NORMA WINSTONE/KLAUS GESING/GLAUCO VENIER – Dance Without Answer
ECM 374 3047
Norma Winstone (voice); Klaus Gesing (bass clarinet, soprano saxophone); Glauco Venier (piano)
Recorded December 13-15, 2012
This is now the third album for ECM by this remarkable trio, and it is difficult to supress the urge to declare that it is also their best to date. On closer acquaintance and after revisiting Distances
from 2007 and Stories Yet To Tell recorded in 2009 it is apparent all on a par in terms of their excellence and consistency, and that none of the releases are better but just different.
In fact just how different they are is quite staggering given the sparseness of the instrumentation and it is the choice of repertoire and inventiveness of the participants that make the results significantly greater than the sum of its parts. Norma Winstone is perhaps singing better than at any time in her long and distinguished career, and there can be few on the world stage to seriously rival the sheer beauty and emotional depth of her voice.
In Klaus Gesing the trio have a versatile reedsman with a sensual and moving, yet playful turn of phrase locked in the purity of his tone on soprano saxophone; and a bass clarinettist of genuine and unique originality. Pianist, Glauco Venier, brings to this a sense of formality and harmonic awareness that, rather than being the glue that holds the fabric of the material together, suggests new directions for both voice and
horns.
As indicated above, the material that the three breathe life into ranges from original pieces from within the band to contemporary popular music
from Madonna’s ‘Live To Tell’ and Dave Grusin’s theme song from the film Tootsie, ‘It Might Be You’. Truly superlative performances can also be heard in the voice/bass clarinet duet ‘San Diego Serenade’ by Tom Waits, a staple of the band’s live performances and recorded on their debut album for Universal Chamber Music in 2002, and in the poem ‘Gust Da Essi Viva’ by Novella Cantarutti and was written (and sung by Winston) in the Italian Friulian dialect. Set to music by Venier for a symphony orchestra. The stripped down arrangement heard here is an amazing rendition full of emotion and beauty that luxuriates in Norma’s voice and Gesing’s lyrical soprano. This is immediately followed by ‘A Tor A Tor’ with
Gesing switching to bass clarinet using slap tonguing techniques to create a gloriously rhythmic and percussive back drop for this filastrocca, or Friulian nursery rhyme, again set to music by Glauco Venier.
All in all this is a superb album from start to finish. Some of the tracks have immediate appeal, and all reveal hidden treasures with each
repeated hearing. It is somewhat of a forgone conclusion that I recommend this without reservation, however be prepared that once purchased you will wish to acquire the trio’s other albums to add to your collection.
Reviewed by Nick Lea
Norma Winstone (voice); Klaus Gesing (bass clarinet, soprano saxophone); Glauco Venier (piano)
Recorded December 13-15, 2012
This is now the third album for ECM by this remarkable trio, and it is difficult to supress the urge to declare that it is also their best to date. On closer acquaintance and after revisiting Distances
from 2007 and Stories Yet To Tell recorded in 2009 it is apparent all on a par in terms of their excellence and consistency, and that none of the releases are better but just different.
In fact just how different they are is quite staggering given the sparseness of the instrumentation and it is the choice of repertoire and inventiveness of the participants that make the results significantly greater than the sum of its parts. Norma Winstone is perhaps singing better than at any time in her long and distinguished career, and there can be few on the world stage to seriously rival the sheer beauty and emotional depth of her voice.
In Klaus Gesing the trio have a versatile reedsman with a sensual and moving, yet playful turn of phrase locked in the purity of his tone on soprano saxophone; and a bass clarinettist of genuine and unique originality. Pianist, Glauco Venier, brings to this a sense of formality and harmonic awareness that, rather than being the glue that holds the fabric of the material together, suggests new directions for both voice and
horns.
As indicated above, the material that the three breathe life into ranges from original pieces from within the band to contemporary popular music
from Madonna’s ‘Live To Tell’ and Dave Grusin’s theme song from the film Tootsie, ‘It Might Be You’. Truly superlative performances can also be heard in the voice/bass clarinet duet ‘San Diego Serenade’ by Tom Waits, a staple of the band’s live performances and recorded on their debut album for Universal Chamber Music in 2002, and in the poem ‘Gust Da Essi Viva’ by Novella Cantarutti and was written (and sung by Winston) in the Italian Friulian dialect. Set to music by Venier for a symphony orchestra. The stripped down arrangement heard here is an amazing rendition full of emotion and beauty that luxuriates in Norma’s voice and Gesing’s lyrical soprano. This is immediately followed by ‘A Tor A Tor’ with
Gesing switching to bass clarinet using slap tonguing techniques to create a gloriously rhythmic and percussive back drop for this filastrocca, or Friulian nursery rhyme, again set to music by Glauco Venier.
All in all this is a superb album from start to finish. Some of the tracks have immediate appeal, and all reveal hidden treasures with each
repeated hearing. It is somewhat of a forgone conclusion that I recommend this without reservation, however be prepared that once purchased you will wish to acquire the trio’s other albums to add to your collection.
Reviewed by Nick Lea
ARILD ANDERSEN/PAOLO VINACCIA/TOMMY SMITH - Mira
ECM 372 8782
Arild Andersen (double bass, electronics); Paolo Vinaccia (drums); Tommy Smith (tenor saxophone,
shakuhachi)
Recorded December 2-4, 2014
This is the long awaited follow up to the Live At Belleville set that was recorded in 2008, and the intervening years have seen the trio tour extensively and the close rapport and cohesiveness of the
unit is immediately apparent in the music presented here.
Recorded at the famous Rainbow Studio in Oslo, the three musicians have brought together a programme consisting of ballads and mid tempo free-floating sound explorations. Having said that some of Andersen’s themes are strong enough to keep everyone firmly grounded and thus the emphasis remains on the collective as a whole. This trait is clearly in evidence on ‘Reparte’ with Andersen’s solo introduction that leads into a beautiful melody stated by Tommy Smith’s tenor and then joined by Vinaccia’s commentary from the drums in a genuinely compelling
three way conversation.
Sounding much greater than the sum of its parts, the trio establish a degree of empathy that is quite astonishing. Tracks such as the opening ‘Bygone’ immediately set the scene for the more open and free flowing of the pieces to be followed by ‘Blussy’ which is driven along from behind the kit by Paolo Vinaccia’s tight rhythmic patterns in a tour de force for the saxophonist who ranges all over the horn complete with extended techniques and multi phonics.
As a contrast to the frenetic activity Smith’s tenor delivers ‘Le Saleya’ in a stately manner with his robust and lyrical sound shadowed by
Andersen’s superb accompaniment and counter melodies. This approach is also mirrored on the title track with the saxophonist perhaps even more lyrical with his subtle yet highly effective use of the higher and lower registers of the tenor.
The trio have also integrated some new sounds within the tonal palette available to them with Tommy heard on the shakuhachi (an ethnic flute)
in two short pieces, one duet with drums and one solo interlude, that breaks up the set nicely yet fits perfectly with what has come before and what is to follow. We also get the rare opportunity to hear Smith playing soprano saxophone on ‘Stevtone’ in a truly evocative and meditative finale to the album.
Of the nominal leader himself, Arild Andersen plays with an assurance and command of the material and the trio setting, switching seamlessly
between rhythmic duties in partnership with the drums, or playing counter melodies with or subtly shadowing and supporting the saxophone line.
Mira is the work of a truly collective trio that is reaching an artistic peak, yet is also hinting at new directions that may be pursued to continue their musical journey.
Reviewed by Nick Lea
Arild Andersen (double bass, electronics); Paolo Vinaccia (drums); Tommy Smith (tenor saxophone,
shakuhachi)
Recorded December 2-4, 2014
This is the long awaited follow up to the Live At Belleville set that was recorded in 2008, and the intervening years have seen the trio tour extensively and the close rapport and cohesiveness of the
unit is immediately apparent in the music presented here.
Recorded at the famous Rainbow Studio in Oslo, the three musicians have brought together a programme consisting of ballads and mid tempo free-floating sound explorations. Having said that some of Andersen’s themes are strong enough to keep everyone firmly grounded and thus the emphasis remains on the collective as a whole. This trait is clearly in evidence on ‘Reparte’ with Andersen’s solo introduction that leads into a beautiful melody stated by Tommy Smith’s tenor and then joined by Vinaccia’s commentary from the drums in a genuinely compelling
three way conversation.
Sounding much greater than the sum of its parts, the trio establish a degree of empathy that is quite astonishing. Tracks such as the opening ‘Bygone’ immediately set the scene for the more open and free flowing of the pieces to be followed by ‘Blussy’ which is driven along from behind the kit by Paolo Vinaccia’s tight rhythmic patterns in a tour de force for the saxophonist who ranges all over the horn complete with extended techniques and multi phonics.
As a contrast to the frenetic activity Smith’s tenor delivers ‘Le Saleya’ in a stately manner with his robust and lyrical sound shadowed by
Andersen’s superb accompaniment and counter melodies. This approach is also mirrored on the title track with the saxophonist perhaps even more lyrical with his subtle yet highly effective use of the higher and lower registers of the tenor.
