JAZZ FOR BABIES
The Piano Album
(JFB709)
Steve Hamilton (p); Michael Janisch (b)
The Saxophone Album
(JFB710)
Paul Booth (s); Steve Hamilton (p); Michael Janisch (b)
The Vibraphone Album
(JFB711)
Jim Hart (vib); Steve Hamilton (p); Michael Janisch (b)
The Guitar Album
(JFB712)
Phil Robson (g); Steve Hamilton (p); Michael Janisch (b)
The Trumpet Album
(JFB713)
Jay Phelps (t); Steve Hamilton (p); Michael Janisch (b)
Jazz For Babies is the brain child of bassist, Michael Janisch and was conceived, no pun intended. When looking for music to play to his young daughter and also to the unborn child that he and his wife were expecting.
If initially this seems a somewhat strange concept, research has shown that music played to an baby in the womb not only has a calming and relaxing effect on the baby, and once born the infant will react to and recall the music when heard again. Further research has also suggested that exposure to music both in the womb and in early years of
the child's life helps brain development. More on the academic and theoretical side of this topic can be found in the Articles & Features page of the site, but what of the music contained on the albums?
The Jazz For Babies programme is presented as the five individual CDs listed above or available to purchase as a set. Each is designed to provide relaxing and soothing music for baby, young child or toddler, or indeed for the parent or adult in a gentle and relaxed manner. Janisch's idea was to create music in the genre in which he performs and loves, with real musicians on acoustic instruments in real time; as opposed to much of the material that he found readily available that was often performed using electronic instruments and created in a more sterile studio
environment.
As can be seen from the personnel on each disc, he has recruited internationally renowned musicians to play some popular and well- loved songs. All are performed with the jazz at the heart and contain improvisation. The repertoire is drawn from the American Songbook and some more contemporary compositions from the world of popular music. All benefit from the instrumentation chosen, and where there are multiple versions over the five albums of certain tunes, for example 'God Bless The Child', 'A Child Is born', and 'My Funny Valentine' they are all given different interpretations.
For the benefit of the adults amongst us, all contain some beautiful melodies and some wonderful improvisations, with the discs featuring vibraphone, guitar, and the duet album of piano and bass having a very open and airy presence; whereas the two discs with trumpet and saxophone naturally place a more immediate and straightforward
presentation of the material.
How and where the music fits into your own personal life is ultimately down individual circumstance, whether you are expecting a baby, already have young children and want to introduce a new musical genre into their listening experience, or you simply want some relaxing music to enjoy then Michael Janisch's Jazz For Babies will certainly be a most welcome addition to your musical library.
Reviewed by Nick Lea
Top of Page
(JFB709)
Steve Hamilton (p); Michael Janisch (b)
The Saxophone Album
(JFB710)
Paul Booth (s); Steve Hamilton (p); Michael Janisch (b)
The Vibraphone Album
(JFB711)
Jim Hart (vib); Steve Hamilton (p); Michael Janisch (b)
The Guitar Album
(JFB712)
Phil Robson (g); Steve Hamilton (p); Michael Janisch (b)
The Trumpet Album
(JFB713)
Jay Phelps (t); Steve Hamilton (p); Michael Janisch (b)
Jazz For Babies is the brain child of bassist, Michael Janisch and was conceived, no pun intended. When looking for music to play to his young daughter and also to the unborn child that he and his wife were expecting.
If initially this seems a somewhat strange concept, research has shown that music played to an baby in the womb not only has a calming and relaxing effect on the baby, and once born the infant will react to and recall the music when heard again. Further research has also suggested that exposure to music both in the womb and in early years of
the child's life helps brain development. More on the academic and theoretical side of this topic can be found in the Articles & Features page of the site, but what of the music contained on the albums?
The Jazz For Babies programme is presented as the five individual CDs listed above or available to purchase as a set. Each is designed to provide relaxing and soothing music for baby, young child or toddler, or indeed for the parent or adult in a gentle and relaxed manner. Janisch's idea was to create music in the genre in which he performs and loves, with real musicians on acoustic instruments in real time; as opposed to much of the material that he found readily available that was often performed using electronic instruments and created in a more sterile studio
environment.
As can be seen from the personnel on each disc, he has recruited internationally renowned musicians to play some popular and well- loved songs. All are performed with the jazz at the heart and contain improvisation. The repertoire is drawn from the American Songbook and some more contemporary compositions from the world of popular music. All benefit from the instrumentation chosen, and where there are multiple versions over the five albums of certain tunes, for example 'God Bless The Child', 'A Child Is born', and 'My Funny Valentine' they are all given different interpretations.
For the benefit of the adults amongst us, all contain some beautiful melodies and some wonderful improvisations, with the discs featuring vibraphone, guitar, and the duet album of piano and bass having a very open and airy presence; whereas the two discs with trumpet and saxophone naturally place a more immediate and straightforward
presentation of the material.
How and where the music fits into your own personal life is ultimately down individual circumstance, whether you are expecting a baby, already have young children and want to introduce a new musical genre into their listening experience, or you simply want some relaxing music to enjoy then Michael Janisch's Jazz For Babies will certainly be a most welcome addition to your musical library.
Reviewed by Nick Lea
Top of Page
ARRIGO CAPPELETTI QUINTET - Hot Music
Leo Records – CD LR 670
Arrigo Cappelletti (piano); Gulio Martino (soprano & tenor sax); Sergio Orlandi (trumpet); Adrian Myhr (bass) Tore Sandbakken (drums)
Recorded Milano, January 30 and 31st 2013.
The influence of Miles Davis’s last great acoustic quintet runs through a great deal of the music on this fine recital of post bop modern jazz and especially so on the opening track which is a dedication to Wayne Shorter. Going forward the music incorporates other elements which are distinctly European and produce an amalgam of distinctive, arresting music like the cool, somewhat cerebral two part invention for sax and piano (with a smattering of bass ) which is the incongruously named title track.
Elsewhere there is a great deal of collective improvisation for the horns and contrapuntal movement in the piano and bass parts but the music is never overwhelmed by complexity, the free jazz elements being mainly confined to two short exercises entitled` Breaks 1 & 2.` European impressionism is given extended expression in two glacial pieces named `Isafyyodur 1 & 2, which I presume are inspired by Icelandic landscapes and feature some meditative bass
playing as a prelude to dark hued exchanges for sax and piano,
As well as the legacy of Miles the music of Carla Bley is celebrated in two pieces, one a three way dialogue for sax , trumpet and piano in the manner of a chorale and the other a version of her `Intermission Music`, presented as a double jointed waltz capturing perfectly the lady’s irreverent humour,
There is much to admire here whether it be the originality of the compositions, the teasing unpredictability of the arrangements or the excellence of the instrumental forces: Orlandi’s trumpet is particularly impresses with his melding of cool linearity with erotic vibrato and Martino on sax is sturdy and virile on tenor, evanescent and joyful on soprano. Cappelletti knits everything together with carefully applied harmonic touches, scintillating arpeggios and the intelligent use of atonal elements.
In conclusion, this is a very fine example of modern jazz which has stands astride contemporary American and European conventions without losing its footing.
Reviewed by Euan Dixon
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Arrigo Cappelletti (piano); Gulio Martino (soprano & tenor sax); Sergio Orlandi (trumpet); Adrian Myhr (bass) Tore Sandbakken (drums)
Recorded Milano, January 30 and 31st 2013.
The influence of Miles Davis’s last great acoustic quintet runs through a great deal of the music on this fine recital of post bop modern jazz and especially so on the opening track which is a dedication to Wayne Shorter. Going forward the music incorporates other elements which are distinctly European and produce an amalgam of distinctive, arresting music like the cool, somewhat cerebral two part invention for sax and piano (with a smattering of bass ) which is the incongruously named title track.
