ‘third stream’ – that ‘perfect mix’ can still be achieved.
'Eclectic' is the word. Here we have Sicilian folk music, contemporary jazz, modern (20thC) European classical elements, the sway of Klezmer and the influence of free improvisation. There is much movement between them all, but the way is never lost. Torpid though the pace may mostly be, inculcating an amiable deportment through the trio, there are occasional challenges which act as punctuation to the pieces, without which any language may falter. There is no faltering here, not even when two players seem to take a 'solo' concurrently as it were: it is perhaps the presence of the bowed cello which makes this more possible than otherwise. The combination of this trio of instruments has a particular sound which is very moving, emotionally, yet very tasteful and cerebral.
L'Arsenale delle Apparizioni is an album of very lovely music that very quickly becomes familiar, but its complexity maintains the depth of its interest.
Reviewed by Ken Cheetham
Ferdinando d’Urso, alto saxophone; Lorenzo Paesani, piano and Federico Sconosciuto, cello; with Antonio Moncada, guest drum on 'Al Qantar' (Track 1)
Recorded January 2013
My first thoughts were of the names both of the trio and the album, even though the source was known to be Italian, for they were familiar to me.
L'Arsenale delle Apparizioni is a place in an unfinished work by dramatist and prolific short story writer Pirandello, a major Sicilian artist born in Agrigento in 1867 (d.1936). He anticipated many of the topics exploited later by existentialists such as Sartre and Beckett, even using formidable techniques such as resolving a scenario so concisely that it looked more like paradigm than reality. His 'folk tales' were truly Sicilian, but by this I mean to exploit the thinking of a one-time Professor of Modern History from Palermo University, who wrote that a Sicilian nation does not exist, but that for centuries different races superimposed their cultures one upon another and failed to fuse, never even coming close to each other.
Ferdinando d’Urso plays alto and other saxophones and writes profusely and profoundly on a range of jazz cultural matters. His writing moves from the clever play of light and shadow, as though created by an unnatural source outside of the canvas, in a work by Caravaggio, to American
altoist Julius Hemphill and his second album ‘Coon Bid’ness’. D'Urso discusses its primary meaning, ‘Black pride’ and the notion that in the album title the expression is reversed, given a positive, proud, racist and elitist value to create an identity from the ghetto.
I believe that d’Urso has applied his considerable profundity to the notion of the folk tale and to Pirandello’s story to allude to the theories of Gunther Schuller regarding the ‘third stream‘ in music, the topic of his musicology thesis at Bologna University. L'Arsenale delle Apparizioni, the Place of Apparitions (or Ghosts) in the dramatist's work, is where dreams and reality congregate and where adversity is banished, so that even when public acceptance of a contemporary art fails – as it did with ‘third stream’ – that ‘perfect mix’ can still be achieved.
'Eclectic' is the word. Here we have Sicilian folk music, contemporary jazz, modern (20thC) European classical elements, the sway of Klezmer and the influence of free improvisation. There is much movement between them all, but the way is never lost. Torpid though the pace may mostly be, inculcating an amiable deportment through the trio, there are occasional challenges which act as punctuation to the pieces, without which any language may falter. There is no faltering here, not even when two players seem to take a 'solo' concurrently as it were: it is perhaps the presence of the bowed cello which makes this more possible than otherwise. The combination of this trio of instruments has a particular sound which is very moving, emotionally, yet very tasteful and cerebral.
L'Arsenale delle Apparizioni is an album of very lovely music that very quickly becomes familiar, but its complexity maintains the depth of its interest.
Reviewed by Ken Cheetham