The trio have also integrated some new sounds within the tonal palette available to them with Tommy heard on the shakuhachi (an ethnic flute)
in two short pieces, one duet with drums and one solo interlude, that breaks up the set nicely yet fits perfectly with what has come before and what is to follow. We also get the rare opportunity to hear Smith playing soprano saxophone on ‘Stevtone’ in a truly evocative and meditative finale to the album.
Of the nominal leader himself, Arild Andersen plays with an assurance and command of the material and the trio setting, switching seamlessly
between rhythmic duties in partnership with the drums, or playing counter melodies with or subtly shadowing and supporting the saxophone line.
Mira is the work of a truly collective trio that is reaching an artistic peak, yet is also hinting at new directions that may be pursued to continue their musical journey.
Reviewed by Nick Lea
DAVE BENNETT - Don’t Be That Way
Mack Avenue MAC 1071
Dave Bennett ( clt / vocals ) Tad Wood ( pno ) Paul Keller ( bass ) Pete Siers ( drs ) Reg Schwager ( el / acoustic gtr ) Shelly Berger ( arr )
Recorded Big Sky Studios, Ann Arbor
Dave Bennett is a new name on the jazz scene born in Pontiac, Michigan on 18 May 1984 he is entirely self-taught. His musical heroes are Benny Goodman, Woody Herman etc. but he has a more modern approach to his playing and pproaches old war horses from unusual directions. This is his debut album under his own name.
He began touring in 2005 with his combo in show entitled “Tribute to Benny Goodman” and in April 2008 made his European debut at the Bern International Jazz Festival, Switzerland. On the 1 November last year (2013) he made his debut at Carnegie Hall featuring with the New York Pops orchestra.
This album features mostly old favourites played by Goodman, Herman and others but with a new perspective. The album opens with a Benny
Goodman small group classic “Slipped Disc” and it apparent from the start that is not going to be a faithful reproduction of the original. The technique is there and Dave Bennett has a natural feel for swing but he makes the number his own.
The opening to “Begin the Beguine” is conventional enough but it develops into a hard swinger with excellent solos from pianist Tad Wood and
guitarist Reg Schwager. “St. James Infirmary” has an intro by the piano and guitar but gives no clues to the tune until the entry of the clarinet which is followed by a pleasant enough vocal by the leader of the group.
Lennon and McCartney’s “Yesterday” opens with a sombre piano intro which is duplicated by Dave Bennett but the song does not really lend
itself to a jazz interpretation. “Sing, Sing, Sing” follows very much in the Goodman version but with a much more modern twist and Dave Bennett’s formidable technique is full display plus drummer Pete Siers has his chance to shine.
A rollicking treatment is given to “Woodchoppers Ball” backed by a barrelhouse piano the whole piece is great fun. Bob Haggart’s “My Inspiration” is a lovely paced piece with all the participants giving of their best.
If you thought the clarinet was a forgotten instrument give this release a try and don’t be put off by the song selection as you won’t have heard
them played like this.
Reviewed by Roy Booth
Dave Bennett ( clt / vocals ) Tad Wood ( pno ) Paul Keller ( bass ) Pete Siers ( drs ) Reg Schwager ( el / acoustic gtr ) Shelly Berger ( arr )
Recorded Big Sky Studios, Ann Arbor
Dave Bennett is a new name on the jazz scene born in Pontiac, Michigan on 18 May 1984 he is entirely self-taught. His musical heroes are Benny Goodman, Woody Herman etc. but he has a more modern approach to his playing and pproaches old war horses from unusual directions. This is his debut album under his own name.
He began touring in 2005 with his combo in show entitled “Tribute to Benny Goodman” and in April 2008 made his European debut at the Bern International Jazz Festival, Switzerland. On the 1 November last year (2013) he made his debut at Carnegie Hall featuring with the New York Pops orchestra.
This album features mostly old favourites played by Goodman, Herman and others but with a new perspective. The album opens with a Benny
Goodman small group classic “Slipped Disc” and it apparent from the start that is not going to be a faithful reproduction of the original. The technique is there and Dave Bennett has a natural feel for swing but he makes the number his own.
The opening to “Begin the Beguine” is conventional enough but it develops into a hard swinger with excellent solos from pianist Tad Wood and
guitarist Reg Schwager. “St. James Infirmary” has an intro by the piano and guitar but gives no clues to the tune until the entry of the clarinet which is followed by a pleasant enough vocal by the leader of the group.
Lennon and McCartney’s “Yesterday” opens with a sombre piano intro which is duplicated by Dave Bennett but the song does not really lend
itself to a jazz interpretation. “Sing, Sing, Sing” follows very much in the Goodman version but with a much more modern twist and Dave Bennett’s formidable technique is full display plus drummer Pete Siers has his chance to shine.
A rollicking treatment is given to “Woodchoppers Ball” backed by a barrelhouse piano the whole piece is great fun. Bob Haggart’s “My Inspiration” is a lovely paced piece with all the participants giving of their best.
If you thought the clarinet was a forgotten instrument give this release a try and don’t be put off by the song selection as you won’t have heard
them played like this.
Reviewed by Roy Booth
PAUL HARRISON - Ten Play Ten
Harriphonic 1301
Paul Harrison (solo piano)
Recorded Caithness, Scotland August 17th-22nd 2013
Harrison’s album is beautifully recorded, the sound of the piano coming alive in my living room. He begins his solo recital with a lively, upbeat I Got Rhythm, the starting point for most swingers, solo or otherwise. If I Loved You is given a very personal treatment, as he stabs out staccato chords at a very slow tempo indeed. This piece segues into My Funny Valentine which receives a similar treatment. Paul’s notes are gentle, lyrical and like peals from a soft bell on this track. His touch is ultra light on ballads and in particular, a gentle tone with a slight swagger on The Summer Knows where he manages to ring the changes again, successfully, producing a version of this song unlike any other I have heard. Gershwin’s A Foggy Day is given the most unusual performance on the disc, played abstract in the introduction, the pianist then moves into an out of tempo reading of the melody before settling down to improvising on the line in a more traditional manner.
It is difficult to sustain interest for over forty eight minutes as a solo performer even if piano is the most likely instrument to bring success. Harrison’s variety of pace, tempo and general approach to the material has been well thought out prior to this recital and the end result is a solo piano disc containing improvised lines, invention and clever programming. Some electronic effects have been added to a few tracks but are not unduly distracting. If you are heavily into piano jazz and/or good solo recitals, this is one to consider.
Reviewed by Derek Ansell
Paul Harrison (solo piano)
Recorded Caithness, Scotland August 17th-22nd 2013
Harrison’s album is beautifully recorded, the sound of the piano coming alive in my living room. He begins his solo recital with a lively, upbeat I Got Rhythm, the starting point for most swingers, solo or otherwise. If I Loved You is given a very personal treatment, as he stabs out staccato chords at a very slow tempo indeed. This piece segues into My Funny Valentine which receives a similar treatment. Paul’s notes are gentle, lyrical and like peals from a soft bell on this track. His touch is ultra light on ballads and in particular, a gentle tone with a slight swagger on The Summer Knows where he manages to ring the changes again, successfully, producing a version of this song unlike any other I have heard. Gershwin’s A Foggy Day is given the most unusual performance on the disc, played abstract in the introduction, the pianist then moves into an out of tempo reading of the melody before settling down to improvising on the line in a more traditional manner.
It is difficult to sustain interest for over forty eight minutes as a solo performer even if piano is the most likely instrument to bring success. Harrison’s variety of pace, tempo and general approach to the material has been well thought out prior to this recital and the end result is a solo piano disc containing improvised lines, invention and clever programming. Some electronic effects have been added to a few tracks but are not unduly distracting. If you are heavily into piano jazz and/or good solo recitals, this is one to consider.
Reviewed by Derek Ansell
SONS OF KEMET - Burn
NAIM Records NAIM CD195
Shabaka Hutchings, saxophone and clarinet; Oren Marshall, tuba; Tom Skinner and Seb Rochford, drums and featuring Dave Okumu, guitar on tracks 5 + 6
The unconventional line-up should tell you that this is likely to be an extraordinary record and so it proves. On completion of your first audition, this forceful and contagious sound is likely to compel you to listen again, immediately. Hectic drumming introduces the music with a distinctly North African taste and this shifts to Middle Eastern for The Godfather at track 2, followed by another change of rhythm to a reggae pulse (Inner Babylon) so you might now form the idea that the span of these allusions is not only trans-Caribbean, but refers also to the entire African Dispersion. A little etymological research tells us that Shabaka was the name of the last of the Nubian kings of ancient Egypt and that Kemet was one of the earliest names for that nation. Shabaka seems to have carried out his own studies.
Firstly, the drumming: This grew on me as I listened, probably because I thought I recognised two threads with which I had some familiarity.