Elsewhere there is a great deal of collective improvisation for the horns and contrapuntal movement in the piano and bass parts but the music is never overwhelmed by complexity, the free jazz elements being mainly confined to two short exercises entitled` Breaks 1 & 2.` European impressionism is given extended expression in two glacial pieces named `Isafyyodur 1 & 2, which I presume are inspired by Icelandic landscapes and feature some meditative bass
playing as a prelude to dark hued exchanges for sax and piano,
As well as the legacy of Miles the music of Carla Bley is celebrated in two pieces, one a three way dialogue for sax , trumpet and piano in the manner of a chorale and the other a version of her `Intermission Music`, presented as a double jointed waltz capturing perfectly the lady’s irreverent humour,
There is much to admire here whether it be the originality of the compositions, the teasing unpredictability of the arrangements or the excellence of the instrumental forces: Orlandi’s trumpet is particularly impresses with his melding of cool linearity with erotic vibrato and Martino on sax is sturdy and virile on tenor, evanescent and joyful on soprano. Cappelletti knits everything together with carefully applied harmonic touches, scintillating arpeggios and the intelligent use of atonal elements.
In conclusion, this is a very fine example of modern jazz which has stands astride contemporary American and European conventions without losing its footing.
Reviewed by Euan Dixon
Top of Page
FEICHMAIR/WINTER/PROLL - Trio Now! & STROV/BELDSOE/LAPIN - Trioloque
FEICHMAIR/WINTER/PROLL - Trio Now!
Leo Records CD LR 674
Tanja Feichmair (alto sax, bass clarinet, voice) Uli Winter (cello, voice) Fredi Pröll (drums, voice)
Recorded Ulrichsberg, May 29th 2012
BYSTROV/BELDSOE/LAPIN - Trioloque
Leo Records CD LR 663
Vlady Bystrov (Bb and alto clarinet, alto sax) Helen Bledsoe (flutes) Alexey Lapin (piano)
Recorded live in St Petersburg, Russia, January 4th 2013.
Leo Records CD LR 674
Tanja Feichmair (alto sax, bass clarinet, voice) Uli Winter (cello, voice) Fredi Pröll (drums, voice)
Recorded Ulrichsberg, May 29th 2012
BYSTROV/BELDSOE/LAPIN - Trioloque
Leo Records CD LR 663
Vlady Bystrov (Bb and alto clarinet, alto sax) Helen Bledsoe (flutes) Alexey Lapin (piano)
Recorded live in St Petersburg, Russia, January 4th 2013.
The art of the trio is many faceted thing as this pair of recent releases from the indefatigably avant-garde Leo Records readily affirm. The
celebrated series of recordings by the Brad Mehldau trio issued as `The Art of The Trio` attempted to sound definitive –a la Bach’s `Art of the Fugue`- but excellent and important as they are it is the nature of improvised music to deny definitive statements – there are no last words in jazz. There is always room for a new interpretation and it is clear from the brief mission statements appended to these recordings that the participants believe they have something original and distinctive to say. This is questionable and even as a keen lay
student of experimental music I feel compelled to ask the question `Wither free jazz?`.
It is over 40 years since Ayler’s `Spiritual Unity` and Braxton’s `Three Compositions of New Jazz` not forgetting Coltrane’s `Ascension ` and the seminal `Free Jazz` of Ornette Coleman and much of this music has been absorbed into the musical fabric woven by Trio Now but frankly little else has been added that could be said to be strikingly new except an element of rather dry Eurocentric abstraction as opposed to the more blues oriented approach of American free jazz.
Trio Now present a series of attenuated melodic themes –the first being vaguely Iberian, others rather aimless and dirge like which are explored by way of tense sax and bass clarinet contortions set against angry poly-rhythmic drumming and interspersed with trance like passages of repetitive motifs for cello and percussion. The music is essentially a conversation between the three participants who it seems are disinclined to include outsiders in their intense dialogue. Quite a lot of the sounds make uncomfortable listening and though it won’t kill anyone having to listen to them, they don’t provide much in the way of enjoyment. The final track includes vocal interjections, shouts, cries and guffaw melded with nursery like melodies. This too is nothing new being done before by Braxton and others.
More beguiling to the ear is the music of `Trioloque` which , if I may hazard a guess, attempts to envisage music its prelapsarian condition, purged of European musical conventions and exposed to unpredictability by having no preconceived agenda . There are passages of considerable beauty with crystalline sounds employing prepared piano and ethereal, liquid musings for clarinet and flute. Some of the melodies veer close to a folksy ethnicity –shades of the Jimmy Giuffre Three- whilst elsewhere there are dense, dramatic, episodes with powerful and luxuriant
harmonies.
Of the two discs `Triologue` seems to me to extend the art of the trio more convincingly than that of `Trio Now` and though it is unwise for any reviewer to rush to judgement in respect of avant-garde music I feel I will return to the second disc sooner than I will the first. Perhaps this is because it is less relentless on the ear and maybe the future
for free jazz is as an ingredient in some post modernist mixture rather than an indigestible whole.
Reviewed by Euan Dixon
Top of Page
celebrated series of recordings by the Brad Mehldau trio issued as `The Art of The Trio` attempted to sound definitive –a la Bach’s `Art of the Fugue`- but excellent and important as they are it is the nature of improvised music to deny definitive statements – there are no last words in jazz. There is always room for a new interpretation and it is clear from the brief mission statements appended to these recordings that the participants believe they have something original and distinctive to say. This is questionable and even as a keen lay
student of experimental music I feel compelled to ask the question `Wither free jazz?`.
It is over 40 years since Ayler’s `Spiritual Unity` and Braxton’s `Three Compositions of New Jazz` not forgetting Coltrane’s `Ascension ` and the seminal `Free Jazz` of Ornette Coleman and much of this music has been absorbed into the musical fabric woven by Trio Now but frankly little else has been added that could be said to be strikingly new except an element of rather dry Eurocentric abstraction as opposed to the more blues oriented approach of American free jazz.
Trio Now present a series of attenuated melodic themes –the first being vaguely Iberian, others rather aimless and dirge like which are explored by way of tense sax and bass clarinet contortions set against angry poly-rhythmic drumming and interspersed with trance like passages of repetitive motifs for cello and percussion. The music is essentially a conversation between the three participants who it seems are disinclined to include outsiders in their intense dialogue. Quite a lot of the sounds make uncomfortable listening and though it won’t kill anyone having to listen to them, they don’t provide much in the way of enjoyment. The final track includes vocal interjections, shouts, cries and guffaw melded with nursery like melodies. This too is nothing new being done before by Braxton and others.
More beguiling to the ear is the music of `Trioloque` which , if I may hazard a guess, attempts to envisage music its prelapsarian condition, purged of European musical conventions and exposed to unpredictability by having no preconceived agenda . There are passages of considerable beauty with crystalline sounds employing prepared piano and ethereal, liquid musings for clarinet and flute. Some of the melodies veer close to a folksy ethnicity –shades of the Jimmy Giuffre Three- whilst elsewhere there are dense, dramatic, episodes with powerful and luxuriant
harmonies.
Of the two discs `Triologue` seems to me to extend the art of the trio more convincingly than that of `Trio Now` and though it is unwise for any reviewer to rush to judgement in respect of avant-garde music I feel I will return to the second disc sooner than I will the first. Perhaps this is because it is less relentless on the ear and maybe the future
for free jazz is as an ingredient in some post modernist mixture rather than an indigestible whole.
Reviewed by Euan Dixon
Top of Page
GIANCARLO MAZZU & LUCIANO TROJA - Live at The Metropolitan
Room NYC
SLAMCD 545
Giancarlo Mazzu (guitar); Luciano Troja (piano)
The real challenge is to take a standard like' Bye Bye Blackbird' and find something new to say. The problem is that the listeners can hear what you are doing to the tune and will either marvel at your invention or note your lifelessness. On this CD you will admire the wit and cleverness of the interpretations or re-compositions.
