WARREN VACHE & ALAN BARNES - The Cobbler’s Waltz
Woodville Records WVCD 140
Warren Vache ( cornet / vocal ); Alan Barnes ( clt / alto / bar ); John Pearce ( pno ); Dave Green ( bass ); Steve Brown ( drs )
Recorded at Clown’s Pocket Studios, 22 May 2013
Yet another release from Woodville featuring the ubiquitous Mr Barnes with one of the best of America’s mainstream musicians , Warren Vache. During his earlier career Warren Vache had a tendency to climb into the high register of his instrument not always to his best advantage but in recent years he has developed a much improved style. He has always been a lyrical player but in his more recent recordings his lyricism shines through.
Alan Barnes is the perfect partner for any player of the middle ground as he is comfortable in the majority of styles and also covers the full range of the woodwind family. The album gets off to a sprightly start with Oscar Pettiford’s composition “Swingin’ til the girls come home” which opens with the two front line players executing a tight theme statement followed by a well constructed solo by Warren which gives way to Alan’s lightly swinging alto.
The rhythm section is the best money can buy with the highly dependable Dave Green on bass, the ever improving Steve Brown on drums and to complete the section the underrated John Pearce on piano who has taken over the role vacated by the great Brian Lemon. Benny Carter’s “Just a Mood” is ideally suited to the group with Warren using his mute and Alan contributing a fine clarinet solo, with John Pearce excelling with his solo and his contribution behind the frontline players. Warren Vache’s own composition “Tuesdaycool” has a West Coast feel with boppish solos from both Alan and Warren and rounded out by a forceful solo from John Pearce, drummer Steve Brown also gets a chance to shine with some nicely executed breaks.
Alan’s hard swinging baritone is given an outing on the Ben Webster composition “Walkin’ the Frog “ and Warren contributes on of his best solos, Dave Green's bass solo adds to the mix. The album closes out with a ballad performance of ”We’ll be together again” with passionate solos by Warren and Alan back on alto, John Pearce also provides a stunning solo, and Warren’s vocal doesn’t hurt too much.
Another nicely structured album from the Woodville stable which gives an outlet to some of our best mainstream musicians and also attracts some of the best of the American stars of the same persuasion.
Reviewed by Roy Booth
Warren Vache ( cornet / vocal ); Alan Barnes ( clt / alto / bar ); John Pearce ( pno ); Dave Green ( bass ); Steve Brown ( drs )
Recorded at Clown’s Pocket Studios, 22 May 2013
Yet another release from Woodville featuring the ubiquitous Mr Barnes with one of the best of America’s mainstream musicians , Warren Vache. During his earlier career Warren Vache had a tendency to climb into the high register of his instrument not always to his best advantage but in recent years he has developed a much improved style. He has always been a lyrical player but in his more recent recordings his lyricism shines through.
Alan Barnes is the perfect partner for any player of the middle ground as he is comfortable in the majority of styles and also covers the full range of the woodwind family. The album gets off to a sprightly start with Oscar Pettiford’s composition “Swingin’ til the girls come home” which opens with the two front line players executing a tight theme statement followed by a well constructed solo by Warren which gives way to Alan’s lightly swinging alto.
The rhythm section is the best money can buy with the highly dependable Dave Green on bass, the ever improving Steve Brown on drums and to complete the section the underrated John Pearce on piano who has taken over the role vacated by the great Brian Lemon. Benny Carter’s “Just a Mood” is ideally suited to the group with Warren using his mute and Alan contributing a fine clarinet solo, with John Pearce excelling with his solo and his contribution behind the frontline players. Warren Vache’s own composition “Tuesdaycool” has a West Coast feel with boppish solos from both Alan and Warren and rounded out by a forceful solo from John Pearce, drummer Steve Brown also gets a chance to shine with some nicely executed breaks.
Alan’s hard swinging baritone is given an outing on the Ben Webster composition “Walkin’ the Frog “ and Warren contributes on of his best solos, Dave Green's bass solo adds to the mix. The album closes out with a ballad performance of ”We’ll be together again” with passionate solos by Warren and Alan back on alto, John Pearce also provides a stunning solo, and Warren’s vocal doesn’t hurt too much.
Another nicely structured album from the Woodville stable which gives an outlet to some of our best mainstream musicians and also attracts some of the best of the American stars of the same persuasion.
Reviewed by Roy Booth
KEITH JARRETT – Arbour Zena
ECM 375 2752
Keith Jarrett (piano); Jan Garbarek (tenor& soprano saxophones); Charlie Haden (double
bass); String Orchestra – Members of Radio Symphony Orchestra, Stuttgart; Mladen Gutesha
(conductor)
Recorded October 1975
This is the third album that Jarrett recorded with strings for ECM between 1973 and 1975, a fourth The Celestial Hawk, would be recorded some five years later with a full symphony orchestra. If these releases were met with some suspicion at the time, and they still seem somewhat at odds in Jarrett’s discography that is dominated by his work with the Standards Trio and his solo piano album, then the
intervening years have perhaps shown that the initial critical reaction may have been a little misplaced.
Recorded at a time when any ‘jazz with strings’ was still viewed with a certain disdain amongst the purists perhaps when put in a historical
context in the pianists career it is clearer to see how Arbour Zena fits in Jarrett’s development. Just thirty years old in 1975, Jarrett had already recorded a substantial body of work as a leader. His American quartet with Dewey Redman, Charlie Haden and Paul Motian was a working band and recording for Impulse, and the European quartet with Jan Garbarek, Palle Danielsson and Jan Christensen had recorded the Belonging
album for ECM the previous year; and in January 1975 Jarrett had recorded The Koln Concert. If this left the jazz world l reeling from the shock of what has subsequently been hailed as one of his most influential recordings then it is hardly surprising that his composing and orchestrating for strings would be somewhat overshadowed and cast aside.
It is therefore interesting to review this album after the passing of time, and it can be seen that with hindsight, how it sits in the discography in the context of Jarrett’s subsequent development. The previous album with strings, Luminessence, featured Jarrett’s piano and the saxophones of Jan Garbarek, and to this the pianist has added the double bass of Charlie Haden. This is an inspired move, as Haden is magnificent throughout, and his entry on the opening ‘Runes’ alone justifies his presence.
Of the saxophonist, Garbarek’s tenor on the album’s longest track ‘Mirrors’ is majestic, and his soprano dances lithely on the trio section within
‘Solara March’ with Haden and Jarrett at their most swinging, and thus forcing the strings to emulate the rhythmic momentum upon their re-entry.
Throughout, Jarrett’s writing for the strings is not over laden and provides plenty of light and shade, with an economy in the arrangement that
can be unusual when jazz musicians find themselves writing for such a large ensemble. Of his own playing, Jarrett is completely at the service of the music. There is no hint of virtuosic displays at the keyboard and he plays only what is necessary to realise the composition work as a whole.
Arbour Zena therefore shows a side to Jarrett’s work that is extremely lyrical, and can be seen in many ways to reflect the work that he was doing with his Belonging band. Interesting to note also that after this album was recorded that Haden and Garbarek formed their trio with
guitarist Egberto Gismonti with playing that was hinted at in the aforementioned composition ‘Solara March’.
Reviewed by Nick Lea
Keith Jarrett (piano); Jan Garbarek (tenor& soprano saxophones); Charlie Haden (double
bass); String Orchestra – Members of Radio Symphony Orchestra, Stuttgart; Mladen Gutesha
(conductor)
Recorded October 1975
This is the third album that Jarrett recorded with strings for ECM between 1973 and 1975, a fourth The Celestial Hawk, would be recorded some five years later with a full symphony orchestra. If these releases were met with some suspicion at the time, and they still seem somewhat at odds in Jarrett’s discography that is dominated by his work with the Standards Trio and his solo piano album, then the
intervening years have perhaps shown that the initial critical reaction may have been a little misplaced.
Recorded at a time when any ‘jazz with strings’ was still viewed with a certain disdain amongst the purists perhaps when put in a historical
context in the pianists career it is clearer to see how Arbour Zena fits in Jarrett’s development. Just thirty years old in 1975, Jarrett had already recorded a substantial body of work as a leader. His American quartet with Dewey Redman, Charlie Haden and Paul Motian was a working band and recording for Impulse, and the European quartet with Jan Garbarek, Palle Danielsson and Jan Christensen had recorded the Belonging
album for ECM the previous year; and in January 1975 Jarrett had recorded The Koln Concert. If this left the jazz world l reeling from the shock of what has subsequently been hailed as one of his most influential recordings then it is hardly surprising that his composing and orchestrating for strings would be somewhat overshadowed and cast aside.
It is therefore interesting to review this album after the passing of time, and it can be seen that with hindsight, how it sits in the discography in the context of Jarrett’s subsequent development. The previous album with strings, Luminessence, featured Jarrett’s piano and the saxophones of Jan Garbarek, and to this the pianist has added the double bass of Charlie Haden. This is an inspired move, as Haden is magnificent throughout, and his entry on the opening ‘Runes’ alone justifies his presence.
Of the saxophonist, Garbarek’s tenor on the album’s longest track ‘Mirrors’ is majestic, and his soprano dances lithely on the trio section within
‘Solara March’ with Haden and Jarrett at their most swinging, and thus forcing the strings to emulate the rhythmic momentum upon their re-entry.