The first of these was of course a reggae-like rhythm that is not surprising, given Shabaka Hutching’s roots and the apparent intention of the
album. The traditional music of the Rastafarian religion consists of chanting and drumming to reach states of intensified sanctity. Jamaican
Rastafarians assimilated the rhythms of what are known as niyabinghi chants and drumming, not only into their celebrations, but also into popular reggae, rocksteady and ska music. Niyabinghi takes its name from an Eastern African (Ugandan) root, the name of a goddess and the cult that worshipped her. The second of my threads, I was surprised to discover, was the drumming of Mickey Hart (ex-Grateful Dead) expressly his Rolling Thunder album from 1972. This might be because the album in some way relates to the North American Shoshone nation and is named after one of their medicine men, whose voice is heard on the lead track of the same name. No, it’s not reggae, but the drumming has that kind of native feel to it. Back then to Shabaka’s BURN and the track 'The Rivers of Babylon’, the only cover track on the album. Seen and heard as customary in the Afro-Caribbean music convention, Shabaka has described it as a staple of Rastafarian niyabinghi drumming music. Here presented, it is certainly ritualistic and thoroughly arousing.
The album as a whole presents a display of an intricately woven variety of tunes, tautly delivered by a band in which each player knows his part
and how to link it with those of his colleagues. The music is mesmeric, though the enticement of the conventional extended solo is absent.
The music and the band are always full of energy and together bring us a fabulous, adrenaline-charged and captivating recording.
Reviewed by Ken Cheetham
Shabaka Hutchings, saxophone and clarinet; Oren Marshall, tuba; Tom Skinner and Seb Rochford, drums and featuring Dave Okumu, guitar on tracks 5 + 6
The unconventional line-up should tell you that this is likely to be an extraordinary record and so it proves. On completion of your first audition, this forceful and contagious sound is likely to compel you to listen again, immediately. Hectic drumming introduces the music with a distinctly North African taste and this shifts to Middle Eastern for The Godfather at track 2, followed by another change of rhythm to a reggae pulse (Inner Babylon) so you might now form the idea that the span of these allusions is not only trans-Caribbean, but refers also to the entire African Dispersion. A little etymological research tells us that Shabaka was the name of the last of the Nubian kings of ancient Egypt and that Kemet was one of the earliest names for that nation. Shabaka seems to have carried out his own studies.
Firstly, the drumming: This grew on me as I listened, probably because I thought I recognised two threads with which I had some familiarity.
The first of these was of course a reggae-like rhythm that is not surprising, given Shabaka Hutching’s roots and the apparent intention of the
album. The traditional music of the Rastafarian religion consists of chanting and drumming to reach states of intensified sanctity. Jamaican
Rastafarians assimilated the rhythms of what are known as niyabinghi chants and drumming, not only into their celebrations, but also into popular reggae, rocksteady and ska music. Niyabinghi takes its name from an Eastern African (Ugandan) root, the name of a goddess and the cult that worshipped her. The second of my threads, I was surprised to discover, was the drumming of Mickey Hart (ex-Grateful Dead) expressly his Rolling Thunder album from 1972. This might be because the album in some way relates to the North American Shoshone nation and is named after one of their medicine men, whose voice is heard on the lead track of the same name. No, it’s not reggae, but the drumming has that kind of native feel to it. Back then to Shabaka’s BURN and the track 'The Rivers of Babylon’, the only cover track on the album. Seen and heard as customary in the Afro-Caribbean music convention, Shabaka has described it as a staple of Rastafarian niyabinghi drumming music. Here presented, it is certainly ritualistic and thoroughly arousing.
The album as a whole presents a display of an intricately woven variety of tunes, tautly delivered by a band in which each player knows his part
and how to link it with those of his colleagues. The music is mesmeric, though the enticement of the conventional extended solo is absent.
The music and the band are always full of energy and together bring us a fabulous, adrenaline-charged and captivating recording.
Reviewed by Ken Cheetham
JOHN COLTRANE - The John Coltrane Quartet Featuring Eric Dolphy
In Crowd Records 996689
John Coltrane (tenor sax); Eric Dolphy (alto sax, flute); McCoy Tyner (piano); Reggie Workman (bass); Elvin Jones (drums)
Recorded L’Olympia, Paris, November 18th 1961
Four years after his classic recording for Blue Note, Coltrane returned to the haunting, eerie blues, Blue Train for this Paris Olympia concert. Everything played at the venue on this date is presented here, the first house concert on disc 1 and the second on disc 2. Trane plays the introduction to his searing blues in much the same way as on the record but as soon as he begins to get into his
solo he starts to build in a far more convoluted, multi-noted fashion, building a far more complex segment. This solo is also at least three times longer than the Blue Note version. Coltrane is obviously moving forward at this stage, starting to build on a limited number of chords and explore the extreme limits of the tonal range of his instrument. The long Blue Train solo is still within conventional modern jazz boundaries ( just) however and gives an indication of the way his music would move in the next two or three years. Dolphy’s alto solo is even more wild and complex and he is obviously moving in free jazz territory at this time. After the sound and fury of the two horns it is quite a relief to
sit back and listen to Tyner’s free flowing piano lines and the hiss of Elvin’s cymbals.
This concert caught Coltrane in transition, moving out of hard bop and into much freer areas of expression. The material represents his most recent and popular compositions and they are played in a similar manner to the old records in some instances. I Want To Talk About You is played as a lyrical ballad with a great Coltrane solo, complex and inventive but never losing sight of the tune’s melodic and harmonic framework. Most selections here are ten or more minutes in length, a practice Coltrane was starting at the time of playing long solos in live situations. This is nor quite the classic Coltrane quartet of the 1960s, that would start when Jimmy Garrison came in to replace Workman on bass, shortly after this European tour. Tyner and Elvin Jones had already settled in well though and both support vigorously on all these tracks.
Coltrane played the same selections at both houses of this concert with the addition of Impressions on disc 1. Blue Train and My Favourite Things are both solid favourites with people who love early Coltrane so this double CD package is a good buy, especially for people who do not have the early Blue Note and Atlantic discs.
Reviewed by Derek Ansell
John Coltrane (tenor sax); Eric Dolphy (alto sax, flute); McCoy Tyner (piano); Reggie Workman (bass); Elvin Jones (drums)
Recorded L’Olympia, Paris, November 18th 1961
Four years after his classic recording for Blue Note, Coltrane returned to the haunting, eerie blues, Blue Train for this Paris Olympia concert. Everything played at the venue on this date is presented here, the first house concert on disc 1 and the second on disc 2. Trane plays the introduction to his searing blues in much the same way as on the record but as soon as he begins to get into his
solo he starts to build in a far more convoluted, multi-noted fashion, building a far more complex segment. This solo is also at least three times longer than the Blue Note version. Coltrane is obviously moving forward at this stage, starting to build on a limited number of chords and explore the extreme limits of the tonal range of his instrument. The long Blue Train solo is still within conventional modern jazz boundaries ( just) however and gives an indication of the way his music would move in the next two or three years. Dolphy’s alto solo is even more wild and complex and he is obviously moving in free jazz territory at this time. After the sound and fury of the two horns it is quite a relief to
sit back and listen to Tyner’s free flowing piano lines and the hiss of Elvin’s cymbals.
This concert caught Coltrane in transition, moving out of hard bop and into much freer areas of expression. The material represents his most recent and popular compositions and they are played in a similar manner to the old records in some instances. I Want To Talk About You is played as a lyrical ballad with a great Coltrane solo, complex and inventive but never losing sight of the tune’s melodic and harmonic framework. Most selections here are ten or more minutes in length, a practice Coltrane was starting at the time of playing long solos in live situations. This is nor quite the classic Coltrane quartet of the 1960s, that would start when Jimmy Garrison came in to replace Workman on bass, shortly after this European tour. Tyner and Elvin Jones had already settled in well though and both support vigorously on all these tracks.
Coltrane played the same selections at both houses of this concert with the addition of Impressions on disc 1. Blue Train and My Favourite Things are both solid favourites with people who love early Coltrane so this double CD package is a good buy, especially for people who do not have the early Blue Note and Atlantic discs.
Reviewed by Derek Ansell
LAURA ZAKIAN - Songs For Modern Lovers
Dancing rhino Records LZD B004
Laura Zakian (vocal); Steve Lodder (piano); Simon Thorpe (bass); Nic France (drums); John Parricelli (guitar); Ben Davis (cello); Paul Bartholomew (baritone sax); Mark Lockheart (tenor sax); Joe
Auckland (trumpet)
Recorded at Clown’s Pocket April/May 2011.
This set features a bunch of songs, some popular, many classic, others just ones she likes, that Laura has compiled as a sort of ‘mixtape’ of music that is important to her. It is music she likes but also says to the listener ‘this music is who I am.With gems like I Thought About You, You Make Me Feel So Young and anything Goes, few jazz enthusiasts will complain. Laura has also commissioned new
arrangements, most of which have the line slowed down to give a fresh, original reading and a new approach to the individual songs. Her voice is bright, warm, often sultry by turn and she pulls out all of the meaning and emotion in her interpretations.