“Cocktail music” is one way of being disparaging about music played in well heeled lounge locations like New York’s Metropolitan Room. It would be a travesty to pin that label on Mazzu and Troja who are
sophisticated artists who rise to the test of finding new ways to improvise on each of the well-known standards. Just listen to the two part invention on “But Not For Me.” The duet on “Autmn Leaves” which meshes perfectly passing the melody subtly from guitar to piano. Neapolitan style playing enlivens “Softly As In A Morning Sunshine”.
The longest piece “Take The A Train” might make you think of Michel Petrucciani or even Martial Solal. It is a headlong journey with the rhythm coming from Troja’s piano. Suddenly stride takes over and the whole piece rocks along. It is a great show piece for the virtuosity of both men.
If you want to hear the Great American Song Book played with verve, style and panache, this session is recommended without caveats.
Reviewed by Jack Kenny
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Giancarlo Mazzu (guitar); Luciano Troja (piano)
The real challenge is to take a standard like' Bye Bye Blackbird' and find something new to say. The problem is that the listeners can hear what you are doing to the tune and will either marvel at your invention or note your lifelessness. On this CD you will admire the wit and cleverness of the interpretations or re-compositions.
“Cocktail music” is one way of being disparaging about music played in well heeled lounge locations like New York’s Metropolitan Room. It would be a travesty to pin that label on Mazzu and Troja who are
sophisticated artists who rise to the test of finding new ways to improvise on each of the well-known standards. Just listen to the two part invention on “But Not For Me.” The duet on “Autmn Leaves” which meshes perfectly passing the melody subtly from guitar to piano. Neapolitan style playing enlivens “Softly As In A Morning Sunshine”.
The longest piece “Take The A Train” might make you think of Michel Petrucciani or even Martial Solal. It is a headlong journey with the rhythm coming from Troja’s piano. Suddenly stride takes over and the whole piece rocks along. It is a great show piece for the virtuosity of both men.
If you want to hear the Great American Song Book played with verve, style and panache, this session is recommended without caveats.
Reviewed by Jack Kenny
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KRUGLOV/LAPIN/SOAAR/YUDANOV - Military Space
LEO CDLR 675
Alexey Kruglov (saxophones, bassethorn, block-flutes, tenor sax with trombone mouthpiece); Alexey Lapin (piano); Jaak Sooäär (electric guitar, live electronics); Oleg Yudanov (drums)
Recorded on 17th November 2011 at the Jazz Centre Yaroslavl,
Russia
Alexey Kruglov tells us that the title should not be taken literally. He wants it to be read as a metaphor. Kruglov is an important contributor to the Russian jazz avant-garde. His technique of playing multi instruments makes Roland Kirk look conservative. He even plays some of the instruments without mouth pieces. Guitarist Jaak Sooäär has travelled a long musical road from the Estonian Boys Choir when he was seven to his present eminence as a master guitarist.
The music created at the Jazz Centre in Yaroslav is a music that is about contrast, energy, invention, spontaneity, wildness and novelty. Kruglov says that the album has ‘been built according to the principles of theatre and literature
rather than the principles of composition’. Not quite sure what he means by that but nevertheless it has produced some intriguing music.
‘Secret Briefing’ gives a role to Alexey Lapin. He contributes a strand of agitated piano at the start to the growing
free-for-all wall of sound. ‘Plan for the Future’ is more contemplative with a call and response between piano and Sooäär’s guitar. ‘Battlefield’ opens with Kruglov’s saxophone dominant and he is a player who is unafraid of ugliness.
Yudanov’s cymbals open ‘Second Breath’ and Lapin’s piano explores the upper and lower reaches set against a relentless insistent rhythm.
There is a strong sense that this is a listening band. Kruglov points out that because of transport difficulties there was little pre-planning. They seem to make up for that by being hypersensitive to each other. This is a splendid album that illustrates the wit, invention and creativity of the Russian jazz scene.
Reviewed by Jack Kenny
Top of Page
Alexey Kruglov (saxophones, bassethorn, block-flutes, tenor sax with trombone mouthpiece); Alexey Lapin (piano); Jaak Sooäär (electric guitar, live electronics); Oleg Yudanov (drums)
Recorded on 17th November 2011 at the Jazz Centre Yaroslavl,
Russia
Alexey Kruglov tells us that the title should not be taken literally. He wants it to be read as a metaphor. Kruglov is an important contributor to the Russian jazz avant-garde. His technique of playing multi instruments makes Roland Kirk look conservative. He even plays some of the instruments without mouth pieces. Guitarist Jaak Sooäär has travelled a long musical road from the Estonian Boys Choir when he was seven to his present eminence as a master guitarist.
The music created at the Jazz Centre in Yaroslav is a music that is about contrast, energy, invention, spontaneity, wildness and novelty. Kruglov says that the album has ‘been built according to the principles of theatre and literature
rather than the principles of composition’. Not quite sure what he means by that but nevertheless it has produced some intriguing music.
‘Secret Briefing’ gives a role to Alexey Lapin. He contributes a strand of agitated piano at the start to the growing
free-for-all wall of sound. ‘Plan for the Future’ is more contemplative with a call and response between piano and Sooäär’s guitar. ‘Battlefield’ opens with Kruglov’s saxophone dominant and he is a player who is unafraid of ugliness.
Yudanov’s cymbals open ‘Second Breath’ and Lapin’s piano explores the upper and lower reaches set against a relentless insistent rhythm.
There is a strong sense that this is a listening band. Kruglov points out that because of transport difficulties there was little pre-planning. They seem to make up for that by being hypersensitive to each other. This is a splendid album that illustrates the wit, invention and creativity of the Russian jazz scene.
Reviewed by Jack Kenny
Top of Page
ASAF SIRKIS TRIO - Shepherd’s Stories
SBPT003
Asaf Sirkis; drums; Yaron Stavi: electric bass; Tassos Spiliotopoulos: electric and acoustic guitars; Gareth Lochrane: flute; John Turville: Fender Rhodes; Sylvia Bialas (vocals)
This is not really a trio record: Sirkis fills the music out on some tracks with flautist Gareth Lockrane (track 6) vocalist Sylwia Bialas (track 3) and Fender Rhodes player John Turville (1 and 5).
On ‘1801’ Turville’s Fender Rhodes dominates with what is now a dated sound. The improvisation has little shape and invention and detracts from Sirkis’ energetic and fluent drums.
‘Eyes Tell’ is a trio piece with Tassos Spiliotopoulos’ guitar meandering through an improvisation that intermittently
almost morphs into ‘Now Is The Hour’. The undeniably pretty ‘TwoPart Melody’ verges on the soporific. There has to be more invention to draw the listener in and induce them to stay.
The impression throughout the CD is of a Porsche being driven like a Morris Minor. At times this feels like bland fusion, seeking after memorable melodies and not finding them. There is no doubt that the participants could produce an album that has more light and shade, more guts, more sheer energy.
Tasteful is what the players seem to want to achieve. They have succeeded.
Reviewed by Jack Kenny
Top of Page
Asaf Sirkis; drums; Yaron Stavi: electric bass; Tassos Spiliotopoulos: electric and acoustic guitars; Gareth Lochrane: flute; John Turville: Fender Rhodes; Sylvia Bialas (vocals)
This is not really a trio record: Sirkis fills the music out on some tracks with flautist Gareth Lockrane (track 6) vocalist Sylwia Bialas (track 3) and Fender Rhodes player John Turville (1 and 5).
On ‘1801’ Turville’s Fender Rhodes dominates with what is now a dated sound. The improvisation has little shape and invention and detracts from Sirkis’ energetic and fluent drums.
‘Eyes Tell’ is a trio piece with Tassos Spiliotopoulos’ guitar meandering through an improvisation that intermittently
almost morphs into ‘Now Is The Hour’. The undeniably pretty ‘TwoPart Melody’ verges on the soporific. There has to be more invention to draw the listener in and induce them to stay.
The impression throughout the CD is of a Porsche being driven like a Morris Minor. At times this feels like bland fusion, seeking after memorable melodies and not finding them. There is no doubt that the participants could produce an album that has more light and shade, more guts, more sheer energy.
Tasteful is what the players seem to want to achieve. They have succeeded.