Throughout, Jarrett’s writing for the strings is not over laden and provides plenty of light and shade, with an economy in the arrangement that
can be unusual when jazz musicians find themselves writing for such a large ensemble. Of his own playing, Jarrett is completely at the service of the music. There is no hint of virtuosic displays at the keyboard and he plays only what is necessary to realise the composition work as a whole.
Arbour Zena therefore shows a side to Jarrett’s work that is extremely lyrical, and can be seen in many ways to reflect the work that he was doing with his Belonging band. Interesting to note also that after this album was recorded that Haden and Garbarek formed their trio with
guitarist Egberto Gismonti with playing that was hinted at in the aforementioned composition ‘Solara March’.
Reviewed by Nick Lea
UMBERTO PETRIN – Traces & Ghosts
Leo Records CD LR 698
Umberto Petrin (piano, u-inductio – noise on tracks 3 and 10)
Recorded July 2013 at Black Diamond Studio, Genova
Italian pianist Umberto Petrin natters here in jazz tongues, asking questions and offering sometimes hesitant answers, but always firmly – he believes in what he says. After graduation he showed an interest in writing too, writing in words that is, writing poetry. He turned to music again and started a jazz trio in 1984, later joining a group which was involved in conjunctions of improvised music with poetry and other performance arts including theatre.
Umberto was invited to join the Unstable Orchestra, supporting travelling plays internationally and becoming quite well-known and sought after in the process. He recorded with Lee Konitz in 1994 (Breath and Whispers) and with guest saxophonist Tim Berne in 1999 (Ellipse).
A large part of his most successful work has been focused around this duality of interest in bringing different art modes together, so that there
is a mutuality of support, one for the other or others indeed. One major example of this was 'Beuy's Voice', an electronics-piano-performance-video concert that explored the philosophy and politics of the great German artist, Joseph Beuys. The work became a book and CD in 2011 and he continued in similar veins with music for Eliot's 'The Waste Land', a live electronics project and a programme of Cecil Taylor compositions for a jazz festival.
It all shows in his performance of his own compositions on this album. It is extremely varied and really is a delight.
Reviewed by Ken Cheetham
Umberto Petrin (piano, u-inductio – noise on tracks 3 and 10)
Recorded July 2013 at Black Diamond Studio, Genova
Italian pianist Umberto Petrin natters here in jazz tongues, asking questions and offering sometimes hesitant answers, but always firmly – he believes in what he says. After graduation he showed an interest in writing too, writing in words that is, writing poetry. He turned to music again and started a jazz trio in 1984, later joining a group which was involved in conjunctions of improvised music with poetry and other performance arts including theatre.
Umberto was invited to join the Unstable Orchestra, supporting travelling plays internationally and becoming quite well-known and sought after in the process. He recorded with Lee Konitz in 1994 (Breath and Whispers) and with guest saxophonist Tim Berne in 1999 (Ellipse).
A large part of his most successful work has been focused around this duality of interest in bringing different art modes together, so that there
is a mutuality of support, one for the other or others indeed. One major example of this was 'Beuy's Voice', an electronics-piano-performance-video concert that explored the philosophy and politics of the great German artist, Joseph Beuys. The work became a book and CD in 2011 and he continued in similar veins with music for Eliot's 'The Waste Land', a live electronics project and a programme of Cecil Taylor compositions for a jazz festival.
It all shows in his performance of his own compositions on this album. It is extremely varied and really is a delight.
Reviewed by Ken Cheetham
MARK SPRINGER - Menu
NW0054CD
Mark Springer (piano)
What an amazing album! I have not heard pianist Mark Springer before. It is music that makes you
ask yourself: 'Is this jazz?' It's also music that makes you realise that it doesn't matter how we pigeon-hole it. It is great music.
Pianist Springer is ceaselessly inventive: melodies pour out of him. Every piece, and there are thirty four of them, have some kernel of delight at their heart.
His music is light and skipping with nothing portentous. What comes through is the love of the piano. CD1 was recorded on the Steinway; CD2 on the Bosendorfer.
Mark who played with 'Rip, Rig and Panic' wants to break down the barriers between musical styles and categories. He believes in spontaneous improvisation and musical freedom. Freedom in music often means sounds that make your ears bleed, not with Mark Springer. The freedom here is the freedom to intrigue, to delight, to invent.
John L Walters who produced the album writes about Mark's music falling between 'the cracks of stylistic conventional genres'. Therein lies the problem. This is wonderful music that should be widely heard. It won't be because most of us listen to what we have always listened to.
Reviewed by Jack Kenny
Mark Springer (piano)
What an amazing album! I have not heard pianist Mark Springer before. It is music that makes you
ask yourself: 'Is this jazz?' It's also music that makes you realise that it doesn't matter how we pigeon-hole it. It is great music.
Pianist Springer is ceaselessly inventive: melodies pour out of him. Every piece, and there are thirty four of them, have some kernel of delight at their heart.
His music is light and skipping with nothing portentous. What comes through is the love of the piano. CD1 was recorded on the Steinway; CD2 on the Bosendorfer.
Mark who played with 'Rip, Rig and Panic' wants to break down the barriers between musical styles and categories. He believes in spontaneous improvisation and musical freedom. Freedom in music often means sounds that make your ears bleed, not with Mark Springer. The freedom here is the freedom to intrigue, to delight, to invent.
John L Walters who produced the album writes about Mark's music falling between 'the cracks of stylistic conventional genres'. Therein lies the problem. This is wonderful music that should be widely heard. It won't be because most of us listen to what we have always listened to.
Reviewed by Jack Kenny
STEFANO PASTOR & CHARLOTTE HUG - Paragone d'Archi
Leo Records CD LR 688
Charlotte Hug, viola and voice; Stefano Pastor, violin
Recorded in Genova, November 2012
Ingenuity, inventiveness and originality are all at the core of the music of this duo. The sometimes sweet, sometimes grating and strident sounds produced by their bows are the results of their resourcefulness and creative innovation in respecting their instruments while seeking to expand the length and breadth of their individual scopes. The 'analogy of arches' of the title is not directly a reference to the architectural arches of the CD cover, excepting that they may refer to musical structure, but may very well describe the orbits of these two as they carve up or marry their
trajectories.
Not everyone will accustom themselves to sound diversities of these kinds – it is certainly at times disturbing music, though balanced by much
lyricism too. Charlotte Hug loses all tension from her bow, also known as an 'arco, introducing what sound like vocal yelps and screeches in counterpoint, while Pastor replaces his traditional violin strings with alternate materials that render non-generic tonalities to the notes played.
This is a great partnership of two improvisers of substantial endowment in understanding their instruments and playing them and working
towards imaginative compositions.
Reviewed by Ken Cheetham
Charlotte Hug, viola and voice; Stefano Pastor, violin
Recorded in Genova, November 2012
Ingenuity, inventiveness and originality are all at the core of the music of this duo. The sometimes sweet, sometimes grating and strident sounds produced by their bows are the results of their resourcefulness and creative innovation in respecting their instruments while seeking to expand the length and breadth of their individual scopes. The 'analogy of arches' of the title is not directly a reference to the architectural arches of the CD cover, excepting that they may refer to musical structure, but may very well describe the orbits of these two as they carve up or marry their
trajectories.
Not everyone will accustom themselves to sound diversities of these kinds – it is certainly at times disturbing music, though balanced by much
lyricism too. Charlotte Hug loses all tension from her bow, also known as an 'arco, introducing what sound like vocal yelps and screeches in counterpoint, while Pastor replaces his traditional violin strings with alternate materials that render non-generic tonalities to the notes played.
This is a great partnership of two improvisers of substantial endowment in understanding their instruments and playing them and working
towards imaginative compositions.
Reviewed by Ken Cheetham
MEHLIANA - Taming the Dragon
Nonesuch Records 7559-79579-5
Brad Mehldau (synths, Fender Rhodes, piano, spoken voice, vocal effects) Mark Guliana (drums.
Electronics)
Recorded at Bunker Studios, Brooklyn. NY. No recording date.
It’s been a long time coming: announced in December and widely trailed in the jazz press and social media my copy finally dropped through the letter –box at the end of February. Would it live up to all the hype?
I’ve been listening to and collecting Mehldau since 1998 when I first heard his `Art of the Trio: Vol. 1` and was immediately impressed by his highly intelligent and lyrical fusion of jazz and classically inspired romanticism. Since then I’ve followed his career assiduously, purchasing almost every recording he has made since including the beautifully austere song cycle he composed and performed with the famous American soprano Rene Fleming. Though I felt his piano trio concept lost something of its pensive mystery when he replaced drummer Jorge Rossy with the spiky urgency of Jeff Ballard I stayed onboard recognising that every artist wants to develop. I confess to being dismayed by his album `Largo` (2001) which first introduced electronics and rock & pop elements because it seemed as though he was taking a populist turn in what was a caricature of his artistic vision in much the same way as Dylan did with `Bringing it all back Home`. Good music tarted up for the benefit of
people who can’t connect unless there is a back beat and guitar riffs.