A good place to start might be Our Love Is Here To Stay where she sings with seemingly casual but studied pitch and improvises on the line along with a sterling accompaniment by the first rate rhythm section where Steve Lodder is accomplished and prominent in support. Other pieces
benefit from strong backing by Parricelli’s guitar and the warm, gutsy baritone of Paul Bartholomew. Makin’ Whoopee works very well, as do virtually all these selections although one or two up tempo pieces might have made for more variety overall. Popular songs, unfamiliar
to the jazz fraternity like Stop by Sam Brown and If You Leave Me Now by Paul Weller make for a fresh approach with Laura’s jazz approach and smoky jazz voice making a good case for making up for that lack of variety in tempi with something a little different and new. At any rate this is a well programmed set with imaginative and stimulating arrangements and is certainly highly recommended.
Reviewed by Derek Ansell
Laura Zakian (vocal); Steve Lodder (piano); Simon Thorpe (bass); Nic France (drums); John Parricelli (guitar); Ben Davis (cello); Paul Bartholomew (baritone sax); Mark Lockheart (tenor sax); Joe
Auckland (trumpet)
Recorded at Clown’s Pocket April/May 2011.
This set features a bunch of songs, some popular, many classic, others just ones she likes, that Laura has compiled as a sort of ‘mixtape’ of music that is important to her. It is music she likes but also says to the listener ‘this music is who I am.With gems like I Thought About You, You Make Me Feel So Young and anything Goes, few jazz enthusiasts will complain. Laura has also commissioned new
arrangements, most of which have the line slowed down to give a fresh, original reading and a new approach to the individual songs. Her voice is bright, warm, often sultry by turn and she pulls out all of the meaning and emotion in her interpretations.
A good place to start might be Our Love Is Here To Stay where she sings with seemingly casual but studied pitch and improvises on the line along with a sterling accompaniment by the first rate rhythm section where Steve Lodder is accomplished and prominent in support. Other pieces
benefit from strong backing by Parricelli’s guitar and the warm, gutsy baritone of Paul Bartholomew. Makin’ Whoopee works very well, as do virtually all these selections although one or two up tempo pieces might have made for more variety overall. Popular songs, unfamiliar
to the jazz fraternity like Stop by Sam Brown and If You Leave Me Now by Paul Weller make for a fresh approach with Laura’s jazz approach and smoky jazz voice making a good case for making up for that lack of variety in tempi with something a little different and new. At any rate this is a well programmed set with imaginative and stimulating arrangements and is certainly highly recommended.
Reviewed by Derek Ansell
CHET BAKER - The Very Best of Chet Baker Sings
CDX7727 (2 CD SET)
CD ONE
Collective personnel
Chet Baker ( vocals / tpt ); Russ Freeman ( pno ); Carson Smith ( bass ); Joe Môn dragon ( bass ); Jimmy Bond ( bass ); Bob Neel ( drs ); Shelly Manne ( drs ); Peter Littman ( drs ); Lawrence
Marable ( drs )
Recorded Los Angeles: 15 February 1954, 7 March 1955, 27 October 1953, 23 & 30 July 1956 & 28
February 1955
CD TWO
Collective personnel
Chet Baker ( vocal / tpt ) Russ Freeman ( pno ) Kenny Drew ( pno ) Bobby Timmons ( pno ) Red Mitchell ( bass ) George Morrow ( bass ) Sam Jones ( bass ) Jimmy Bond ( bass ) Bob Neel ( drs ) Philly Joe Jones ( drs ) Dannie Richmond ( drs ) Peter Littman ( drs ) Corky Hale ( Harp ) Phil Urso ( tnr )
Recorded Los Angeles: 28 February 1955 & 31 July 1956, New York August 1958
Track 18 Big band conducted by Johnny Mandel
Recorded Los Angeles, 8 November 1956
Tracks 19 & 20
Chet Baker ( vocal / tpt ) Mario Pezzotta ( tmb ) Glauco Masetti ( alto ) Gianni Basso ( tnr ) Fausto Papetti ( bar ) Giulio Libani ( pno )
Franco Cerry ( bass ) Gene Victory ( drs ) Len Mercer ( arr /cond)
Unidentified strings, woodwinds & harp
Recorded Milan, Italy, 28 September & 5 October 1959
These two CDs contain all Chet Baker’s earliest vocals when he was possibly at his peak as a vocalist. They are taken in the main from “Chet
Baker Sings” and “Chet Baker Sings and Plays with Bud Shank, Russ Freeman and Strings” originally released on Pacific Jazz and “Chet Baker Sings; It Could Happen to You” on Riverside.
On CD one Baker is accompanied by pianist Russ Freeman who was a regular in Baker’s recording output during his earlier years and so they are
both comfortable in each other’s presence. Baker’s trumpet solo on “Time after time” is a model of poise and reflection which would seem to be a feature on his vocal recordings. His reading of lyrics is immaculate and his choice of material is always spot on as though he realises the limitations of his vocal facilities. His approach to Carmichael’s “I get along without you very well” rivals Sinatra’s for it’s depth of feeling. “My funny valentine“ and “Let’s get lost” are both included on this disc, two tunes which have become synonymous with Baker.
The first four tracks on CD two again have Russ Freeman at the piano but also include Bud Shank on flute and Corky Hale on harp which do not
really add much to the quality of the tracks but tend to muddy the waters.
The next twelve tracks have Kenny Drew at the piano chair with varying bass and drums, the pianist is a revelation backing Baker’s vocals and
trumpet solos, at times outshining the star of the proceedings. Kenny Drew brings out the best in Baker’s vocals which seem to have a more mature quality on these tracks. And his solos are a joy.
The final four tracks are pretty makeweight but “Line for Lyons" is worth a listen for Phil Urso’s tenor which adds a bit of spice.
If you already have the tracks on CD one it is a worthwhile purchase for the tracks featuring Kenny Drew.
Reviewed by Roy Booth
CD ONE
Collective personnel
Chet Baker ( vocals / tpt ); Russ Freeman ( pno ); Carson Smith ( bass ); Joe Môn dragon ( bass ); Jimmy Bond ( bass ); Bob Neel ( drs ); Shelly Manne ( drs ); Peter Littman ( drs ); Lawrence
Marable ( drs )
Recorded Los Angeles: 15 February 1954, 7 March 1955, 27 October 1953, 23 & 30 July 1956 & 28
February 1955
CD TWO
Collective personnel
Chet Baker ( vocal / tpt ) Russ Freeman ( pno ) Kenny Drew ( pno ) Bobby Timmons ( pno ) Red Mitchell ( bass ) George Morrow ( bass ) Sam Jones ( bass ) Jimmy Bond ( bass ) Bob Neel ( drs ) Philly Joe Jones ( drs ) Dannie Richmond ( drs ) Peter Littman ( drs ) Corky Hale ( Harp ) Phil Urso ( tnr )
Recorded Los Angeles: 28 February 1955 & 31 July 1956, New York August 1958
Track 18 Big band conducted by Johnny Mandel
Recorded Los Angeles, 8 November 1956
Tracks 19 & 20
Chet Baker ( vocal / tpt ) Mario Pezzotta ( tmb ) Glauco Masetti ( alto ) Gianni Basso ( tnr ) Fausto Papetti ( bar ) Giulio Libani ( pno )
Franco Cerry ( bass ) Gene Victory ( drs ) Len Mercer ( arr /cond)
Unidentified strings, woodwinds & harp
Recorded Milan, Italy, 28 September & 5 October 1959
These two CDs contain all Chet Baker’s earliest vocals when he was possibly at his peak as a vocalist. They are taken in the main from “Chet
Baker Sings” and “Chet Baker Sings and Plays with Bud Shank, Russ Freeman and Strings” originally released on Pacific Jazz and “Chet Baker Sings; It Could Happen to You” on Riverside.
On CD one Baker is accompanied by pianist Russ Freeman who was a regular in Baker’s recording output during his earlier years and so they are
both comfortable in each other’s presence. Baker’s trumpet solo on “Time after time” is a model of poise and reflection which would seem to be a feature on his vocal recordings. His reading of lyrics is immaculate and his choice of material is always spot on as though he realises the limitations of his vocal facilities. His approach to Carmichael’s “I get along without you very well” rivals Sinatra’s for it’s depth of feeling. “My funny valentine“ and “Let’s get lost” are both included on this disc, two tunes which have become synonymous with Baker.
The first four tracks on CD two again have Russ Freeman at the piano but also include Bud Shank on flute and Corky Hale on harp which do not
really add much to the quality of the tracks but tend to muddy the waters.
The next twelve tracks have Kenny Drew at the piano chair with varying bass and drums, the pianist is a revelation backing Baker’s vocals and
trumpet solos, at times outshining the star of the proceedings. Kenny Drew brings out the best in Baker’s vocals which seem to have a more mature quality on these tracks. And his solos are a joy.
The final four tracks are pretty makeweight but “Line for Lyons" is worth a listen for Phil Urso’s tenor which adds a bit of spice.