Reviewed by Jack Kenny
Top of Page
ECM - Selected Signs III - VIII
ECM 372 8971 - 6CD Set
Selected Signs III
Featuring Muisc &Performances by Heiner Goebbels; Steve Reich; Arvo Part; Johann Sebastian Bach; Kim Kashkashian; Joseph Haydn; Meridith Monk; and
others.
Selected Signs IV
Featuring Muisc &Performances by Keller Quartet; Dimitri Schostakovich; The Hilliard Ensemble; Jan Garbarek; Valentin Silverstrov and others.
Selected Signs V
Featuring Muisc & Performances by Eleni Karaindrou; Jan Garbarek; Jon Balke & Amina Alaui; Rolf Lislenand
Ensemble
Selected Signs VI
Featuring Muisc & Performances by Andrey Dergatchev; Nils Petter Molvaer; Eivind Aarset
Selected Signs VII
Featuring Muisc & Performances by Stefano Battaglia Trio; Food; Tord Gustavsen Quartet; Egberto Gismonti; Norma Winstone Trio; Garbarek/Gismonti/Haden; Ralph Alessi; Anja Lechner/Vassilis Tsabropoulos; Colin Vallon Trio; Christian Wallumrod Ensemble; Tomasz Stanko Quartet
Selected Signs VIII
Featuring Muisc & Performances by Jimmy Guiffre 3; Paul Bley/Evan Parker/Barre Phillips; Old& New Dreams; Robin Williamson; Sinikka Langeland; Frode Haltli; Gary Peacock; Steve Kuhn Trio; Wadada Leo Smith
Selected Signs is the latest in an excellent series of anthologies released by ECM depicting different genres and artists from the label's now vast catalogue, and also celebrating the artwork found ECM imaginative and meticulous packaging on each of its releases.The origins of this compelling 6 CD box set arise from the exhibition 'ECM - A Cultural Archaeology' at the Hans der Kunst in Munich which is one of Europe's most important museums for contemporary art.The exhibition was to show the label's endeavours in, not just in music, but in the graphic art
and photography of the label's renowned album covers and also cross media collaborations with film, theatre and literature; and the selections that make up this anthology contain the music made available for visitors to listen to
through headphones.
From a purely musical standpoint, as we do not have the benefit of the visual exhibition, the music contained on the six discs covers a wide spectrum of the labels output from its first classical release in 1978 by Steve Reich to other
more recent works from Eleni Karaindrou (whose recent Concert in Athens album is well represented), Arvo Part and some truly beautiful playing from cellist, Anja Lechner.
From a jazz perspective, the interest will come from discs VI to VIII that feature a significant portion of Nils Petter Molvaer's Khmer set along with selections form Tomasz Stanko Quartet, Stefano Battaglia Trio, Food, Tord Gustavsen Quartet, and a single cut from trumpeter Ralph Allessi's yet to be released Baida (which is scheduled to hit the shops in September.
Amongst this fine array of familiar names and groupings I also found some new discoveries in 'Time Will Tell' from the album of the same name from Paul Bley, Evan Parker and Barre Phillips that put Parker's tenor in a lyrical and
expressive soundworld that I had not previously encountered; along with the oldest album in the label's catalogue 1961 by the Jimmy Guiffre 3 with Steve Swallow and Paul Bley that was originally made for Verve and reissued by
ECM in 1992.
And this is what sums up sets such as these, and makes them a valuable addition to any collection. Unlike many
compilation albums (that I studiously avoid, I may add) these are not discs that one can merely dip in and out of to sample individual tracks, but serve as a gateway to explore new musics that perhaps one might not encounter if outside of your normal listening habits. As a stalwart jazz fan for more than thirty years, I have gained much from ECM albums that have challenged my preconceived listening preferences taking me into areas of music, improvisational and scored, that I would otherwise have bypassed but have given much pleasure and enriched my enjoyment of music as a whole.
As with all ECM albums this is beautifully packaged with sufficient information to prompt further investigation into the music contained, and with over seven hours of music over the six discs is the sort of set one can disappear into for weeks at at time.
Reviewed by Nick Lea
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Selected Signs III
Featuring Muisc &Performances by Heiner Goebbels; Steve Reich; Arvo Part; Johann Sebastian Bach; Kim Kashkashian; Joseph Haydn; Meridith Monk; and
others.
Selected Signs IV
Featuring Muisc &Performances by Keller Quartet; Dimitri Schostakovich; The Hilliard Ensemble; Jan Garbarek; Valentin Silverstrov and others.
Selected Signs V
Featuring Muisc & Performances by Eleni Karaindrou; Jan Garbarek; Jon Balke & Amina Alaui; Rolf Lislenand
Ensemble
Selected Signs VI
Featuring Muisc & Performances by Andrey Dergatchev; Nils Petter Molvaer; Eivind Aarset
Selected Signs VII
Featuring Muisc & Performances by Stefano Battaglia Trio; Food; Tord Gustavsen Quartet; Egberto Gismonti; Norma Winstone Trio; Garbarek/Gismonti/Haden; Ralph Alessi; Anja Lechner/Vassilis Tsabropoulos; Colin Vallon Trio; Christian Wallumrod Ensemble; Tomasz Stanko Quartet
Selected Signs VIII
Featuring Muisc & Performances by Jimmy Guiffre 3; Paul Bley/Evan Parker/Barre Phillips; Old& New Dreams; Robin Williamson; Sinikka Langeland; Frode Haltli; Gary Peacock; Steve Kuhn Trio; Wadada Leo Smith
Selected Signs is the latest in an excellent series of anthologies released by ECM depicting different genres and artists from the label's now vast catalogue, and also celebrating the artwork found ECM imaginative and meticulous packaging on each of its releases.The origins of this compelling 6 CD box set arise from the exhibition 'ECM - A Cultural Archaeology' at the Hans der Kunst in Munich which is one of Europe's most important museums for contemporary art.The exhibition was to show the label's endeavours in, not just in music, but in the graphic art
and photography of the label's renowned album covers and also cross media collaborations with film, theatre and literature; and the selections that make up this anthology contain the music made available for visitors to listen to
through headphones.
From a purely musical standpoint, as we do not have the benefit of the visual exhibition, the music contained on the six discs covers a wide spectrum of the labels output from its first classical release in 1978 by Steve Reich to other
more recent works from Eleni Karaindrou (whose recent Concert in Athens album is well represented), Arvo Part and some truly beautiful playing from cellist, Anja Lechner.
From a jazz perspective, the interest will come from discs VI to VIII that feature a significant portion of Nils Petter Molvaer's Khmer set along with selections form Tomasz Stanko Quartet, Stefano Battaglia Trio, Food, Tord Gustavsen Quartet, and a single cut from trumpeter Ralph Allessi's yet to be released Baida (which is scheduled to hit the shops in September.
Amongst this fine array of familiar names and groupings I also found some new discoveries in 'Time Will Tell' from the album of the same name from Paul Bley, Evan Parker and Barre Phillips that put Parker's tenor in a lyrical and
expressive soundworld that I had not previously encountered; along with the oldest album in the label's catalogue 1961 by the Jimmy Guiffre 3 with Steve Swallow and Paul Bley that was originally made for Verve and reissued by
ECM in 1992.
And this is what sums up sets such as these, and makes them a valuable addition to any collection. Unlike many
compilation albums (that I studiously avoid, I may add) these are not discs that one can merely dip in and out of to sample individual tracks, but serve as a gateway to explore new musics that perhaps one might not encounter if outside of your normal listening habits. As a stalwart jazz fan for more than thirty years, I have gained much from ECM albums that have challenged my preconceived listening preferences taking me into areas of music, improvisational and scored, that I would otherwise have bypassed but have given much pleasure and enriched my enjoyment of music as a whole.
As with all ECM albums this is beautifully packaged with sufficient information to prompt further investigation into the music contained, and with over seven hours of music over the six discs is the sort of set one can disappear into for weeks at at time.