'Mehlinana' finds Mehldau in the company of a resourceful drummer, Mark Guliana, producing a swirling soundscape that to my ears is
reminiscent of Frank Zappa’s sythclavier exercises – with particular reference to ` Jazz from Hell`- the Vangelis soundtrack to the movie `Bladerunner` and the BBC Radiophonic workshop theme for the `Doctor Who` TV series as well as other Sci-Fi references like `Forbidden Planet` and `Telstar`. Some of his musical allusions are quite scary but specifically they are constructed from multiple strands of synthesised sound against a backdrop of ethereal harmonies and underpinned with heavy and insistent rock style drumming. Add to this mix some of the minimalist touches that Mehldau used so effectively in his wonderful piano duo disc featuring Kevin Hays, `Modern Music` of 2011, and you have a fascinating if somewhat contrived attempt to widen his musical palette.
The album opens with Mehldau narrating a Kerouac style dialogue in which he describes a dream like vision of a nightmare journey that leads to
the emancipation of his inner Dionysian urges: the dragon that if kept under control can imbue the artist with creative force and energy. Both these qualities are present but they are slightly compromised by what appears to be a `down with the kids` urge to appear `edgy` in which the avant-garde vision is tempered by being tied down by rock and hip –hop beats.
The sampling of voices and recorded archive passages like the use of Amelia Earhart’s voice in the haunting `Elegy for Amelia E` heightens the
avant- garde feel and recalls the innovations of the likes of Berio and Ligeti albeit at a superficial level whilst in a similar way the cinema noir qualities inherent in his piece dedicated to `Gainsbourg` capture something of the French singer’s maverick existential demeanour but just miss the `dark side` that an artist like John Zorn might have recognised with greater acuity.
It can’t be denied that the disc has its memorable moments and I for one would never pass up the opportunity to stay up to date with Mehldau;
nevertheless I can’t help feeling that it represents a retreat for an artist who is capable of making a more significant creative statement but is no doubt constrained by the perceived need to satisfy the expectations of a general audience who like the idea of being at the cutting edge as long as it doesn’t dispense with a rock beat.
In fairness, with jazz piano trios sprouting like mushrooms and all trying to break the mould, the pressure on an established artist to remain
topical and relevant must be huge. It is completely understandable that Mehldau, a musician whose integrity is beyond question, would want to stay in the vanguard but as a dedicated fan I just hope that having exorcised his fire breathing passions in this project he will return to a more restrained and reflective mood with his next recording.
Reviewed by Euan Dixon
Brad Mehldau (synths, Fender Rhodes, piano, spoken voice, vocal effects) Mark Guliana (drums.
Electronics)
Recorded at Bunker Studios, Brooklyn. NY. No recording date.
It’s been a long time coming: announced in December and widely trailed in the jazz press and social media my copy finally dropped through the letter –box at the end of February. Would it live up to all the hype?
I’ve been listening to and collecting Mehldau since 1998 when I first heard his `Art of the Trio: Vol. 1` and was immediately impressed by his highly intelligent and lyrical fusion of jazz and classically inspired romanticism. Since then I’ve followed his career assiduously, purchasing almost every recording he has made since including the beautifully austere song cycle he composed and performed with the famous American soprano Rene Fleming. Though I felt his piano trio concept lost something of its pensive mystery when he replaced drummer Jorge Rossy with the spiky urgency of Jeff Ballard I stayed onboard recognising that every artist wants to develop. I confess to being dismayed by his album `Largo` (2001) which first introduced electronics and rock & pop elements because it seemed as though he was taking a populist turn in what was a caricature of his artistic vision in much the same way as Dylan did with `Bringing it all back Home`. Good music tarted up for the benefit of
people who can’t connect unless there is a back beat and guitar riffs.
'Mehlinana' finds Mehldau in the company of a resourceful drummer, Mark Guliana, producing a swirling soundscape that to my ears is
reminiscent of Frank Zappa’s sythclavier exercises – with particular reference to ` Jazz from Hell`- the Vangelis soundtrack to the movie `Bladerunner` and the BBC Radiophonic workshop theme for the `Doctor Who` TV series as well as other Sci-Fi references like `Forbidden Planet` and `Telstar`. Some of his musical allusions are quite scary but specifically they are constructed from multiple strands of synthesised sound against a backdrop of ethereal harmonies and underpinned with heavy and insistent rock style drumming. Add to this mix some of the minimalist touches that Mehldau used so effectively in his wonderful piano duo disc featuring Kevin Hays, `Modern Music` of 2011, and you have a fascinating if somewhat contrived attempt to widen his musical palette.
The album opens with Mehldau narrating a Kerouac style dialogue in which he describes a dream like vision of a nightmare journey that leads to
the emancipation of his inner Dionysian urges: the dragon that if kept under control can imbue the artist with creative force and energy. Both these qualities are present but they are slightly compromised by what appears to be a `down with the kids` urge to appear `edgy` in which the avant-garde vision is tempered by being tied down by rock and hip –hop beats.
The sampling of voices and recorded archive passages like the use of Amelia Earhart’s voice in the haunting `Elegy for Amelia E` heightens the
avant- garde feel and recalls the innovations of the likes of Berio and Ligeti albeit at a superficial level whilst in a similar way the cinema noir qualities inherent in his piece dedicated to `Gainsbourg` capture something of the French singer’s maverick existential demeanour but just miss the `dark side` that an artist like John Zorn might have recognised with greater acuity.
It can’t be denied that the disc has its memorable moments and I for one would never pass up the opportunity to stay up to date with Mehldau;
nevertheless I can’t help feeling that it represents a retreat for an artist who is capable of making a more significant creative statement but is no doubt constrained by the perceived need to satisfy the expectations of a general audience who like the idea of being at the cutting edge as long as it doesn’t dispense with a rock beat.
In fairness, with jazz piano trios sprouting like mushrooms and all trying to break the mould, the pressure on an established artist to remain
topical and relevant must be huge. It is completely understandable that Mehldau, a musician whose integrity is beyond question, would want to stay in the vanguard but as a dedicated fan I just hope that having exorcised his fire breathing passions in this project he will return to a more restrained and reflective mood with his next recording.
Reviewed by Euan Dixon
BENNY GOODMAN - B.G. in Hi-Fi
Essential Jazz Classics EJC55925
Benny Goodman ( clt ) on all tracks
Tracks 2 to 5
Charlie Shavers ( tpt ) Mel Powell ( pno ) Steve Jordan ( gtr ) ( on tracks 4& 5 only ) George Duvivier
( bass ) Jo Jones ( drs )
Recorded at Riverside Plaza Hotel, New York, 8th November 1954
Tracks 6 to 12
Chris Griffin ( tpt ) Ruby Braff ( tpt ) Bernie Privin ( tpt ) Carl Poole ( tpt ) Will Bradley (tmb) Cutty Cutshall ( tmb ) Vernon Brown ( tmb ) Hymie Schertzer ( alto ) Paul Ricci ( alto ) Boomie Richman ( tnr ) Al Klink ( tnr ) Sol Schlinger ( bar ) Mel Powell ( pno ) Steve Jordan ( gtr ) George Duvivier ( bass ) Bobby Donaldson ( drs )Neal Hefti ( arr )
Recorded at Riverside Plaza Hotel, New York, 9th November 1954
Tracks 1& 17 to 20
Same personnel as 9th November 1954 Recorded at Riverside Plaza Hotel, New York, 17th November 1954
Tracks 13 to 16
Ruby Braff ( tpt ) ( on 15 & 16 only ) Mel Powell ( pno ) George Duvivier ( bass ) ( on 15 & 16 only) Bobby Donaldson ( drs )
Recorded at Riverside Plaza Hotel, New York, 16th November 1954
Tracks 21 to 24
Benny Goodman ( clt ) Mel Powell ( pno ) Eddie Grady ( drs )
Recorded at Riverside Plaza Hotel, New York, 16th November 1954
This album has been released a number of times but not in this particular form. This release contains all the existing recordings made by Goodman for Capitol during the whole of 1954. The four bonus tracks previously unreleased of the Goodman Trio are by far the most interesting with Mel Powell on piano taking the role of the original pianist Teddy Wilson and Eddie Grady taking on the Gene Krupa drum chair. Goodman plays well on all four tracks but “There’ll be some changes made” is the stand out track. Powell is a more adventurous pianist the Wilson and drummer Eddie Grady swings the group nicely without the bombast of Krupa.
The big band tracks are all well known and loved Goodman favourites with Goodman, Ruby Braff and Boomie Richman taking the solo honours. Ruby Braff always maintained he was never member of the Goodman orchestra, but was a featured soloist and his solos are the highlight of these tracks. The only new tune on the album is “Rock Rimmon” composed by Goodman and Powell which has a slightly more modern feel about it with a cracking piano solo by the joint composer.
“Rose Room” and “What can I dear after I say that I’m sorry” are by the trio of Mel Powell and Bobby Donaldson, both Benny and Mel are on top form giuving lightly swinging performances. When Ruby Braff and George Duvivier are added to the mix for “Rock Rimmon” and “You’re a sweetheart” things really begin to swing with Benny and Ruby inspiring each other, Mel’s piano adds to the excitement. The quintet tracks with Charlie Shavers on trumpet are given a lift by Jo Jones immaculate drumming, always an asset to any performance. “Ain’t Misbehavin’” is given a lightly swinging workout greatly enhanced by Mel Powell’s piano contribution.
If you already have the original release it is worth investing in this one four the four bonus tracks and if you don’t already possess it is
one to buy.