If you already have the tracks on CD one it is a worthwhile purchase for the tracks featuring Kenny Drew.
Reviewed by Roy Booth
JEFF LORBER FUSION - Hacienda
Heads Up HUI-34476-2
Jeff Lorber (keyboards, synth bass, guitar), Lenny Castro (percussion), Vinnie Colaiuta (drums), Jimmy Haslip (bass), Larry Koonse (guitar), Paul Jackson Jr (guitar), Jean Luc-Ponty (violin), David Mann: (horns, saxophone, brass, flutes), Ed Mann (marimba), Eric Marienthal (alto sax, soprano saxophone), Gary Novak (drums), Micael Thompson(guitar, guitar orchestration), Dave Weckl (drums).
This latest album from Jeff Lorber is the third in a series which reworks his music from the ‘70s and 80s, following ‘Now is the Time’ and ‘Galaxy’, both produced by Heads Up. Lober’s career has spanned five decades moving from fusion through to smooth jazz. Hacienda, with a stellar cast of
instrumentalists continues a distinctive reflection of fusion roots. The album is, as to be expected with these musicians, polished and well balanced.
The eleven well proportioned tracks are all over 4 minutes, providing time to become immersed in the strands of rhythms and melodies. ‘Corinaldo’ is an explosive first piece, fizzing with fast paced melodies and countermelodies and an unforgettable sax solo by Marienthal. Other outstanding tracks include the smooth ‘Solar Wind’, with Larry Koonse’s almost buttery guitar contrasting Marienthal’s sharper sax playing. A similar masterly interweaving is found ‘King Kong’ featuring the violin of Zappa-associated Jean-Luc Ponty weaving in and out of a very impulsive and driven sounding series of melodies. ‘Playa de Falco’ is a calmer and probably the most reflective offering on this fast-paced
album.
My only criticism is that, although superbly executed, for the average listener the collection might benefit from a more varied presentation. Each track is excellent listening but overall provides a rich banquet which might benefit from the inclusion of more extended solos or changes in mood. However if your preference is for well-executed, strongly rhythmic, high energy electro- funk then this album is for you.
Reviewed by Jill Tardivel
Jeff Lorber (keyboards, synth bass, guitar), Lenny Castro (percussion), Vinnie Colaiuta (drums), Jimmy Haslip (bass), Larry Koonse (guitar), Paul Jackson Jr (guitar), Jean Luc-Ponty (violin), David Mann: (horns, saxophone, brass, flutes), Ed Mann (marimba), Eric Marienthal (alto sax, soprano saxophone), Gary Novak (drums), Micael Thompson(guitar, guitar orchestration), Dave Weckl (drums).
This latest album from Jeff Lorber is the third in a series which reworks his music from the ‘70s and 80s, following ‘Now is the Time’ and ‘Galaxy’, both produced by Heads Up. Lober’s career has spanned five decades moving from fusion through to smooth jazz. Hacienda, with a stellar cast of
instrumentalists continues a distinctive reflection of fusion roots. The album is, as to be expected with these musicians, polished and well balanced.
The eleven well proportioned tracks are all over 4 minutes, providing time to become immersed in the strands of rhythms and melodies. ‘Corinaldo’ is an explosive first piece, fizzing with fast paced melodies and countermelodies and an unforgettable sax solo by Marienthal. Other outstanding tracks include the smooth ‘Solar Wind’, with Larry Koonse’s almost buttery guitar contrasting Marienthal’s sharper sax playing. A similar masterly interweaving is found ‘King Kong’ featuring the violin of Zappa-associated Jean-Luc Ponty weaving in and out of a very impulsive and driven sounding series of melodies. ‘Playa de Falco’ is a calmer and probably the most reflective offering on this fast-paced
album.
My only criticism is that, although superbly executed, for the average listener the collection might benefit from a more varied presentation. Each track is excellent listening but overall provides a rich banquet which might benefit from the inclusion of more extended solos or changes in mood. However if your preference is for well-executed, strongly rhythmic, high energy electro- funk then this album is for you.
Reviewed by Jill Tardivel
INTERPLAY - Global
Silvery Records SRCD0065
Alan Wakeman (tenor and soprano saxes, flute); Richard Baker (trombone); Neil Hunter (keyboards); Adrian Litvinoff (double bass, electric bass); Dave Balen (drums and other percussion)
Recorded at the Old Shoe Factory, Rushden, 2013
The sleeve notes and cover art of this excellent disc earnestly espouse a New Age/World music agenda which could be a bit off-putting to those who don’t share such enthusiasms. That would be a pity because there is nothing effete or wilfully eclectic about what is essentially a quite virile assay of
post –bop modes. There are, it can’t be denied, impressionistic aspirations at work but the tenor/trombone pairing that dominates most of the set ensures that the music is grounded in the jazz vocabulary of groups like the early Jazz Crusaders or even the Getz/Brookmeyer quintet albeit spruced up with post-modern embellishments.
Wakeman’s tenor sound has that hollow resonance that is associated with Charles Lloyd and coupled with Baker’s rich, warm trombone sound they constitute a potent a front line presence. Flute and soprano sax are deployed to suit the compositional prerequisites which inevitably include
pieces of Latin American music and others in eastern and oriental styles whilst the piano is exchanged for keyboard when softer, fluid harmonies are called for.
The `global` brief, as one would expect, requires input from a pretty resourceful percussionist and Balen certainly rises to the task of keeping everything on the go. Only in one of the Latin numbers did I feel a tinge of monotony setting in which would have been helped by the addition of another percussionist to set up a bit of polyrhythmic tension but this is a minor quibble that doesn’t seriously impair the overall effectiveness of the piece in question.
Of the playlist, the compositions are mostly attributed to bass player and producer, Litvinoff as well as including versions of tunes by McCoy
Tyner, Pat Metheny, Jose Diaz and Abdullah Ibrahim. Of the originals ‘Swift Return`, an ornithological inspired confection, is an absolute honey of a track. Played in samba time it is a scintillating and eminently hummable tune that must be a show stopper when performed at a gig.
I suspect that this disc has been produced for sale at the band’s concerts and it would be a pity if that were its principal mode of distribution
given that some of us may have to wait a while to hear them live. For those who can’t wait –and why should you- their music can be purchased/downloaded from their website at www.interplayjazz.co.uk. Give it try, you won’t be disappointed.
Reviewed by Euan Dixon
Alan Wakeman (tenor and soprano saxes, flute); Richard Baker (trombone); Neil Hunter (keyboards); Adrian Litvinoff (double bass, electric bass); Dave Balen (drums and other percussion)
Recorded at the Old Shoe Factory, Rushden, 2013
The sleeve notes and cover art of this excellent disc earnestly espouse a New Age/World music agenda which could be a bit off-putting to those who don’t share such enthusiasms. That would be a pity because there is nothing effete or wilfully eclectic about what is essentially a quite virile assay of
post –bop modes. There are, it can’t be denied, impressionistic aspirations at work but the tenor/trombone pairing that dominates most of the set ensures that the music is grounded in the jazz vocabulary of groups like the early Jazz Crusaders or even the Getz/Brookmeyer quintet albeit spruced up with post-modern embellishments.
Wakeman’s tenor sound has that hollow resonance that is associated with Charles Lloyd and coupled with Baker’s rich, warm trombone sound they constitute a potent a front line presence. Flute and soprano sax are deployed to suit the compositional prerequisites which inevitably include
pieces of Latin American music and others in eastern and oriental styles whilst the piano is exchanged for keyboard when softer, fluid harmonies are called for.
The `global` brief, as one would expect, requires input from a pretty resourceful percussionist and Balen certainly rises to the task of keeping everything on the go. Only in one of the Latin numbers did I feel a tinge of monotony setting in which would have been helped by the addition of another percussionist to set up a bit of polyrhythmic tension but this is a minor quibble that doesn’t seriously impair the overall effectiveness of the piece in question.
Of the playlist, the compositions are mostly attributed to bass player and producer, Litvinoff as well as including versions of tunes by McCoy
Tyner, Pat Metheny, Jose Diaz and Abdullah Ibrahim. Of the originals ‘Swift Return`, an ornithological inspired confection, is an absolute honey of a track. Played in samba time it is a scintillating and eminently hummable tune that must be a show stopper when performed at a gig.
I suspect that this disc has been produced for sale at the band’s concerts and it would be a pity if that were its principal mode of distribution
given that some of us may have to wait a while to hear them live. For those who can’t wait –and why should you- their music can be purchased/downloaded from their website at www.interplayjazz.co.uk. Give it try, you won’t be disappointed.