Reviewed by Nick Lea
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CHRISTIAN McBRIDE TRIO - Out Here
Mack Avenue MAC 069
Christian McBride (bass); Christian Sands (piano); Ulysses Owens, Jr.
(drums)
Recorded at Avatar Studios, New York, date not given.
If there were only one word available to describe this latest offering by Christian McBride it would have to be 'immaculate`. Depicted on the cover dressed in sharp Brooks Brothers style suits and appearing like
Madison Avenue executives McBride’s trio look like they mean business and the music they perform is as highly polished as the shine on their shoes.
Hot on the heels of the latest release by his group `Inside Straight` McBride has chosen two members of that aggregation to form his new trio and together they deliver a stunning performance of modern mainstream jazz that can’t fail to appeal to those who appreciate headlong swing combined with melodic extemporisation framed by intriguingly witty arrangements.
McBride, being the leader, is showcased in many of the pieces but if you are one of those who resent space being devoted to bass solos set aside your fears and prejudices for everything the bassist plays is highly musical be it the exposition of the given theme, providing rhythmic support or in a solo feature. Furthermore, thanks to a warm, beautifully balanced recording he never comes across in that booming, bullying way that often mars some contemporary discs. his big, generous tone being captured in all its plangent magnificence.
The disc opens with a powerful call and response blues before proceeding to a flat out version of Oscar Peterson’s
`Hallelujah Time’. More wonderful stuff follows including a sensitive demonstration of McBride’s ballad writing talents, an easy swinger, a version of `My Favourite Things` that is both introspective and intense whilst featuring a delicately applied bass and drum feature. The bass takes up the melody on a couple of pieces, pizzicato in `East of the Sun`, arco in a lovely version of Rogers and Hammerstein 2nd’s `I Have Dreamed` and the set closes with a disco driven Stax Records swinger to demonstrate that these guys can play everything, anyway up you want it.
And raise a cheer for Christian Sands and Ulysses Owens; both superlative musicians of whom we will hear much more as long as the taste for swing and melody combined with a desire to re- interpret the tradition with respectful originality remains. Check them out: they may look like `suits` but they’ll `suit you sir`.
Reviewed by Euan Dixon
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Christian McBride (bass); Christian Sands (piano); Ulysses Owens, Jr.
(drums)
Recorded at Avatar Studios, New York, date not given.
If there were only one word available to describe this latest offering by Christian McBride it would have to be 'immaculate`. Depicted on the cover dressed in sharp Brooks Brothers style suits and appearing like
Madison Avenue executives McBride’s trio look like they mean business and the music they perform is as highly polished as the shine on their shoes.
Hot on the heels of the latest release by his group `Inside Straight` McBride has chosen two members of that aggregation to form his new trio and together they deliver a stunning performance of modern mainstream jazz that can’t fail to appeal to those who appreciate headlong swing combined with melodic extemporisation framed by intriguingly witty arrangements.
McBride, being the leader, is showcased in many of the pieces but if you are one of those who resent space being devoted to bass solos set aside your fears and prejudices for everything the bassist plays is highly musical be it the exposition of the given theme, providing rhythmic support or in a solo feature. Furthermore, thanks to a warm, beautifully balanced recording he never comes across in that booming, bullying way that often mars some contemporary discs. his big, generous tone being captured in all its plangent magnificence.
The disc opens with a powerful call and response blues before proceeding to a flat out version of Oscar Peterson’s
`Hallelujah Time’. More wonderful stuff follows including a sensitive demonstration of McBride’s ballad writing talents, an easy swinger, a version of `My Favourite Things` that is both introspective and intense whilst featuring a delicately applied bass and drum feature. The bass takes up the melody on a couple of pieces, pizzicato in `East of the Sun`, arco in a lovely version of Rogers and Hammerstein 2nd’s `I Have Dreamed` and the set closes with a disco driven Stax Records swinger to demonstrate that these guys can play everything, anyway up you want it.
And raise a cheer for Christian Sands and Ulysses Owens; both superlative musicians of whom we will hear much more as long as the taste for swing and melody combined with a desire to re- interpret the tradition with respectful originality remains. Check them out: they may look like `suits` but they’ll `suit you sir`.
Reviewed by Euan Dixon
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MAGOG
TCB Music 01302
Hans Kennel (tpt, flh, perc); Andy Scherrer (Saxes, perc); Paul Haag (tb, perc) Klaus Koenig (piano, el-p, perc); Peter Frei (bass) Peter Schmidlin (drums)
Recorded, November 1974 at Studio Bauer, Ludwigsburg.
It seems incredible that nearly 40 years has passed since this recording was first issued. So adroitly did its creators avoid categorisation and convention that for those hearing it for the first time it could be easily mistaken for a cutting edge contemporary session whilst those reacquainting themselves with it will marvel at the way the group anticipated trends that have become universal, almost commonplace as Jazz has broken out of its ethnocentric boundaries. The ethos of the music is undeniably post modern in its gathering up of diverse stylistic influences ranging from American hard
–bop to European avant-garde whilst cunningly incorporating Latin and jazz/rock elements, free improvisation and passages of collective extemporisation that sound remarkably like Trad.
Apparently the group only made two recordings: a live session from the 1973 Montreux Jazz Festival and this studio session completed a year later, without edits or extended rehearsal time but with greater emphasis on group cohesion and compositional structure. All the six pieces offered are multi – faceted, rarely ending up where they start out and taking some surprising detours along the way. The two most accessible pieces top and tail the recital, the opener being a polyphonic conversation for the horns over a powerful back beat with Latin embellishments and a strong bass line , the final track, a relatively straight ahead samba which eventually segues into a polyrhythmic hard bop ride out. In between things are a little more complicated but never without interest, the most avant –garde being the strange `Summervogel” with its opening chorale of sustained ariel sounds and vocalised effects rather reminiscent of the ornithological preoccupations of the French composer, Olivier Messiaen.
Instrumental colour is as variegated as the thematic contours of the music with Scherrer switching from hard edged tenor to astringent shawm like soprano and to flute as the mood demands with Kennel frequently exchanging his
mellow flugel horn for a skittering, anguished trumpet voicings to turn up the heat. Added to these, Haag’s trombone provides some weighty ballast by way of his dark sonorities and gruff assertions whilst Koenig deploying both acoustic
and electric pianos articulates some incisive bop solos as well as creating ethereal harmonic effects. Bass and drums work well to negotiate the diversity of rhythmic solutions and particularly so in the freer, rubato passages where
the role of the rhythm section can often be rendered superfluous: here Frie and Schmidlin make intelligent, nuanced contributions that make up for the absence of a harmonic carpet. Throughout, the individual solo voices are embedded in fine ensemble work which drives forward with a powerful momentum.
This is an important re-issue in that it invites us to revisit a moment when European jazz was beginning to find a route out the received conventions of funk and fusion coming from the other side of the Atlantic and as such deserves the attention of every serious student and collector.
Reviewed by Euan Dixon
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Hans Kennel (tpt, flh, perc); Andy Scherrer (Saxes, perc); Paul Haag (tb, perc) Klaus Koenig (piano, el-p, perc); Peter Frei (bass) Peter Schmidlin (drums)
Recorded, November 1974 at Studio Bauer, Ludwigsburg.
It seems incredible that nearly 40 years has passed since this recording was first issued. So adroitly did its creators avoid categorisation and convention that for those hearing it for the first time it could be easily mistaken for a cutting edge contemporary session whilst those reacquainting themselves with it will marvel at the way the group anticipated trends that have become universal, almost commonplace as Jazz has broken out of its ethnocentric boundaries. The ethos of the music is undeniably post modern in its gathering up of diverse stylistic influences ranging from American hard
–bop to European avant-garde whilst cunningly incorporating Latin and jazz/rock elements, free improvisation and passages of collective extemporisation that sound remarkably like Trad.