Reviewed by Roy Booth
Benny Goodman ( clt ) on all tracks
Tracks 2 to 5
Charlie Shavers ( tpt ) Mel Powell ( pno ) Steve Jordan ( gtr ) ( on tracks 4& 5 only ) George Duvivier
( bass ) Jo Jones ( drs )
Recorded at Riverside Plaza Hotel, New York, 8th November 1954
Tracks 6 to 12
Chris Griffin ( tpt ) Ruby Braff ( tpt ) Bernie Privin ( tpt ) Carl Poole ( tpt ) Will Bradley (tmb) Cutty Cutshall ( tmb ) Vernon Brown ( tmb ) Hymie Schertzer ( alto ) Paul Ricci ( alto ) Boomie Richman ( tnr ) Al Klink ( tnr ) Sol Schlinger ( bar ) Mel Powell ( pno ) Steve Jordan ( gtr ) George Duvivier ( bass ) Bobby Donaldson ( drs )Neal Hefti ( arr )
Recorded at Riverside Plaza Hotel, New York, 9th November 1954
Tracks 1& 17 to 20
Same personnel as 9th November 1954 Recorded at Riverside Plaza Hotel, New York, 17th November 1954
Tracks 13 to 16
Ruby Braff ( tpt ) ( on 15 & 16 only ) Mel Powell ( pno ) George Duvivier ( bass ) ( on 15 & 16 only) Bobby Donaldson ( drs )
Recorded at Riverside Plaza Hotel, New York, 16th November 1954
Tracks 21 to 24
Benny Goodman ( clt ) Mel Powell ( pno ) Eddie Grady ( drs )
Recorded at Riverside Plaza Hotel, New York, 16th November 1954
This album has been released a number of times but not in this particular form. This release contains all the existing recordings made by Goodman for Capitol during the whole of 1954. The four bonus tracks previously unreleased of the Goodman Trio are by far the most interesting with Mel Powell on piano taking the role of the original pianist Teddy Wilson and Eddie Grady taking on the Gene Krupa drum chair. Goodman plays well on all four tracks but “There’ll be some changes made” is the stand out track. Powell is a more adventurous pianist the Wilson and drummer Eddie Grady swings the group nicely without the bombast of Krupa.
The big band tracks are all well known and loved Goodman favourites with Goodman, Ruby Braff and Boomie Richman taking the solo honours. Ruby Braff always maintained he was never member of the Goodman orchestra, but was a featured soloist and his solos are the highlight of these tracks. The only new tune on the album is “Rock Rimmon” composed by Goodman and Powell which has a slightly more modern feel about it with a cracking piano solo by the joint composer.
“Rose Room” and “What can I dear after I say that I’m sorry” are by the trio of Mel Powell and Bobby Donaldson, both Benny and Mel are on top form giuving lightly swinging performances. When Ruby Braff and George Duvivier are added to the mix for “Rock Rimmon” and “You’re a sweetheart” things really begin to swing with Benny and Ruby inspiring each other, Mel’s piano adds to the excitement. The quintet tracks with Charlie Shavers on trumpet are given a lift by Jo Jones immaculate drumming, always an asset to any performance. “Ain’t Misbehavin’” is given a lightly swinging workout greatly enhanced by Mel Powell’s piano contribution.
If you already have the original release it is worth investing in this one four the four bonus tracks and if you don’t already possess it is
one to buy.
Reviewed by Roy Booth
ELLA FITZGERALD - Ella swings gently with Nelson & Ella sings Broadway
Essential Jazz Classics EJC55624
Tracks 1-14
Ella swings gently with Nelson
Orchestra conducted & arranged by Nelson Riddle
Recorded Los Angeles November 1961-April 1962
Tracks 17-26
Orchestra conducted & arranged by Marty Paich
Recorded Los Angeles 3,4& 9 October 1962
This is a re-release of two albums that were originally issued as two separate albums, the only difference was the original release of “Ella swings gently with Nelson” contained one further track “Call me darling” but as this was a bonus track it does not detract from this welcome edition. The “Ella sings gently” tracks are the best of the two with a far superior song selection and surprisingly it has the better orchestrations. This album was a welcome addition to Ella’s output and can be treated as a continuation of the Songbook series.
The album opens with the little sung Al Dubin and Harry Warren composition “Sweet and Slow” and Ella’s reading of the song is spot on. Very few singers seem to be able to come up with a creditable version of Victor Young’s song “Street of Dreams” but Ella nails it. Burke and Van Heusen’s “Imagination” is another stellar performance.
“The very thought of you” is usually treated as a slow ballad by most performers but Ella elects to treat it as slow swinger and it’s a winner, the same applies to “Darn that dream”. One of the bonus tracks on the original release was “All of me” and although it was recorded at the same sessions it seems out of place on the album even though Ella’s performance is fine. There are a number of instrumental solos, but the only one credited on the notes is altoist Ronnie Lang.
"Ella sings Broadway" is a far different proposition as some of the material is not really suited to Ella’s style although this only applies to a percentage of the tracks. The song from “Guy and Dolls” by Frank Loesser “Warm all over” is an exception and Ella gives it that extra edge. Another song from included taken from “Guys and Dolls” is “Somebody Somewhere”, and also suits Ella’s style and she gives a fine performance.
I believe if “Ella Swings Gently” had been coupled with “Ella Swings Lightly” it would have for a more compatible release, but all the same it is still good to have it back in the catalogue.
Reviewed by Roy Booth
Tracks 1-14
Ella swings gently with Nelson
Orchestra conducted & arranged by Nelson Riddle
Recorded Los Angeles November 1961-April 1962
Tracks 17-26
Orchestra conducted & arranged by Marty Paich
Recorded Los Angeles 3,4& 9 October 1962
This is a re-release of two albums that were originally issued as two separate albums, the only difference was the original release of “Ella swings gently with Nelson” contained one further track “Call me darling” but as this was a bonus track it does not detract from this welcome edition. The “Ella sings gently” tracks are the best of the two with a far superior song selection and surprisingly it has the better orchestrations. This album was a welcome addition to Ella’s output and can be treated as a continuation of the Songbook series.
The album opens with the little sung Al Dubin and Harry Warren composition “Sweet and Slow” and Ella’s reading of the song is spot on. Very few singers seem to be able to come up with a creditable version of Victor Young’s song “Street of Dreams” but Ella nails it. Burke and Van Heusen’s “Imagination” is another stellar performance.
“The very thought of you” is usually treated as a slow ballad by most performers but Ella elects to treat it as slow swinger and it’s a winner, the same applies to “Darn that dream”. One of the bonus tracks on the original release was “All of me” and although it was recorded at the same sessions it seems out of place on the album even though Ella’s performance is fine. There are a number of instrumental solos, but the only one credited on the notes is altoist Ronnie Lang.
"Ella sings Broadway" is a far different proposition as some of the material is not really suited to Ella’s style although this only applies to a percentage of the tracks. The song from “Guy and Dolls” by Frank Loesser “Warm all over” is an exception and Ella gives it that extra edge. Another song from included taken from “Guys and Dolls” is “Somebody Somewhere”, and also suits Ella’s style and she gives a fine performance.
I believe if “Ella Swings Gently” had been coupled with “Ella Swings Lightly” it would have for a more compatible release, but all the same it is still good to have it back in the catalogue.
Reviewed by Roy Booth
AHMAD JAMAL TRIO – The Complete 1961 Alhambra Performances
Essential Jazz Classics EJC 55629
Ahmad Jamal (piano); Israel Crosby (bass); Vernel Fournier (drums)
At the beginning of this year Ahmad Jamal in his eighty third year proved at his concert in London that he is a force to be reckoned with. His seemingly effortless piano style is enchanting audiences who appreciate his improvisations, his melodic structures, his wit and his exuberance. He is a pianist who gives up his secrets slowly. He has been for many years a well kept jazz secret. At one time his main claim was that he inspired the sense of time of Miles Davis in the fifties and sixties. But he is worth more than that.
Jamal had his own club in Chicago, the Alhambra, which is where these recordings were made.
Jamal seems relaxed; it has been observed before that his live recordings have more spirit than his studio work. Israel Crosby and Vernel Fournier are beautifully attuned to where the pianist wishes to go. They do not draw attention to themselves. Fournier's drum work is a study in subtlety.
'Faithful and deeply subversive', is how one person described Jamal's way with a melody. The truth of that observation can be heard on these two CDs. Glance down the playlist and you will see a list of show tunes. The choice of that material is brave. If you know the original tunes you are well placed to hear immediately what Jamal is bringing to them: the subtlety, the radical changes.
'Autumn Leaves' shows the trio at its inventive best. There are interpolations from jazz classics and classic classics. The shifts in rhythm, the diminuendos and crescendos, are in their way as radical but not as obvious as anything that Mingus did at the time.
If you want a wonderful, generous example of early sixties Jamal, and why would you not, this is the CD to go for.
Reviewed by Jack Kenny
Ahmad Jamal (piano); Israel Crosby (bass); Vernel Fournier (drums)
At the beginning of this year Ahmad Jamal in his eighty third year proved at his concert in London that he is a force to be reckoned with. His seemingly effortless piano style is enchanting audiences who appreciate his improvisations, his melodic structures, his wit and his exuberance. He is a pianist who gives up his secrets slowly. He has been for many years a well kept jazz secret. At one time his main claim was that he inspired the sense of time of Miles Davis in the fifties and sixties. But he is worth more than that.