Reviewed by Euan Dixon
ART BLAKEY & THE JAZZ MESSENGERS - Pisces
Solar 4569943
Art Blakey (drums); Lee Morgan (trumpet); Wayne Shorter (tenor sax); Booby Timmons, Walter Davis jnr, Cedar Walton (piano); Jymie Merritt, Reggie Workman (bass)
New Jersey February 12th-, 18th & 27th May, 1961
The first five tracks here are by one of the very best of all the Jazz Messenger line ups. Morgan was a fiery, swinging trumpeter who always put everything into every solo and was a personal favourite of Blakey, as he recalled years later. Shorter was just beginning to find his own voice and style at this time although the Coltrane influence is powerful all through this set. Timmons followed on in the tradition of Horace silver, the founder member of the original Messengers and proves he was in that same funky, blues based lineage.
It’s A Long Way Down is a typical, swinging hard bop opus with both front line players on top form and Cedar Walton coming in on piano on this track. There are two versions of Ping Pong and United from the Pisces session. There are also three additional tracks that did not appear on the LP edition of Pisces. Blakey and his boys were in and out of the studio for Blue Note sessions at this time and this music is another cross
section of their output. It is high quality, hard bop, if I can put it that way with Blakey in charge, always pushing, driving and ensuring that his men swing on each and every selection. Well, how could they fail with that dynamo behind them?
Reviewed by Derek Ansell
Art Blakey (drums); Lee Morgan (trumpet); Wayne Shorter (tenor sax); Booby Timmons, Walter Davis jnr, Cedar Walton (piano); Jymie Merritt, Reggie Workman (bass)
New Jersey February 12th-, 18th & 27th May, 1961
The first five tracks here are by one of the very best of all the Jazz Messenger line ups. Morgan was a fiery, swinging trumpeter who always put everything into every solo and was a personal favourite of Blakey, as he recalled years later. Shorter was just beginning to find his own voice and style at this time although the Coltrane influence is powerful all through this set. Timmons followed on in the tradition of Horace silver, the founder member of the original Messengers and proves he was in that same funky, blues based lineage.
It’s A Long Way Down is a typical, swinging hard bop opus with both front line players on top form and Cedar Walton coming in on piano on this track. There are two versions of Ping Pong and United from the Pisces session. There are also three additional tracks that did not appear on the LP edition of Pisces. Blakey and his boys were in and out of the studio for Blue Note sessions at this time and this music is another cross
section of their output. It is high quality, hard bop, if I can put it that way with Blakey in charge, always pushing, driving and ensuring that his men swing on each and every selection. Well, how could they fail with that dynamo behind them?
Reviewed by Derek Ansell
MICHAEL AADAL GROUP - Abigail
Losen Records LOS122-2
Michael Aadal, guitar; André Kassen, saxophones; Ole-Bjørn Talstad, piano; Anders Hofstad Sørås, pedal steel guitar; Audun Ramo, acoustic bass; Gunnar Sæther, drums.
Recorded in Oslo in November 2012
This album is at first very striking, for its poignancy and for its clever complexity of compositions which draw on hints and traces from a broad palette of sources, not all of which can be said to have been summoned from the contemporary jazz idiom, so the foundations are widespread across a
large diversity of genres. There is also present an air of the soundtrack, both 'November' and 'Black
River' seeming to belong to small screen cinema, while the final track, 'Abigail' with vocal, seems to echo as a reflective reprise on a Western yarn just told. Certainly, there is an overall sense of narrative, though what the story might be is not revealed in the music. The style is undefined, as there are no outstanding solos; it's not that kind of music. Arrangement and texture are more significant and predominate and the musicians conduct themselves with sensitivity and
excellence.
Whilst atmospheric would describe the whole quite admirably and though recognizing the strength of the writing, its lyricism and structure, it is fair to say that there is at the same time something of an Arctic chill in the air. The group comes from Norway and it may be no surprise that
a somewhat cold, Nordic soundscape might be discerned. The overall feeling through the audition was reminiscent of Jan Garbarek
appearing at the festival ‘Jazz à Vienne’ in 1999, when his refined tonality brought an icy coldness, redolent of the frozen wastes of northern Scandinavia, to the otherwise warm and sunny Roman amphitheatre. The audience wanted him to let go; to become a little sensual; to hear
the voice of Coltrane perhaps; to let those melodies come alive; to overcome his obsession with vibrato. It was cold and it was dry and there is some of that here too, though this melts a little as it progresses.
The album is of course worth a listen, my comments perhaps arising from the fact that it is simply not my kind of music.
Reviewed by Ken Cheetham
Michael Aadal, guitar; André Kassen, saxophones; Ole-Bjørn Talstad, piano; Anders Hofstad Sørås, pedal steel guitar; Audun Ramo, acoustic bass; Gunnar Sæther, drums.
Recorded in Oslo in November 2012
This album is at first very striking, for its poignancy and for its clever complexity of compositions which draw on hints and traces from a broad palette of sources, not all of which can be said to have been summoned from the contemporary jazz idiom, so the foundations are widespread across a
large diversity of genres. There is also present an air of the soundtrack, both 'November' and 'Black
River' seeming to belong to small screen cinema, while the final track, 'Abigail' with vocal, seems to echo as a reflective reprise on a Western yarn just told. Certainly, there is an overall sense of narrative, though what the story might be is not revealed in the music. The style is undefined, as there are no outstanding solos; it's not that kind of music. Arrangement and texture are more significant and predominate and the musicians conduct themselves with sensitivity and
excellence.
Whilst atmospheric would describe the whole quite admirably and though recognizing the strength of the writing, its lyricism and structure, it is fair to say that there is at the same time something of an Arctic chill in the air. The group comes from Norway and it may be no surprise that
a somewhat cold, Nordic soundscape might be discerned. The overall feeling through the audition was reminiscent of Jan Garbarek
appearing at the festival ‘Jazz à Vienne’ in 1999, when his refined tonality brought an icy coldness, redolent of the frozen wastes of northern Scandinavia, to the otherwise warm and sunny Roman amphitheatre. The audience wanted him to let go; to become a little sensual; to hear
the voice of Coltrane perhaps; to let those melodies come alive; to overcome his obsession with vibrato. It was cold and it was dry and there is some of that here too, though this melts a little as it progresses.
The album is of course worth a listen, my comments perhaps arising from the fact that it is simply not my kind of music.
Reviewed by Ken Cheetham
GERRY MULLIGAN QUARTET – Gerry Mulligan Quartet & Spring Is Sprung
Essential Jazz Classics EJC55602
The Gerry Mulligan Quartet
Gerry Mu8lligan (bar); Bob Brookmeyer (val tmb / pno); Bill Crow (bass); Gus Johnson (drs)
Recorded New York 14-15 May 1962 & one track live at the Village Vanguard New York 25 February
1962
Spring Is Sprung
Gerry Mulligan (bar / pno); Bob Brookmeyer (val tmb / pno); Bill Crow (bass); Dave Baqily (drs)
Recorded Ne3w York 11-12 December 1962 & live at the l’Olympia, Paris, France, 6 October 1962
This is a welcome re-issue of two difficult to find LPs, “The Gerry Mulligan Quartet” which was originally issued on Verve and “Spring Is Sprung” on the Phillips label. Both albums feature Bob Brookmeyer on valve trombone who took the place in the quartet of the trumpet player Chet Baker who had formed his own quartet whilst Mulligan was in prison for drug offences.
Nine of the fourteen tracks on the album are compositions by Mulligan and demonstrate what a versatile writer he was. The album opens with “I’m Getting Sentimental Over You” which Mulligan was later to record in a big band version, both Mulligan and Brookmeyer contribute inspired solos. The drummer Gus Johnson was not a regular member of the quartet but fits in seamlessly remaining in the background and pushing Mulligan and Brookmeyer to play at their peak. “Piano Train” is another of Mulligan’s locomotive inspired compositions and in his solo he recreates the sound of the steam trains whistle.
A Mulligan original, “Love in New Orleans” has free flowing solos by Mulligan and Brookmeyer, and with bassist Bill Crow getting a chance to shine it all adds up to a satisfying outing for the group. Another Mulligan original “I Know, Don’t Know How” was recorded live at the Village Vanguard and has slightly extended solos by both Mulligan and Brookmeyer for which they take full advantage.
The album Spring is Sprung retains the same personnel except the drummer Dave Bailey takes over from Gus Johnson and is possibly more in tune with requirements of the group. Mulligan’s “Subterranean Blues” is the highlight of this album and is one of Mulligan’s typical slow burners, he is backed by Brookmeyer’s pithy piano playing.
The two bonus tracks are from a Parisian live date and feature Mulligan’s ever popular “Five Brothers” plus his usual play out tune “Utter Chaos”.
This is a welcome return to the catalogue of two little known Mulligan albums which are well worth a listen as they contain some excellent Mulligan and Brookmeyer playing and are highly recommended.
Reviewed by Roy Booth
The Gerry Mulligan Quartet
Gerry Mu8lligan (bar); Bob Brookmeyer (val tmb / pno); Bill Crow (bass); Gus Johnson (drs)
Recorded New York 14-15 May 1962 & one track live at the Village Vanguard New York 25 February
1962
Spring Is Sprung
Gerry Mulligan (bar / pno); Bob Brookmeyer (val tmb / pno); Bill Crow (bass); Dave Baqily (drs)
Recorded Ne3w York 11-12 December 1962 & live at the l’Olympia, Paris, France, 6 October 1962
This is a welcome re-issue of two difficult to find LPs, “The Gerry Mulligan Quartet” which was originally issued on Verve and “Spring Is Sprung” on the Phillips label. Both albums feature Bob Brookmeyer on valve trombone who took the place in the quartet of the trumpet player Chet Baker who had formed his own quartet whilst Mulligan was in prison for drug offences.