Apparently the group only made two recordings: a live session from the 1973 Montreux Jazz Festival and this studio session completed a year later, without edits or extended rehearsal time but with greater emphasis on group cohesion and compositional structure. All the six pieces offered are multi – faceted, rarely ending up where they start out and taking some surprising detours along the way. The two most accessible pieces top and tail the recital, the opener being a polyphonic conversation for the horns over a powerful back beat with Latin embellishments and a strong bass line , the final track, a relatively straight ahead samba which eventually segues into a polyrhythmic hard bop ride out. In between things are a little more complicated but never without interest, the most avant –garde being the strange `Summervogel” with its opening chorale of sustained ariel sounds and vocalised effects rather reminiscent of the ornithological preoccupations of the French composer, Olivier Messiaen.
Instrumental colour is as variegated as the thematic contours of the music with Scherrer switching from hard edged tenor to astringent shawm like soprano and to flute as the mood demands with Kennel frequently exchanging his
mellow flugel horn for a skittering, anguished trumpet voicings to turn up the heat. Added to these, Haag’s trombone provides some weighty ballast by way of his dark sonorities and gruff assertions whilst Koenig deploying both acoustic
and electric pianos articulates some incisive bop solos as well as creating ethereal harmonic effects. Bass and drums work well to negotiate the diversity of rhythmic solutions and particularly so in the freer, rubato passages where
the role of the rhythm section can often be rendered superfluous: here Frie and Schmidlin make intelligent, nuanced contributions that make up for the absence of a harmonic carpet. Throughout, the individual solo voices are embedded in fine ensemble work which drives forward with a powerful momentum.
This is an important re-issue in that it invites us to revisit a moment when European jazz was beginning to find a route out the received conventions of funk and fusion coming from the other side of the Atlantic and as such deserves the attention of every serious student and collector.
Reviewed by Euan Dixon
Top of Page
ANTO PETT/CHRISTOPH BAUMANN - Northwind Boogy
Leo Records CD LR 669
Anto Pett (piano) Christoph Baumann (piano)
Recorded at Radio Studio 1, Zurich 13/09/2012
To paraphrase a statement attributed to John Cage this fascinating recital of piano duets is music for `listening rather than merely hearing`. There is a distinction and with most avant-garde art forms some input
is required on the part of the audience even if it is no more than a suspension of pre-conceived notions of what constitutes form. Pett and Buamann make it easy for their listeners by attaching literal titles to their extemporised duo pieces and it requires no real effort on the part of the listener to enjoy what is a most accessible and entertaining excursion into freely improvised contemporary music.
With the performers mirroring and echoing each other’s phrases a high degree of rapport is achieved and one wonders whether the titles were applied before or after performance: if the former then to some extent the music was pre-conceived; if the latter, then their working method surely involves a form of telepathy: either way it is formidable achievement and speaks highly of their professional achievements: both men are teachers of improvisation as well
as being virtuoso pianists.
The ethos of John Cage hangs over the recital in that three of the pieces are for prepared pianos, Cage being the first to employ this technique although the idea was probably originally conceived by the French composer, Erik Satie. Rendered thus the pianos become capapable of producing a vast array of percussive sounds and tintabulations not dissimilar to that of an Indonesian Gamelan orchestra; additionally strings are plucked and bowed creating an ethereal sound world one normally associates with electronic music. Here the Cage parallels end for this is improvised music and Cage’s was constructed according to predetermined formulae. These pieces are wholly musical displaying a fascination with timbre, rhythm and harmony producing collaborative outcomes of shared musical vision as opposed to `do your own thing` chance and indeterminacy.
`Northwind Boogy` is more toccata than boogie and produces a storm force maelstrom of sound so tightly interlocked that it is impossible to distinguish whom is playing what. `A Night at the Zoo` presents a scary mixture of slithering and stamping sounds that would well serve as a soundtrack to Sendak’s `Where The Wild Things Are` whilst `Rubato Fugato` is exactly that; a, limpid fugue barely holding together in its floating lethargy. Then there is `Pecker`, a piece of pointillistic pianism to set against the more thunderous density of the highly powered pieces.
Free jazz will never be `easy listening` but this disc is so fascinating because as well as being a display of virtuosity it creates sound pictures that invoke awe , paint vivid colours, and communicate humour and much else that is life affirming and inspirational.
Reviewed by Euan Dixon
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Anto Pett (piano) Christoph Baumann (piano)
Recorded at Radio Studio 1, Zurich 13/09/2012
To paraphrase a statement attributed to John Cage this fascinating recital of piano duets is music for `listening rather than merely hearing`. There is a distinction and with most avant-garde art forms some input
is required on the part of the audience even if it is no more than a suspension of pre-conceived notions of what constitutes form. Pett and Buamann make it easy for their listeners by attaching literal titles to their extemporised duo pieces and it requires no real effort on the part of the listener to enjoy what is a most accessible and entertaining excursion into freely improvised contemporary music.
With the performers mirroring and echoing each other’s phrases a high degree of rapport is achieved and one wonders whether the titles were applied before or after performance: if the former then to some extent the music was pre-conceived; if the latter, then their working method surely involves a form of telepathy: either way it is formidable achievement and speaks highly of their professional achievements: both men are teachers of improvisation as well
as being virtuoso pianists.
The ethos of John Cage hangs over the recital in that three of the pieces are for prepared pianos, Cage being the first to employ this technique although the idea was probably originally conceived by the French composer, Erik Satie. Rendered thus the pianos become capapable of producing a vast array of percussive sounds and tintabulations not dissimilar to that of an Indonesian Gamelan orchestra; additionally strings are plucked and bowed creating an ethereal sound world one normally associates with electronic music. Here the Cage parallels end for this is improvised music and Cage’s was constructed according to predetermined formulae. These pieces are wholly musical displaying a fascination with timbre, rhythm and harmony producing collaborative outcomes of shared musical vision as opposed to `do your own thing` chance and indeterminacy.
`Northwind Boogy` is more toccata than boogie and produces a storm force maelstrom of sound so tightly interlocked that it is impossible to distinguish whom is playing what. `A Night at the Zoo` presents a scary mixture of slithering and stamping sounds that would well serve as a soundtrack to Sendak’s `Where The Wild Things Are` whilst `Rubato Fugato` is exactly that; a, limpid fugue barely holding together in its floating lethargy. Then there is `Pecker`, a piece of pointillistic pianism to set against the more thunderous density of the highly powered pieces.
Free jazz will never be `easy listening` but this disc is so fascinating because as well as being a display of virtuosity it creates sound pictures that invoke awe , paint vivid colours, and communicate humour and much else that is life affirming and inspirational.
Reviewed by Euan Dixon
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GARY PEACOCK/MARILYN CRISPELL - Azure
ECM 370 8869
Gary Peacock (b); Marilyn Crispell (p)
Recorded January& February 2011
Despite their long history of playing together as a duo, this is the first documentation of their work on disc. Their shared experience of playing together is immediately apparent in the music presented here, and it is perhaps a shame that their work over the preceding years was not recorded so that we may hear how the two musicians have refined and developed their music over time.
In the absence of any other material. all we can do is go on the music contained in this debut release for the duo, and the results are quite spectacular, in a quiet and lyrical manner, for as Crispell herself has said that she has felt "able to explore the more lyrical side of music with Gary...". The more tender side of Crispell's music is evident in some of her own compositions that she has brought to the sessions, allowing the melodies to speak more clearly than perhaps at any other time.
This heightened sense of melody is demonstrated with the heartfelt 'Waltz After David M', with Crispell's playing exhibiting a tenderness and delicacy of touch that is breath-takingly beautiful, that is matched superbly by Peacock's own solo. 'Goodbye', also by the pianist, is equally as pensive but that should not imply an overt sense of loss, but more a reflection on time spent together and
anticipation of future re-aqauintnaces.