Jamal had his own club in Chicago, the Alhambra, which is where these recordings were made.
Jamal seems relaxed; it has been observed before that his live recordings have more spirit than his studio work. Israel Crosby and Vernel Fournier are beautifully attuned to where the pianist wishes to go. They do not draw attention to themselves. Fournier's drum work is a study in subtlety.
'Faithful and deeply subversive', is how one person described Jamal's way with a melody. The truth of that observation can be heard on these two CDs. Glance down the playlist and you will see a list of show tunes. The choice of that material is brave. If you know the original tunes you are well placed to hear immediately what Jamal is bringing to them: the subtlety, the radical changes.
'Autumn Leaves' shows the trio at its inventive best. There are interpolations from jazz classics and classic classics. The shifts in rhythm, the diminuendos and crescendos, are in their way as radical but not as obvious as anything that Mingus did at the time.
If you want a wonderful, generous example of early sixties Jamal, and why would you not, this is the CD to go for.
Reviewed by Jack Kenny
JOHN COLTRANE – Olé : The Complete Session
Essential Jazz Classics EJC55631
John Coltrane (tenor and soprano saxophones); Eric Dolphy (flute, alto saxophone); Freddie Hubbard
(trumpet); McCoy Tyner (piano); Art Davis (bass); Reggie Workman (bass); Elvin Jones (drums)
Recorded in 1960 and 1961
Implacable, steely, forceful! Is that how to describe Coltrane's sound? There is a story that Coltrane lusted after the sound of Stan Getz. Not sure why. Coltrane's sound is not pretty but has proved to be more influential in the fifty or so years since this recording was made.
This was the last album that Coltrane made for Atlantic to fulfil his contract with them. He had already started to record for Impulse, the label he would be on for the rest of his life. Two days before Olé' was recorded, he created Africa Brass. Both Dolphy and Hubbard were on that ground breaking album.
This edition of Olé has the track 'To Her Ladyship' which was omitted from the album when it was released on LP in the sixties. Now we have four additional tracks recorded by the quartet.
The main feature of Coltrane's work at this time was rhythmic innovation. You can hear that here as well as on 'Africa Brass'. The great Elvin Jones underpinned the group with his percussive complexity and Coltrane used two bass players, Art Davis and Reggie Workman. Their duet in the middle of the title track with the plucked bass against the bowed bass is very exciting.
Coltrane was a restless soul and would look beyond the conventional for inspiration. Here Spanish and African music have their impact on Coltrane's thinking. Miles Davis only months before had turned to Spanish music for inspiration. 'Dahomey' has a more conventional rhythm while 'Aisha' displays the full beauty of Coltrane's tone. It is easy to see why 'To Her Ladyship' was left off the original album, it is the
least effective track. The last four quartet tracks with Steve Davis on bass capture the early stages of the classic quartet.
This is great music from a potent innovator more than half a century ago. If you do not have these tracks, this is a good way to acquire them.
Praise is also due to the useful twelve page of notes that come with the disk.
Reviewed by Jack Kenny
John Coltrane (tenor and soprano saxophones); Eric Dolphy (flute, alto saxophone); Freddie Hubbard
(trumpet); McCoy Tyner (piano); Art Davis (bass); Reggie Workman (bass); Elvin Jones (drums)
Recorded in 1960 and 1961
Implacable, steely, forceful! Is that how to describe Coltrane's sound? There is a story that Coltrane lusted after the sound of Stan Getz. Not sure why. Coltrane's sound is not pretty but has proved to be more influential in the fifty or so years since this recording was made.
This was the last album that Coltrane made for Atlantic to fulfil his contract with them. He had already started to record for Impulse, the label he would be on for the rest of his life. Two days before Olé' was recorded, he created Africa Brass. Both Dolphy and Hubbard were on that ground breaking album.
This edition of Olé has the track 'To Her Ladyship' which was omitted from the album when it was released on LP in the sixties. Now we have four additional tracks recorded by the quartet.
The main feature of Coltrane's work at this time was rhythmic innovation. You can hear that here as well as on 'Africa Brass'. The great Elvin Jones underpinned the group with his percussive complexity and Coltrane used two bass players, Art Davis and Reggie Workman. Their duet in the middle of the title track with the plucked bass against the bowed bass is very exciting.
Coltrane was a restless soul and would look beyond the conventional for inspiration. Here Spanish and African music have their impact on Coltrane's thinking. Miles Davis only months before had turned to Spanish music for inspiration. 'Dahomey' has a more conventional rhythm while 'Aisha' displays the full beauty of Coltrane's tone. It is easy to see why 'To Her Ladyship' was left off the original album, it is the
least effective track. The last four quartet tracks with Steve Davis on bass capture the early stages of the classic quartet.
This is great music from a potent innovator more than half a century ago. If you do not have these tracks, this is a good way to acquire them.
Praise is also due to the useful twelve page of notes that come with the disk.
Reviewed by Jack Kenny
MATTHIAS SCHUBERT & SIMON NABATOV – Descriptions
Leo Records CD LR 686
Matthias Schubert, tenor saxophone; Simon Nabatov, piano.
Recorded at the LOFT venue in Cologne, Germany, May 2012
The ten tracks of this album are given seemingly obscure names, Discretion, Brashness, for example, but are indicators of an approach to creating a structure in which each title is fashioned around the sense of the word. Their vividly creative, musical imaginations see them envisioning the implications of their efforts, revisiting them and using their new perceptions to extend their descriptions. There is mutual association and understanding between the two musicians which generates a strange calligraphy that discloses a familial resemblance between the aural interpretations and the words as
written.
Both musicians, aged 54/55, have large experience behind them, Nabatov's more particularly recognisable, perhaps because of his time and contacts at the Juilliard School. His family had moved from his birthplace, Moscow, to the US. He has worked with a broad range of musicians; George Adams, Chet Baker, Mark Feldman, Sonny Fortune and Kenny Wheeler feature among them.
Skilled and proficient improvisers, the duo parade interminable vigour in the stream of musical dialogues they generate. Whichever instrument may start a piece or section, it may surrender its role to its alter ego, whose approach may be diatribe or acquiescence.
The album is effervescent, the music continually deepening, developing and diverse, evolving, strengthening and renovating. It is a journey of discovery.
Reviewed by Ken Cheetham
Matthias Schubert, tenor saxophone; Simon Nabatov, piano.
Recorded at the LOFT venue in Cologne, Germany, May 2012
The ten tracks of this album are given seemingly obscure names, Discretion, Brashness, for example, but are indicators of an approach to creating a structure in which each title is fashioned around the sense of the word. Their vividly creative, musical imaginations see them envisioning the implications of their efforts, revisiting them and using their new perceptions to extend their descriptions. There is mutual association and understanding between the two musicians which generates a strange calligraphy that discloses a familial resemblance between the aural interpretations and the words as
written.
Both musicians, aged 54/55, have large experience behind them, Nabatov's more particularly recognisable, perhaps because of his time and contacts at the Juilliard School. His family had moved from his birthplace, Moscow, to the US. He has worked with a broad range of musicians; George Adams, Chet Baker, Mark Feldman, Sonny Fortune and Kenny Wheeler feature among them.
Skilled and proficient improvisers, the duo parade interminable vigour in the stream of musical dialogues they generate. Whichever instrument may start a piece or section, it may surrender its role to its alter ego, whose approach may be diatribe or acquiescence.
The album is effervescent, the music continually deepening, developing and diverse, evolving, strengthening and renovating. It is a journey of discovery.
Reviewed by Ken Cheetham
SONNY STITT & BROTHER JACK McDUFF - 'Nuther Futher & Soul Shack
Groove Hut Records GH66718
Sonny Stitt (tenor and alto saxophones); Brother Jack McDuff (Hammond B-3 organ) on all tracks
1-9 (1962)
Eddie Diehl (guitar); Art Taylor (drums); Ray Barretto (conga)
8-13 (1963)
Leonard Gaskin (bass); Herbie Lovell (drums)
If Jazz went in for national treasures Sonny Stitt would have been in the running. He is absolutely right there with his unpretentious need to swing through albums that make you want to tap your feet until the shoe leather is worn. Couple Sonny with Bother Jack and you have music that exudes exuberance, seethes with soul and roars with rhythm.
Sonny was primarily an alto player but here he is on tenor except for two tracks. His tenor playing is straight ahead. Brother Jack on Hammond organ restrains that mighty instrument. Jazz regrettably has lost musicians like this and they have never been replaced. The cerebral is fine but sometimes you want music that reminds you of the pleasures of straight ahead swinging.
I prefer 'Soul Shack' with Gaskin and Lovelle keeping the rhythm simple. 'Sunday' inspires Stitt to long line improvisations never straying too far from the melody. He used to be compared unfavourably with Charlie Parker, that was unfair. Stitt can do things that Parker could never do. He can spin lines out with great facility. He will not surprise you; but he will please you. On this CD he makes his tenor almost as high and fluent as the alto.