Nine of the fourteen tracks on the album are compositions by Mulligan and demonstrate what a versatile writer he was. The album opens with “I’m Getting Sentimental Over You” which Mulligan was later to record in a big band version, both Mulligan and Brookmeyer contribute inspired solos. The drummer Gus Johnson was not a regular member of the quartet but fits in seamlessly remaining in the background and pushing Mulligan and Brookmeyer to play at their peak. “Piano Train” is another of Mulligan’s locomotive inspired compositions and in his solo he recreates the sound of the steam trains whistle.
A Mulligan original, “Love in New Orleans” has free flowing solos by Mulligan and Brookmeyer, and with bassist Bill Crow getting a chance to shine it all adds up to a satisfying outing for the group. Another Mulligan original “I Know, Don’t Know How” was recorded live at the Village Vanguard and has slightly extended solos by both Mulligan and Brookmeyer for which they take full advantage.
The album Spring is Sprung retains the same personnel except the drummer Dave Bailey takes over from Gus Johnson and is possibly more in tune with requirements of the group. Mulligan’s “Subterranean Blues” is the highlight of this album and is one of Mulligan’s typical slow burners, he is backed by Brookmeyer’s pithy piano playing.
The two bonus tracks are from a Parisian live date and feature Mulligan’s ever popular “Five Brothers” plus his usual play out tune “Utter Chaos”.
This is a welcome return to the catalogue of two little known Mulligan albums which are well worth a listen as they contain some excellent Mulligan and Brookmeyer playing and are highly recommended.
Reviewed by Roy Booth
MARK PERRY & DUNCAN EAGLES QUINTET - Road Ahead
F-IRE Presents – F-IRECD 65
Mark Perry (trumpet); Duncan Eagles (saxophone); Gareth Lockrane (flute); Max Luthert (bass); Sam Leak (piano); Chris Nicholls (drums); Ola Onabule (vocal)
Recorded at Clown Pocket Studio, London in 2013
Having made a stunning entrance in Ollie Howell’s recent debut album, `Sutures and Stitches’, Perry & Eagles state their own case for recognition as emerging talent of significance in this, their own maiden voyage as group leaders, which reveals their command of the conventions of modern jazz
and their ability to reinterpret and revitalise them by applying their own distinctive voicings and contemporary embellishments.
From the opening horn chorale we immediately recognise a class act and in the series of expansive, through composed, modal themes that follow they demonstrate an empathy that is rarely typical of such youthful start- up enterprises. Their tunes, though uncomplicated, are all memorable and to build textural interest the wordless vocalisations of Ola Onabule are added in a sparingly tasteful fashion that serves to enhance melodic attractiveness.
Underpinning these themes are interior rhythmic structures which contrast modal pedals with varied time signatures creating a stimulating tension between stasis and forward momentum. In this way they revitalise the hard bop genre through the application of contemporary rhythms which include rock and its various permutations. Inevitably there are vestigial traces of Miles, circa `68 or more accurately the late acoustic quintet lead by Tony Williams on Blue Note but the overall sound is more melodic and less relentless.
From this melodic and rhythmic melange the solos emerge like pure poetry, devoid of cheap effects and over dramatic posturing. The leaders are
particularly cogent in their solo statements and produce a sound that makes for very pleasant listening but with sufficient incident to keep the ear focused on the storyline. The same is true of Sam Leak’s important contribution and adding Lockrane’s flute to some of the tunes helps fulfil the particular thematic brief and spices up the aural mix.
Regarding the individual compositions I was particularly impressed by the opening `Flip of a Coin` which has a slightly menacing Bond theme quality and the optimistic spring -like `Barters Band`. `Wray Common` has a delightful pastoral ambience with moody tenor musings trading with Onabule’s meditative vocal touches and` G.T.` is a spiky, post bop theme that employs a ground bass motif and features some fervent exchanges between the principal horns. All in all a varied programme that has been put together in a way that guarantees interest will never flag.
Released by F-ire , the organisation dedicated to the promotion of contemporary jazz, this is an album which deserves wide attention.
Reviewed by Euan Dixon
Mark Perry (trumpet); Duncan Eagles (saxophone); Gareth Lockrane (flute); Max Luthert (bass); Sam Leak (piano); Chris Nicholls (drums); Ola Onabule (vocal)
Recorded at Clown Pocket Studio, London in 2013
Having made a stunning entrance in Ollie Howell’s recent debut album, `Sutures and Stitches’, Perry & Eagles state their own case for recognition as emerging talent of significance in this, their own maiden voyage as group leaders, which reveals their command of the conventions of modern jazz
and their ability to reinterpret and revitalise them by applying their own distinctive voicings and contemporary embellishments.
From the opening horn chorale we immediately recognise a class act and in the series of expansive, through composed, modal themes that follow they demonstrate an empathy that is rarely typical of such youthful start- up enterprises. Their tunes, though uncomplicated, are all memorable and to build textural interest the wordless vocalisations of Ola Onabule are added in a sparingly tasteful fashion that serves to enhance melodic attractiveness.
Underpinning these themes are interior rhythmic structures which contrast modal pedals with varied time signatures creating a stimulating tension between stasis and forward momentum. In this way they revitalise the hard bop genre through the application of contemporary rhythms which include rock and its various permutations. Inevitably there are vestigial traces of Miles, circa `68 or more accurately the late acoustic quintet lead by Tony Williams on Blue Note but the overall sound is more melodic and less relentless.
From this melodic and rhythmic melange the solos emerge like pure poetry, devoid of cheap effects and over dramatic posturing. The leaders are
particularly cogent in their solo statements and produce a sound that makes for very pleasant listening but with sufficient incident to keep the ear focused on the storyline. The same is true of Sam Leak’s important contribution and adding Lockrane’s flute to some of the tunes helps fulfil the particular thematic brief and spices up the aural mix.
Regarding the individual compositions I was particularly impressed by the opening `Flip of a Coin` which has a slightly menacing Bond theme quality and the optimistic spring -like `Barters Band`. `Wray Common` has a delightful pastoral ambience with moody tenor musings trading with Onabule’s meditative vocal touches and` G.T.` is a spiky, post bop theme that employs a ground bass motif and features some fervent exchanges between the principal horns. All in all a varied programme that has been put together in a way that guarantees interest will never flag.
Released by F-ire , the organisation dedicated to the promotion of contemporary jazz, this is an album which deserves wide attention.
Reviewed by Euan Dixon
MILT JACKSON – Statements & Vibrations
Essential Jazz Classics EJC55610
Milt Jackson plays vibes on all tracks with Hank Jones (piano) Paul Chambers (bass) Connie Kay (drums) on `Statements` (tracks 1 to 8); Henry Boozier (trumpet); Tom McIntosh (trombone); Jimmy Heath (tenor sax); Tate Houston (baritone sax); Tommy Flanagan (piano); Alvin Jackson (bass) and Connie Kay (drums) on `Vibrations`( tracks 9-12,14&16) add Kenny Burrell (guitar) and
a vocal quintet , substitute Alvin Jackson for George Duvivier (bass) on two other tracks. A final bonus track features Milt Jackson with an orchestra conducted by Quincy Jones, dated May 1st , 1959
'Statements` recorded New York, December 14/15 1961
'Vibrations' recorded New York, February 11/12& 24th 1960 plus March 14th, 1961
The illustrious career of Milt Jackson has exhausted all superlatives and one approaches each re-issue with the feeling that nothing less than prostrate veneration would appear to damn him with faint praise. I’m not about to that – faintly praise him that is – when I say that this double album of sessions made for the Impulse label makes for a very pleasant listening experience without representing an essential example of his distinguished `oeuvre.
One of those came three months earlier when Milt teamed up with the Oscar Peterson Trio on a Verve session which was issued under the title
`Very Tall`. There was chemistry in that session that is slightly lacking here though only nit picking obsessives like people who review jazz records would notice. Hank Jones is of course a very different pianist than Peterson, more stately and elegiac and though he could swing it was with finesse rather than fury. Similarly Paul Chambers is a very different bassist than Ray Brown; fond of the bow which when employed in an Arco solo can break the forward momentum.
In spite of these piddling observations the quartet session which constitutes tracks 1 to 8 is very nice to have and no-one investing in this disc will feel short changed and when it comes to considering the octet tracks which comprise the `Vibrations` element you are likely to feel
very definitely quids-in. These feature, in the main, original compositions by arranger and trombonist Tom McIntosh and Jackson himself. These offer some virile tenor work by Jimmy Heath, some potentially earth moving baritone from Tate Houston and all –purpose piano from the equally celebrated Tommy Flanagan, there is nothing not to like: it’s wall to wall wonderful.