Music of this nature will quiet often fall into a quiet and contemplative dialogue, and present homogeniety that if not handled carefully can become a confine to creativity. However Crispell and Peacok dispel this illusion, and show their
different playing experiences, with the bassist's long history of playing standards coupled with Crispell's experience in free and improvised music. This contrast is well illustrated in the opening (composed) piece 'Patterns' penned by the pianist with darting and rhythmic melodic lines leaving space for each musician to add their own commentary within the structure of the piece, and in three improvised duets in 'Blue',' Leapfrog' (that is so cohesive it could be a through composed piece) and the title track 'Azure' that capture the essence of these two artists; with 'Blue' showing the roots of each of their respective traditions and musical experiences.
Another album, that as the cliche goes, is greater than the sum of its parts with music that reveals more of itself and the players concerned with each new hearing.
Reviewed by Nick Lea
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Gary Peacock (b); Marilyn Crispell (p)
Recorded January& February 2011
Despite their long history of playing together as a duo, this is the first documentation of their work on disc. Their shared experience of playing together is immediately apparent in the music presented here, and it is perhaps a shame that their work over the preceding years was not recorded so that we may hear how the two musicians have refined and developed their music over time.
In the absence of any other material. all we can do is go on the music contained in this debut release for the duo, and the results are quite spectacular, in a quiet and lyrical manner, for as Crispell herself has said that she has felt "able to explore the more lyrical side of music with Gary...". The more tender side of Crispell's music is evident in some of her own compositions that she has brought to the sessions, allowing the melodies to speak more clearly than perhaps at any other time.
This heightened sense of melody is demonstrated with the heartfelt 'Waltz After David M', with Crispell's playing exhibiting a tenderness and delicacy of touch that is breath-takingly beautiful, that is matched superbly by Peacock's own solo. 'Goodbye', also by the pianist, is equally as pensive but that should not imply an overt sense of loss, but more a reflection on time spent together and
anticipation of future re-aqauintnaces.
Music of this nature will quiet often fall into a quiet and contemplative dialogue, and present homogeniety that if not handled carefully can become a confine to creativity. However Crispell and Peacok dispel this illusion, and show their
different playing experiences, with the bassist's long history of playing standards coupled with Crispell's experience in free and improvised music. This contrast is well illustrated in the opening (composed) piece 'Patterns' penned by the pianist with darting and rhythmic melodic lines leaving space for each musician to add their own commentary within the structure of the piece, and in three improvised duets in 'Blue',' Leapfrog' (that is so cohesive it could be a through composed piece) and the title track 'Azure' that capture the essence of these two artists; with 'Blue' showing the roots of each of their respective traditions and musical experiences.
Another album, that as the cliche goes, is greater than the sum of its parts with music that reveals more of itself and the players concerned with each new hearing.
Reviewed by Nick Lea
Top of Page
THE DOWLAND PROJECT/JOHN POTTER - Night Sessions
ECM New Series 476 5968
John Potter (tenor); Stehen Stubbs (lute, chitarrone, baroque guitar, vihuela); John Surman (soprano saxophone, bass clarinet, percussion); Maya Homburger (baroque violin); Milos Valent (violin, viola); Barry Guy (double
bass)
Recorded September 2001 & January 2006
Released on ECM's New Series imprint this again is not a jazz album but will be of interest to reader of this site due to the prescence of John Suman and Barry Guy, and perhaps more than any other releases by John Potter's Dowland project, for the improvisatory nature of much of the music on offer.
At first glance, it may appear that what you are about to hear is not too dissimilar to the music of The Hilliard Ensemble with Jan Garbarek, and indeed John Potter was a member of The Hilliards for 17 years, with a blending of
scored medieval and early chruch music with an improvising voice, but the two projects bear little resemblance to each other with The Dowland Project having a much wider tonal palette to call on.
The music that makes up a significant portion of the disc was actually recorded after the scheduled sessions were over and the participants were relaxing over a meal and contemplating a successful few days work. It was then that producer Manfred Eicher suggested that they go back into the studio to record some more. However, all the prepared and scored music had been performed and the musicians went back to the studio with some medieval poems and texts that Potter had with him and improvised a musical commentary which these became the Night Sessions.
The 'improvised' pieces are quite remarkable in the breadth of the music conjured out of the air as it were. Potter and Surman's rendition of 'Corpus Christi' so complete that it could be almost through composed. 'Swart mekerd smethes' takes the opening from Surman's bass clarinet and the plucked and bowed strings of Barry Guy and Maya Homburger to an at times violent and confrontational relationship with the text; whilst the quintet improvisation on 'Man in the
Moon' takes on a much more sympathetic approach to the words.
The 'daytime' pieces are perhaps not as fully prepared as on previous Dowland releases but are created in a very similar manner to which the group would normally work, but are none the less satisfying as a result. These pieces have been put together from small amounts of notation. 'Menino Jesus a Lappa' for example is based on fragments of a Portuguese pilgrim song, and 'Theoleptus 22' built around a Byzantine chant, and the group also explore music from 12th century troubadour Bernart de Ventadorn and the 14th century avant-guardist Solage.
The two contrasting methods to music making employed on this outstanding recording are as different as, well as night and day, but provide a music that is absorbing and stimulating. The satisfaction and interest is in how these musicians from different musical genres, and different improvising traditions, come together and tackle not the notation but the flexibility of working from minimal predetermined information towards a shared musical experience. It was a truly inspired move on the part of producer,Manfred Eicher to return t the studio and let the musical sculptures captured here evolve.
Reviewed by Nick Lea
Top of Page
John Potter (tenor); Stehen Stubbs (lute, chitarrone, baroque guitar, vihuela); John Surman (soprano saxophone, bass clarinet, percussion); Maya Homburger (baroque violin); Milos Valent (violin, viola); Barry Guy (double
bass)
Recorded September 2001 & January 2006
Released on ECM's New Series imprint this again is not a jazz album but will be of interest to reader of this site due to the prescence of John Suman and Barry Guy, and perhaps more than any other releases by John Potter's Dowland project, for the improvisatory nature of much of the music on offer.
At first glance, it may appear that what you are about to hear is not too dissimilar to the music of The Hilliard Ensemble with Jan Garbarek, and indeed John Potter was a member of The Hilliards for 17 years, with a blending of
scored medieval and early chruch music with an improvising voice, but the two projects bear little resemblance to each other with The Dowland Project having a much wider tonal palette to call on.
The music that makes up a significant portion of the disc was actually recorded after the scheduled sessions were over and the participants were relaxing over a meal and contemplating a successful few days work. It was then that producer Manfred Eicher suggested that they go back into the studio to record some more. However, all the prepared and scored music had been performed and the musicians went back to the studio with some medieval poems and texts that Potter had with him and improvised a musical commentary which these became the Night Sessions.
The 'improvised' pieces are quite remarkable in the breadth of the music conjured out of the air as it were. Potter and Surman's rendition of 'Corpus Christi' so complete that it could be almost through composed. 'Swart mekerd smethes' takes the opening from Surman's bass clarinet and the plucked and bowed strings of Barry Guy and Maya Homburger to an at times violent and confrontational relationship with the text; whilst the quintet improvisation on 'Man in the
Moon' takes on a much more sympathetic approach to the words.
The 'daytime' pieces are perhaps not as fully prepared as on previous Dowland releases but are created in a very similar manner to which the group would normally work, but are none the less satisfying as a result. These pieces have been put together from small amounts of notation. 'Menino Jesus a Lappa' for example is based on fragments of a Portuguese pilgrim song, and 'Theoleptus 22' built around a Byzantine chant, and the group also explore music from 12th century troubadour Bernart de Ventadorn and the 14th century avant-guardist Solage.
The two contrasting methods to music making employed on this outstanding recording are as different as, well as night and day, but provide a music that is absorbing and stimulating. The satisfaction and interest is in how these musicians from different musical genres, and different improvising traditions, come together and tackle not the notation but the flexibility of working from minimal predetermined information towards a shared musical experience. It was a truly inspired move on the part of producer,Manfred Eicher to return t the studio and let the musical sculptures captured here evolve.