McDuff's subtle Hammond organ is beautifully recorded by Rudy Van Gelder and the reproduction here emphasise the depth of the sound. At times McDuff's sense of space almost rivals Basie's as does his feeling for the blues. On the title track of 'Soul Shack' he duets with Stitt pushing the tenor along. At all other times he accompanies with sensitivity unusual in an instrument that has such a large sound.
There are numerous musical pleasures to be obtained from the seventy eight minutes of minutes on these two ex-Prestige albums. Just sit back and enjoy it. Don't think too much about it.
Reviewed by Jack Kenny
Sonny Stitt (tenor and alto saxophones); Brother Jack McDuff (Hammond B-3 organ) on all tracks
1-9 (1962)
Eddie Diehl (guitar); Art Taylor (drums); Ray Barretto (conga)
8-13 (1963)
Leonard Gaskin (bass); Herbie Lovell (drums)
If Jazz went in for national treasures Sonny Stitt would have been in the running. He is absolutely right there with his unpretentious need to swing through albums that make you want to tap your feet until the shoe leather is worn. Couple Sonny with Bother Jack and you have music that exudes exuberance, seethes with soul and roars with rhythm.
Sonny was primarily an alto player but here he is on tenor except for two tracks. His tenor playing is straight ahead. Brother Jack on Hammond organ restrains that mighty instrument. Jazz regrettably has lost musicians like this and they have never been replaced. The cerebral is fine but sometimes you want music that reminds you of the pleasures of straight ahead swinging.
I prefer 'Soul Shack' with Gaskin and Lovelle keeping the rhythm simple. 'Sunday' inspires Stitt to long line improvisations never straying too far from the melody. He used to be compared unfavourably with Charlie Parker, that was unfair. Stitt can do things that Parker could never do. He can spin lines out with great facility. He will not surprise you; but he will please you. On this CD he makes his tenor almost as high and fluent as the alto.
McDuff's subtle Hammond organ is beautifully recorded by Rudy Van Gelder and the reproduction here emphasise the depth of the sound. At times McDuff's sense of space almost rivals Basie's as does his feeling for the blues. On the title track of 'Soul Shack' he duets with Stitt pushing the tenor along. At all other times he accompanies with sensitivity unusual in an instrument that has such a large sound.
There are numerous musical pleasures to be obtained from the seventy eight minutes of minutes on these two ex-Prestige albums. Just sit back and enjoy it. Don't think too much about it.
Reviewed by Jack Kenny
SAM NEWSOME – The Solo Concert: Plays Monk & Ellington (Live)
Available as a download only from
https://itunes.apple.com/us/album/solo-concert-sam-newsome-plays/id818611910 & http://www.cdbaby.com/cd/samnewsome5
Sam Newsome (soprano saxophone)
Recorded live at the 10th Annual UNCG Festival
It is not the usual policy for Jazz Views to review download only ‘releases’, however in this instance an exception has been made and this can be viewed an interim release or ‘interlude’ that bridges the gap between The Art of the Soprano, Volume 1 (see our 2012 CD Reviews) and The Art of the Soprano, Volume 2: The Straight Horn of Africa to be released on the 1st September 2014.
On this 18 minute live performance soprano saxophonist, Sam Newsome continues on his journey exploring the timbral and sonic possibilities of his horn. He is not unusual or alone in this pursuit and makes no secret of his admiration of the work of fellow soprano specialists the late Lol Coxhill (to whom he dedicated Volume 1) and Evan Parker, but what is unusual is the idiom in which he has found best to present his music.
Much experimentation of extremes of register and extended instrumental techniques seem to lend themselves most naturally to free jazz, the
avant garde and improvised music. Whilst Newsome does utilise many techniques employed by the aforementioned Evan Parker, making much use of circular breathing and cross fingering, he does so using very structured arrangements and specific predetermined material. In fact it is this use of predetermined compositions that would perhaps lend themselves to comparison with the great Steve Lacy, as both chose to play not just original compositions but frequently returned to music by Duke, Mingus, and Monk, music directly out of their own musical heritage.
On this continuous performance, Newsome plays Ellington’s ‘Sophisticated Lady’ and ‘In A Sentimental Mood’ with Monk’s ‘Misterioso’ and ‘Ask Me Know’ sandwiched in between. All are played with the saxophonist’s inventive use of multiphonics to give the solo line a fuller sound and imply the underlying harmony. Particularly inventive is the use of percussive slap tonguing techniques when stating Monk’s quirky melody line on ‘Misterioso’ and the highly controlled and detailed introduction to ‘Sentimental Mood’.
Newsome’s playing on soprano is never merely a technical exercise, but his superb arrangements for solo saxophone performances of classic
jazz tunes lift what can be a lonely and rarefied activity into scintillating and vibrant music that firmly places the music first beyond any intellectual or virtuosic considerations.
Available as a $0.99 download it is a very agreeable appetiser prior to the release of The Art of the Soprano, Volume 2.
Reviewed by Nick Lea
https://itunes.apple.com/us/album/solo-concert-sam-newsome-plays/id818611910 & http://www.cdbaby.com/cd/samnewsome5
Sam Newsome (soprano saxophone)
Recorded live at the 10th Annual UNCG Festival
It is not the usual policy for Jazz Views to review download only ‘releases’, however in this instance an exception has been made and this can be viewed an interim release or ‘interlude’ that bridges the gap between The Art of the Soprano, Volume 1 (see our 2012 CD Reviews) and The Art of the Soprano, Volume 2: The Straight Horn of Africa to be released on the 1st September 2014.
On this 18 minute live performance soprano saxophonist, Sam Newsome continues on his journey exploring the timbral and sonic possibilities of his horn. He is not unusual or alone in this pursuit and makes no secret of his admiration of the work of fellow soprano specialists the late Lol Coxhill (to whom he dedicated Volume 1) and Evan Parker, but what is unusual is the idiom in which he has found best to present his music.
Much experimentation of extremes of register and extended instrumental techniques seem to lend themselves most naturally to free jazz, the
avant garde and improvised music. Whilst Newsome does utilise many techniques employed by the aforementioned Evan Parker, making much use of circular breathing and cross fingering, he does so using very structured arrangements and specific predetermined material. In fact it is this use of predetermined compositions that would perhaps lend themselves to comparison with the great Steve Lacy, as both chose to play not just original compositions but frequently returned to music by Duke, Mingus, and Monk, music directly out of their own musical heritage.
On this continuous performance, Newsome plays Ellington’s ‘Sophisticated Lady’ and ‘In A Sentimental Mood’ with Monk’s ‘Misterioso’ and ‘Ask Me Know’ sandwiched in between. All are played with the saxophonist’s inventive use of multiphonics to give the solo line a fuller sound and imply the underlying harmony. Particularly inventive is the use of percussive slap tonguing techniques when stating Monk’s quirky melody line on ‘Misterioso’ and the highly controlled and detailed introduction to ‘Sentimental Mood’.
Newsome’s playing on soprano is never merely a technical exercise, but his superb arrangements for solo saxophone performances of classic
jazz tunes lift what can be a lonely and rarefied activity into scintillating and vibrant music that firmly places the music first beyond any intellectual or virtuosic considerations.
Available as a $0.99 download it is a very agreeable appetiser prior to the release of The Art of the Soprano, Volume 2.
Reviewed by Nick Lea
GARY BURTON – Seven Songs For Quartet & Chamber Orchestra
ECM 374 3516
Gary Burton (vibraharp); Michael Goodrick (guitar); Steve Swallow (bass); Ted Siebs (drums)
Members of the NDR-Symphony Orchestra, Hamburg
Conducted by Michael Gibbs
Recorded December 1973
Hard to believe that this is the first time that this wonderful album from Gary Burton has been made available on the silver disc, and will be a most welcome release for the vast number of listeners that prefer the more contemporary mediums of CD and downloads. The music on this disc is all the more
remarkable for the way in which has been recorded so cleanly with Seven Songs setting a new standard for the way orchestral jazz was recorded.
Burton’s quartet with Steve Swallow and Mick Goodrick had already made its presence felt at the time of the sessions, having made an album for ECM, The New Quartet, earlier that year but it is still a considerable achievement in the way that the group work together and react with the orchestra. Revered for his big band jazz arranging and composing, we are once again reminded of Mike Gibbs stature as he arranged and conducted all the music for the album and composed all but one of the ‘songs’.
The album opens gently with ‘Nocturne Vulgaire’ which segues into ‘Arise Her Eyes’ by bassist Steve Swallow, a tune that has been a staple in
Burton’s book for many years. The vibraharpist shows his familiarity and understanding of the composition with some of his most beautiful playing of the set with his ideas as crystal clear as the sound of his instrument. His wonderfully pastoral solo matched by the playing of the
strings.
Mike Gibb’s makes full use of the orchestra with his dramatic use of the contrast between strings and flutes on ‘By Way of Preface’ that features
a fine solo from Goodrick. Throughout Gibbs’ writing for the orchestra never hinder the quartet’s natural rhythmic impulses, and allows plenty of space for the soloists. A prime example of this occurs on ‘Throb’ with the dissonant opening bars that move on to settle into a more even and rhythmic mode for Burton's energising solo.
Mention must also be made of the superb interaction between the quartet and orchestra on ‘Three’ in a truly masterful piece of writing that brings this vibrant and important collaboration to a fitting finale.