Inevitably there are extras and here they take the form of two quintet tracks plus vocal quintet delivering two wordless refrains penned by our
hero and finally a couple of ballads involving a small orchestral ensemble conducted by Quincy Jones.
A lovely thing to spend your Christmas vouchers on.
Reviewed by Euan Dixon
Milt Jackson plays vibes on all tracks with Hank Jones (piano) Paul Chambers (bass) Connie Kay (drums) on `Statements` (tracks 1 to 8); Henry Boozier (trumpet); Tom McIntosh (trombone); Jimmy Heath (tenor sax); Tate Houston (baritone sax); Tommy Flanagan (piano); Alvin Jackson (bass) and Connie Kay (drums) on `Vibrations`( tracks 9-12,14&16) add Kenny Burrell (guitar) and
a vocal quintet , substitute Alvin Jackson for George Duvivier (bass) on two other tracks. A final bonus track features Milt Jackson with an orchestra conducted by Quincy Jones, dated May 1st , 1959
'Statements` recorded New York, December 14/15 1961
'Vibrations' recorded New York, February 11/12& 24th 1960 plus March 14th, 1961
The illustrious career of Milt Jackson has exhausted all superlatives and one approaches each re-issue with the feeling that nothing less than prostrate veneration would appear to damn him with faint praise. I’m not about to that – faintly praise him that is – when I say that this double album of sessions made for the Impulse label makes for a very pleasant listening experience without representing an essential example of his distinguished `oeuvre.
One of those came three months earlier when Milt teamed up with the Oscar Peterson Trio on a Verve session which was issued under the title
`Very Tall`. There was chemistry in that session that is slightly lacking here though only nit picking obsessives like people who review jazz records would notice. Hank Jones is of course a very different pianist than Peterson, more stately and elegiac and though he could swing it was with finesse rather than fury. Similarly Paul Chambers is a very different bassist than Ray Brown; fond of the bow which when employed in an Arco solo can break the forward momentum.
In spite of these piddling observations the quartet session which constitutes tracks 1 to 8 is very nice to have and no-one investing in this disc will feel short changed and when it comes to considering the octet tracks which comprise the `Vibrations` element you are likely to feel
very definitely quids-in. These feature, in the main, original compositions by arranger and trombonist Tom McIntosh and Jackson himself. These offer some virile tenor work by Jimmy Heath, some potentially earth moving baritone from Tate Houston and all –purpose piano from the equally celebrated Tommy Flanagan, there is nothing not to like: it’s wall to wall wonderful.
Inevitably there are extras and here they take the form of two quintet tracks plus vocal quintet delivering two wordless refrains penned by our
hero and finally a couple of ballads involving a small orchestral ensemble conducted by Quincy Jones.
A lovely thing to spend your Christmas vouchers on.
Reviewed by Euan Dixon
HERB ELLIS & THE ALL STARS - The Midnight Roll - Complete Sessions
Essential Jazz Classics EJC55603
Herb Ellis (electric guitar); Buddy Tate (tenor sax); Ray Bryant (piano); Gus Johnson (drums) on all tracks and featuring variously Roy Eldridge and Frank Assunto (trumpet); Israel Crosby and Jimmy Rowser (bass) with Victor Feldman (vibes); Leroy Vinnegar (bass) and Ronnie Zito on a final bonus track dated October 12th 1961, recorded in Los Angeles
Recorded in New York, June 12 /13 /14 1962
Herb Ellis’s place in the pantheon of jazz guitar greats is assured and nothing issued subsequent to his superb Verve sessions of the late fifties can detract from his status as a highly distinguished soloist : his country blues inflected bop styling is instantly recognisable. Indeed nothing has appeared to sully his reputation and his playing remained remarkably consistent throughout his career which included high profile employment with Oscar Peterson, Ella Fitzgerald and various Jazz at the
Philharmonic aggregations. The aforementioned Verve sessions made under his leadership include the wonderful `Nothing But The Blues` with a stellar sidemen line-up including Stan Getz, Roy Eldridge and Ray Brown and could be regarded as his magnum opus in conception and execution
`The Midnight Roll`, recorded for the Epic label four years later doesn’t quite match the perfection of that essential session but it comes pretty
damn close. Produced by John Hammond, who knew a thing or three about organising great music, it also includes Eldridge on five of the tracks with the tenor stool occupied by Buddy Tate who like Ellis hailed from Texas and plays in that bluesy, expansive way we associate with musicians from the lone star state. Next to Ellis himself it is Tate who proves to be the most interesting soloists when time allows him to stretch out: the relative shortness of the tracks is a constraining factor that didn’t affect the Verve sessions as acutely.
Eldridge employs a mute throughout and provides an effective tonal contrast to the throaty tenor sound though at this point in his career he
could lay the vibrato on rather heavily which can be a burden to some ears whist the alternative trumpeter, Frank Assunto (a musician long associated with The Dukes of Dixieland) is featured on the lion’s share of the tracks and, though he is a more pedestrian player than Eldridge, his direct open tone causes no offence. Other notables include Israel Crosby, the bass player long associated with Ahmad Jamal, who was to die within two months of this recording, and Ray Bryant, a bopper who nevertheless inhabits this mainstream setting like a native.
The playlist includes a mix of standards , blues and a couple of folk type tunes including a version of `Darling Nellie Gray`, re-titled and attributed to Ellis. All are easy on the ear swingers and smoochers that don’t tax the intellect but are beautifully played and a joy to listen and relax to. The final bonus track is, rather strangely, taken from Ellis’s very last Verve recording date, ` Softly .....But With that Feeling`, recorded a year earlier than the other pieces on the record. It features a quartet with Victor Feldman on vibes playing a version of Ray Brown’s `Gravy Waltz`. It’s nice to have it but given that there is a sextet version of the tune in track two one can’t help wondering why they didn’t hold it back and re-issue it with the entire Verve session which as far as I know isn’t currently available.
Reviewed by Euan Dixon
Herb Ellis (electric guitar); Buddy Tate (tenor sax); Ray Bryant (piano); Gus Johnson (drums) on all tracks and featuring variously Roy Eldridge and Frank Assunto (trumpet); Israel Crosby and Jimmy Rowser (bass) with Victor Feldman (vibes); Leroy Vinnegar (bass) and Ronnie Zito on a final bonus track dated October 12th 1961, recorded in Los Angeles
Recorded in New York, June 12 /13 /14 1962
Herb Ellis’s place in the pantheon of jazz guitar greats is assured and nothing issued subsequent to his superb Verve sessions of the late fifties can detract from his status as a highly distinguished soloist : his country blues inflected bop styling is instantly recognisable. Indeed nothing has appeared to sully his reputation and his playing remained remarkably consistent throughout his career which included high profile employment with Oscar Peterson, Ella Fitzgerald and various Jazz at the
Philharmonic aggregations. The aforementioned Verve sessions made under his leadership include the wonderful `Nothing But The Blues` with a stellar sidemen line-up including Stan Getz, Roy Eldridge and Ray Brown and could be regarded as his magnum opus in conception and execution
`The Midnight Roll`, recorded for the Epic label four years later doesn’t quite match the perfection of that essential session but it comes pretty
damn close. Produced by John Hammond, who knew a thing or three about organising great music, it also includes Eldridge on five of the tracks with the tenor stool occupied by Buddy Tate who like Ellis hailed from Texas and plays in that bluesy, expansive way we associate with musicians from the lone star state. Next to Ellis himself it is Tate who proves to be the most interesting soloists when time allows him to stretch out: the relative shortness of the tracks is a constraining factor that didn’t affect the Verve sessions as acutely.
Eldridge employs a mute throughout and provides an effective tonal contrast to the throaty tenor sound though at this point in his career he
could lay the vibrato on rather heavily which can be a burden to some ears whist the alternative trumpeter, Frank Assunto (a musician long associated with The Dukes of Dixieland) is featured on the lion’s share of the tracks and, though he is a more pedestrian player than Eldridge, his direct open tone causes no offence. Other notables include Israel Crosby, the bass player long associated with Ahmad Jamal, who was to die within two months of this recording, and Ray Bryant, a bopper who nevertheless inhabits this mainstream setting like a native.
The playlist includes a mix of standards , blues and a couple of folk type tunes including a version of `Darling Nellie Gray`, re-titled and attributed to Ellis. All are easy on the ear swingers and smoochers that don’t tax the intellect but are beautifully played and a joy to listen and relax to. The final bonus track is, rather strangely, taken from Ellis’s very last Verve recording date, ` Softly .....But With that Feeling`, recorded a year earlier than the other pieces on the record. It features a quartet with Victor Feldman on vibes playing a version of Ray Brown’s `Gravy Waltz`. It’s nice to have it but given that there is a sextet version of the tune in track two one can’t help wondering why they didn’t hold it back and re-issue it with the entire Verve session which as far as I know isn’t currently available.
Reviewed by Euan Dixon