Reviewed by Nick Lea
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NICOLAS MEIER - From Istanbul to Ceuta with a Smile
MGP Records – MGPCD009
Nicolas Meier (acoustic nylon and steel guitar, glissentar and baglama) Gilad Atzmon (soprano sax and clarinet) Pat Bettison (bass and harmonica) Bernard Gregor-Smith (cello) Demi Garcia (percussions) James Pearson (piano) Asaf Sirkis (drums) Lizzie Ball (violin)
Recorded May 2012
There’s a wonderful world of music out there and discs like this help us celebrate it in all its glorious diversity. What we have here is a three
part suite which takes us on a musical journey from one end of the Mediterranean to the other exploiting Turkish, Balkan, North African and Spanish modes plus a touch of Morricone, in a seamless, quasi- symphonic sweep. Conceived in the style of one of The Pat Metheny Group’s grand projects like `Imaginary Day` or
`A Map of the World` it is saved from being travelogue music by some pretty intense jazz blowing that weaves in and out of the more impressionistic and rhapsodic passages. It is also largely acoustic, though I believe the glissentar is an amplified oud, whereas Metheny tends to fill out his music with synthesised sound.
Meier is a formidable guitarist who knits all the music elements together as the main instrumental voice whilst Gilad Atzmon, who needs no introduction, provides the main pure jazz interest with his torrid wailing on soprano whilst his clarinet musings remind us of the seminal influence of Klezmer music within the jazz genre. Those who know Atzmon will also be familiar with the work of his drummer, Asaf Sirkis, which is as full of `attitude` as that of his boss. Sirkis keeps up a relentless percussive barrage replicating with metronomic accuracy the complex rhythms required and with what appears astonishing energy.
This three man tsunami is calmed by the soothing breezes of Bettison’s harmonica which rather extends the musical horizons further west by introducing a plaintive `Spaghetti Western` element that works effectively into the variegated tapestry and James Pearson’s legato conversations perform an equally moderating role rather like that of Lyle Mays in the Metheny context.
For those who have enjoyed the aforementioned Metheny works this disc will be of particular interest and though employing different musical idioms the parallels will be immediately recognisable. For everyone else the abundance of melodic vivacity, rhythmic vitality and peerless virtuosity will be sufficient justification for adding it to their collection.
Reviewed by Euan Dixon
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Nicolas Meier (acoustic nylon and steel guitar, glissentar and baglama) Gilad Atzmon (soprano sax and clarinet) Pat Bettison (bass and harmonica) Bernard Gregor-Smith (cello) Demi Garcia (percussions) James Pearson (piano) Asaf Sirkis (drums) Lizzie Ball (violin)
Recorded May 2012
There’s a wonderful world of music out there and discs like this help us celebrate it in all its glorious diversity. What we have here is a three
part suite which takes us on a musical journey from one end of the Mediterranean to the other exploiting Turkish, Balkan, North African and Spanish modes plus a touch of Morricone, in a seamless, quasi- symphonic sweep. Conceived in the style of one of The Pat Metheny Group’s grand projects like `Imaginary Day` or
`A Map of the World` it is saved from being travelogue music by some pretty intense jazz blowing that weaves in and out of the more impressionistic and rhapsodic passages. It is also largely acoustic, though I believe the glissentar is an amplified oud, whereas Metheny tends to fill out his music with synthesised sound.
Meier is a formidable guitarist who knits all the music elements together as the main instrumental voice whilst Gilad Atzmon, who needs no introduction, provides the main pure jazz interest with his torrid wailing on soprano whilst his clarinet musings remind us of the seminal influence of Klezmer music within the jazz genre. Those who know Atzmon will also be familiar with the work of his drummer, Asaf Sirkis, which is as full of `attitude` as that of his boss. Sirkis keeps up a relentless percussive barrage replicating with metronomic accuracy the complex rhythms required and with what appears astonishing energy.
This three man tsunami is calmed by the soothing breezes of Bettison’s harmonica which rather extends the musical horizons further west by introducing a plaintive `Spaghetti Western` element that works effectively into the variegated tapestry and James Pearson’s legato conversations perform an equally moderating role rather like that of Lyle Mays in the Metheny context.
For those who have enjoyed the aforementioned Metheny works this disc will be of particular interest and though employing different musical idioms the parallels will be immediately recognisable. For everyone else the abundance of melodic vivacity, rhythmic vitality and peerless virtuosity will be sufficient justification for adding it to their collection.
Reviewed by Euan Dixon
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MOONLIGHT SAVING TIME
Moonlight Saving Time – MST CD001
Emily Wright (voice) Nick Malcolm (trumpet) Dale Hambridge (piano) Jon Hyde (guitar) Will Harris (bass) Mark Whitlam (drums) with guest Rory Francis (percussion)
Recorded Sept. 30th and October 1st 2012 at Fieldgate Studios, Penarth.
As the title of this resourceful group suggests cool luminosity pervades their music making it the ideal groove for this spate of barbeque weather. The vocals of Emily Wright dominate the proceedings and though she has a small voice, with a limited dynamic range, it is ideally suited to this medium being in the tradition of Astrid Gilberto and reminding one of Sadè ( remember her) but with a lilting optimistic quality that stays just east of detached introspection.
She is ably supported by the group who provide some slow cooking support with just enough fire to keep the embers glowing. Nick Malcolm on trumpet fans the flames and though couple of his solos seem at variance with the melodic development of the given theme – call it creativity- his penetrating sound heightens the effect of Ms Wright’s laid back lyricism. Additionally there is some fine piano work –acoustic plus electric – and the percussionists maintain pleasing tension building samba and hip-hop underwriting.
The extended play length programme opens with a bright version of `Afro Blue` transposed from the veldt to the south downs and is followed by a faithful , if somewhat restrained, take on the Isley Brothers soul hit `Footsteps in the Dark` : it is here that the Sadé connection is most marked. A Latin tinged original follows and then a sprightly shuffle beat interpretation of Hoagy Carmichael’s classic `Skylark`, finishing with Chick Corea’s `Open Your Eyes You Can Fly`. All excellently accomplished and a delight to listen to.
So , in summary, not an essential purchase but for those who like to support home grown music making –recorded or live- a disc that will not disappoint and will provide an antidote to more weighty material when the appetite for gravitas begins to pall.
Reviewed by Euan Dixon
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Emily Wright (voice) Nick Malcolm (trumpet) Dale Hambridge (piano) Jon Hyde (guitar) Will Harris (bass) Mark Whitlam (drums) with guest Rory Francis (percussion)
Recorded Sept. 30th and October 1st 2012 at Fieldgate Studios, Penarth.
As the title of this resourceful group suggests cool luminosity pervades their music making it the ideal groove for this spate of barbeque weather. The vocals of Emily Wright dominate the proceedings and though she has a small voice, with a limited dynamic range, it is ideally suited to this medium being in the tradition of Astrid Gilberto and reminding one of Sadè ( remember her) but with a lilting optimistic quality that stays just east of detached introspection.
She is ably supported by the group who provide some slow cooking support with just enough fire to keep the embers glowing. Nick Malcolm on trumpet fans the flames and though couple of his solos seem at variance with the melodic development of the given theme – call it creativity- his penetrating sound heightens the effect of Ms Wright’s laid back lyricism. Additionally there is some fine piano work –acoustic plus electric – and the percussionists maintain pleasing tension building samba and hip-hop underwriting.
The extended play length programme opens with a bright version of `Afro Blue` transposed from the veldt to the south downs and is followed by a faithful , if somewhat restrained, take on the Isley Brothers soul hit `Footsteps in the Dark` : it is here that the Sadé connection is most marked. A Latin tinged original follows and then a sprightly shuffle beat interpretation of Hoagy Carmichael’s classic `Skylark`, finishing with Chick Corea’s `Open Your Eyes You Can Fly`. All excellently accomplished and a delight to listen to.
So , in summary, not an essential purchase but for those who like to support home grown music making –recorded or live- a disc that will not disappoint and will provide an antidote to more weighty material when the appetite for gravitas begins to pall.
Reviewed by Euan Dixon
Top of Page