Reviewed by Nick Lea
Gary Burton (vibraharp); Michael Goodrick (guitar); Steve Swallow (bass); Ted Siebs (drums)
Members of the NDR-Symphony Orchestra, Hamburg
Conducted by Michael Gibbs
Recorded December 1973
Hard to believe that this is the first time that this wonderful album from Gary Burton has been made available on the silver disc, and will be a most welcome release for the vast number of listeners that prefer the more contemporary mediums of CD and downloads. The music on this disc is all the more
remarkable for the way in which has been recorded so cleanly with Seven Songs setting a new standard for the way orchestral jazz was recorded.
Burton’s quartet with Steve Swallow and Mick Goodrick had already made its presence felt at the time of the sessions, having made an album for ECM, The New Quartet, earlier that year but it is still a considerable achievement in the way that the group work together and react with the orchestra. Revered for his big band jazz arranging and composing, we are once again reminded of Mike Gibbs stature as he arranged and conducted all the music for the album and composed all but one of the ‘songs’.
The album opens gently with ‘Nocturne Vulgaire’ which segues into ‘Arise Her Eyes’ by bassist Steve Swallow, a tune that has been a staple in
Burton’s book for many years. The vibraharpist shows his familiarity and understanding of the composition with some of his most beautiful playing of the set with his ideas as crystal clear as the sound of his instrument. His wonderfully pastoral solo matched by the playing of the
strings.
Mike Gibb’s makes full use of the orchestra with his dramatic use of the contrast between strings and flutes on ‘By Way of Preface’ that features
a fine solo from Goodrick. Throughout Gibbs’ writing for the orchestra never hinder the quartet’s natural rhythmic impulses, and allows plenty of space for the soloists. A prime example of this occurs on ‘Throb’ with the dissonant opening bars that move on to settle into a more even and rhythmic mode for Burton's energising solo.
Mention must also be made of the superb interaction between the quartet and orchestra on ‘Three’ in a truly masterful piece of writing that brings this vibrant and important collaboration to a fitting finale.
Reviewed by Nick Lea
The Enchanted 3
Leo Records CD LR 689
Vlady Bystrov, clarinets and saxophones; Anne-Liis Poll, electronics, percussion and vocals; Anto Pett, piano and prepared piano
Recorded in Estonia, October 2012
This album delivers about 51 minutes of modern, musical enchantment. Its fluidity is ceaseless, even the silences between tracks are imbued with exciting, fervent tension, as though to hold one in suspense for what comes next. Throughout, the music is dominated essentially by the vocalist. Anne-Liis delivers the 'lines' through a very broad gamut of accents and mesmeric modulations; it is she who is central to the free improvisation, whose unassailable voice, alternately feverish, furious or rambling, exposes the surreal heart of this often terse, yet always moving, dramatic opus.
Yet, she could not achieve this alone. The richly rolling piano behind her screams is equally vehement, yet seems to ground her unspeakable torment, as solid as rocks that hold the sea at bay. Vlady's saxophones and clarinets determinedly create distinctive, alternate moods, calming or pensive.
These three musicians are outstanding in their improvisations and together have created a truly enchanting, musical work of considerable
stature, absolutely iridescent to its core.
Reviewed by Ken Cheetham
Vlady Bystrov, clarinets and saxophones; Anne-Liis Poll, electronics, percussion and vocals; Anto Pett, piano and prepared piano
Recorded in Estonia, October 2012
This album delivers about 51 minutes of modern, musical enchantment. Its fluidity is ceaseless, even the silences between tracks are imbued with exciting, fervent tension, as though to hold one in suspense for what comes next. Throughout, the music is dominated essentially by the vocalist. Anne-Liis delivers the 'lines' through a very broad gamut of accents and mesmeric modulations; it is she who is central to the free improvisation, whose unassailable voice, alternately feverish, furious or rambling, exposes the surreal heart of this often terse, yet always moving, dramatic opus.
Yet, she could not achieve this alone. The richly rolling piano behind her screams is equally vehement, yet seems to ground her unspeakable torment, as solid as rocks that hold the sea at bay. Vlady's saxophones and clarinets determinedly create distinctive, alternate moods, calming or pensive.
These three musicians are outstanding in their improvisations and together have created a truly enchanting, musical work of considerable
stature, absolutely iridescent to its core.
Reviewed by Ken Cheetham
FLAT EARTH SOCIETY – 13
IGLOO Records CD IGL 239
Wim Willaert (acc, keys); Benjamin Bourtreur (as, rec); Bruno Vansina (bs, fl); Kristof Roseeouw (b); Peter Vermeersch (bcl); Tom Wouters (bcl, vib); Teun Verbruggen (d); Pierre Vervloesem (g); Peter Vandenberghe (p, keys)
The band is biggish and Belgian. Right up front from the start it presents a chaotic hullabaloo. There is some order though – '13' is the band's 13th album and contains 13 tracks; it is mostly written, led and directed by Peter Vermeersch who also produced it. Imbalance though is present too; the band has 15 players. It is often complemented by internationally acclaimed musicians such as Uri Caine and Toots Thielmans. Admiration for this latter has oft been said to be misplaced, largely due to his somewhat inappropriately eclectic choice of instruments – accordion, harmonica, guitar and whistling, the first two of which were seldom found to be apposite to the jazz medium.
Flat Earth Society (FES) has also encompassed accordion, along with claviers and bass tuba and while its offerings may be seen to be audacious and the lashings of the rhythm and the convolutions of the writing may in some way appear to lend an avant garde flavour to the production,
I discover that it’s much more like a soundtrack for a cinematic musical, perhaps one based in a circus or some other raucous pantomime.
It's true too that there are many 'quotes' herein and all are expressed boisterously, but enthusiasm is insufficient to quench my thirst for jazz
music. Track 8, Intersections, came nearest, but after just over four minutes it let go and the carousel whirled on in uproarious pandemonium.
I found this to be an unpleasant, auditory experience.
Reviewed by Ken Cheetham
Wim Willaert (acc, keys); Benjamin Bourtreur (as, rec); Bruno Vansina (bs, fl); Kristof Roseeouw (b); Peter Vermeersch (bcl); Tom Wouters (bcl, vib); Teun Verbruggen (d); Pierre Vervloesem (g); Peter Vandenberghe (p, keys)
The band is biggish and Belgian. Right up front from the start it presents a chaotic hullabaloo. There is some order though – '13' is the band's 13th album and contains 13 tracks; it is mostly written, led and directed by Peter Vermeersch who also produced it. Imbalance though is present too; the band has 15 players. It is often complemented by internationally acclaimed musicians such as Uri Caine and Toots Thielmans. Admiration for this latter has oft been said to be misplaced, largely due to his somewhat inappropriately eclectic choice of instruments – accordion, harmonica, guitar and whistling, the first two of which were seldom found to be apposite to the jazz medium.
Flat Earth Society (FES) has also encompassed accordion, along with claviers and bass tuba and while its offerings may be seen to be audacious and the lashings of the rhythm and the convolutions of the writing may in some way appear to lend an avant garde flavour to the production,
I discover that it’s much more like a soundtrack for a cinematic musical, perhaps one based in a circus or some other raucous pantomime.
It's true too that there are many 'quotes' herein and all are expressed boisterously, but enthusiasm is insufficient to quench my thirst for jazz
music. Track 8, Intersections, came nearest, but after just over four minutes it let go and the carousel whirled on in uproarious pandemonium.
I found this to be an unpleasant, auditory experience.
Reviewed by Ken Cheetham
CHRISTOPH STIEFEL INNER LANGUAGE TRIO - Big Ship
Basho Records SRCD 44-2
Christoph Stiefel (piano); Arne Huber (bass); Kevin Chesham (drums)
Recorded March /June 2013, Osnabrűck, Germany
In his second album for Basho Records Swiss pianist and composer Christoph Stiefel revisits the isorhythmic compositional techniques that featured so powerfully in his first album `Live!` but applies them rather more judiciously in a way that allows his music space to breathe. Isorhythms you will recall are fixed recurring rhythmic patterns that became the basis of mediaeval polyphonic music: iso meaning equal or the same. Inevitably this creates a musical structure that is tightly textured and eminently suited to the Gothic settings in which early Renaissance sacred music was performed or the formal social conventions of secular court music as purveyed by the troubadours. Jazz on the other hand requires a looser structure with misplaced beats and shifting polyrhythmic patterns if it is to achieve the dynamic condition we define as `swing` and promote a musical environment in which spontaneous improvisation can take place.
Repetitive ostinato patterns still prevail throughout this latest recording but the internal structure of the music is much more fluid, the moving
parts and accents supplied by the bass and drums create a tension that was often absent from the earlier recording, technically brilliant as it was : Stiefel’s playing too is more relaxed as he allows the isorhythmic episodes to admit bop linearity and funky vamps breaking into the formally patterned progression whilst in the in the slower numbers he employs impressionistic harmonies to achieve a programmatic effect.
Instead of the numbered etudes of the earlier recording we have pieces like `South` which exude a gentle Mediterranean warmth; `Angel Falls`
with its tumbling arpeggios and shimmering cymbals evocative of the scene it seeks to paint and `Solar Glider` with airy harmonics and floating pedal notes in the bass line.
The up-tempo numbers offer similar enhancements in melodic and harmonic interest: the arresting opener `Thalatta` evokes the excitement of
African Township music mixed with gospel –like catharsis and is followed by `Attitudes` employing an infectious, contemporary dance beat akin to hip-hop. `Big Ship` opens with spiky, episodic phrases but soon settles into a be-bop groove before returning to a more structured format, the title referring to the sea change that has taken place in Stiefel’s music since his last recording which, though it can hardly be equated to turning around a super tanker, surely reveals a desire on his part to communicate on an emotional as well as an intellectual level.
Reviewed by Euan Dixon
Christoph Stiefel (piano); Arne Huber (bass); Kevin Chesham (drums)
Recorded March /June 2013, Osnabrűck, Germany
In his second album for Basho Records Swiss pianist and composer Christoph Stiefel revisits the isorhythmic compositional techniques that featured so powerfully in his first album `Live!` but applies them rather more judiciously in a way that allows his music space to breathe. Isorhythms you will recall are fixed recurring rhythmic patterns that became the basis of mediaeval polyphonic music: iso meaning equal or the same. Inevitably this creates a musical structure that is tightly textured and eminently suited to the Gothic settings in which early Renaissance sacred music was performed or the formal social conventions of secular court music as purveyed by the troubadours. Jazz on the other hand requires a looser structure with misplaced beats and shifting polyrhythmic patterns if it is to achieve the dynamic condition we define as `swing` and promote a musical environment in which spontaneous improvisation can take place.
Repetitive ostinato patterns still prevail throughout this latest recording but the internal structure of the music is much more fluid, the moving
parts and accents supplied by the bass and drums create a tension that was often absent from the earlier recording, technically brilliant as it was : Stiefel’s playing too is more relaxed as he allows the isorhythmic episodes to admit bop linearity and funky vamps breaking into the formally patterned progression whilst in the in the slower numbers he employs impressionistic harmonies to achieve a programmatic effect.
Instead of the numbered etudes of the earlier recording we have pieces like `South` which exude a gentle Mediterranean warmth; `Angel Falls`
with its tumbling arpeggios and shimmering cymbals evocative of the scene it seeks to paint and `Solar Glider` with airy harmonics and floating pedal notes in the bass line.
The up-tempo numbers offer similar enhancements in melodic and harmonic interest: the arresting opener `Thalatta` evokes the excitement of
African Township music mixed with gospel –like catharsis and is followed by `Attitudes` employing an infectious, contemporary dance beat akin to hip-hop. `Big Ship` opens with spiky, episodic phrases but soon settles into a be-bop groove before returning to a more structured format, the title referring to the sea change that has taken place in Stiefel’s music since his last recording which, though it can hardly be equated to turning around a super tanker, surely reveals a desire on his part to communicate on an emotional as well as an intellectual level.
Reviewed by Euan Dixon
JOHN HARLE & MARC ALMOND – The Tyburn Tree
Sospiro Noir SOSTT10014
Marc Almond (vocals); John Harle )keyboards, saxophones, vocals); Sarah Leonard (vocals); Neil MacColl (acoustic guitar); John Parricelli (electric guitar); Mike Lovatt (trumpet); Dudley Phillips (bass); Martyn Barker (drums); Iain Sinclair (voice on track 7); Daniel Eisner Harle (sound design)
Recorded - no date given
Following on from their collaboration on the saxophonist’s Art Music set from last year, John Harle and Marc Almond have offered up an entirely different concept, basing the material on the darker side of London’s history. The Tyburn Tree itself is the name of the gallows erected in Marble Arch in 1571 for which public executions were held, and other dark tales tell of legendary (and notorious) London
figures, Jack The Ripper and Spring Heeled Jack.
As well as original lyrics by Almond, texts are also drawn from the works of William Blake, and the poet Tom Pickard with a disturbing reworking
of ‘London Bridge’. This is all set to music by Harle that is as broad in scope as the material covered in the epic song-cycle that Almond guides us through in the course of the album.
Harle’s music is totally contemporary, and as genre defying as we have now come to expect from the saxophonist/composer, moving from ambient, electronic and rock. The emphasis is very much on providing the ideal accompaniment to the texts, almost at times enhancing the words to elicit images that are vivid and terrifying by turn.
The rhythmic ingenuity that accompanies ‘Spring Heeled Jack’ propelled by the drumming of Martyn Barker, and the powerhouse electric guitar
of John Parricell is a fine case in question. Harle stalwart Sarah Leonard’s soaring soprano conjures images of shadows and darkness that have one looking over one’s shoulder, whilst the listener should not be drawn into a false sense of security in the lilting lullaby that surfaces in ‘My Fair
Lady’.
Marc Almond's vocals, whether part spoken or sung in his captivating tenor voice keep you on the edge of your seat with the emotional content of this beguiling set is quite extraordinary in both words and music, and if most unsettling at times, is none the worse for it.
A little out of the norm this is an album that cannot and should not be pigeon-holed but simply enjoyed in the manner that we all enjoy the tales
of the untold.
Reviewed by Nick Lea
Marc Almond (vocals); John Harle )keyboards, saxophones, vocals); Sarah Leonard (vocals); Neil MacColl (acoustic guitar); John Parricelli (electric guitar); Mike Lovatt (trumpet); Dudley Phillips (bass); Martyn Barker (drums); Iain Sinclair (voice on track 7); Daniel Eisner Harle (sound design)
Recorded - no date given
Following on from their collaboration on the saxophonist’s Art Music set from last year, John Harle and Marc Almond have offered up an entirely different concept, basing the material on the darker side of London’s history. The Tyburn Tree itself is the name of the gallows erected in Marble Arch in 1571 for which public executions were held, and other dark tales tell of legendary (and notorious) London
figures, Jack The Ripper and Spring Heeled Jack.
As well as original lyrics by Almond, texts are also drawn from the works of William Blake, and the poet Tom Pickard with a disturbing reworking
of ‘London Bridge’. This is all set to music by Harle that is as broad in scope as the material covered in the epic song-cycle that Almond guides us through in the course of the album.
Harle’s music is totally contemporary, and as genre defying as we have now come to expect from the saxophonist/composer, moving from ambient, electronic and rock. The emphasis is very much on providing the ideal accompaniment to the texts, almost at times enhancing the words to elicit images that are vivid and terrifying by turn.
The rhythmic ingenuity that accompanies ‘Spring Heeled Jack’ propelled by the drumming of Martyn Barker, and the powerhouse electric guitar
of John Parricell is a fine case in question. Harle stalwart Sarah Leonard’s soaring soprano conjures images of shadows and darkness that have one looking over one’s shoulder, whilst the listener should not be drawn into a false sense of security in the lilting lullaby that surfaces in ‘My Fair
Lady’.
Marc Almond's vocals, whether part spoken or sung in his captivating tenor voice keep you on the edge of your seat with the emotional content of this beguiling set is quite extraordinary in both words and music, and if most unsettling at times, is none the worse for it.
A little out of the norm this is an album that cannot and should not be pigeon-holed but simply enjoyed in the manner that we all enjoy the tales
of the untold.
Reviewed by Nick Lea
MIROSLAV VITOUS GROUP
ECM 374 3510
Miroslav Vitous (double bass); John Surman (soprano & baritone saxophones, bass clarinet); Kenny
Kirkland (piano); Jon Christensen (drums)
Recorded July 1980 at Talent studio, Oslo
This recording makes its debut on CD as part of a seven series reissue of some early recordings for the label under the subtitle of ECM The Story of Our Listening. These seven historical albums, we are told, are mastered from the original analogue sources and five of these reissues are making their first appearance on CD.
The Miroslav Vitous Group were active from 1979 to 1982 and actually recorded three albums for ECM of which this is the middle one. Recorded in 1980 the passing of time has done nothing to dull the impact of the music, and indeed this is a much welcome addition to the label’s back catalogue.
Viewed from a distance, this very much now looks like a bit of a super group with all four musicians recognised as major players on their
respective instruments. Kenny Kirkland was just 24 when this session was recorded but already shows a total command of both instrument and idiom, even if much of what was played may initially appear to outside of his usual setting.
The music is a mixture of more straight ahead and driving jazz as displayed in the opening ‘When Face Gets Pale’ with Vitous stating the theme
before the rhythm section kicks in for Surman’s dramatic entry on baritone, and an early version of John’s relentless ‘Number Six, and more exploratory pieces that serve to show the versatility of this superb group.
The freer side of the band is displayed in two improvisations ‘Second Meeting’ and ‘Interplay’ that show a remarkable degree of empathy that
make the most of the tonal variety available with the bowed and plucked strings of the double bass and Surman’s command of the bass clarinet.
Kenny Kirkland’s ‘Inner Peace’ is a wonderful example of freedom within structure, with Kirkland’s tentative opening being joined by Surman’s
baritone and Miroslav’s arco bass. This format is repeated on the Vitous original ‘Sleeping Beauty’ that evolves from Kenny’s unaccompanied introduction to some lyrical and jaunty soprano playing from the saxophonist.
The whole set benefits immensely from the presence of drummer, Jon Christensen who from his position at the kit will either set up a pulsating groove for the soloists, as for baritone and piano on ‘Gears’ that puts the quartet through its paces, or by interrupting or displacing the rhythmic impetus and pointing up new areas for exploration. As one would expect, Miroslav Vitous is superb throughout, and on the (all to brief) concluding piece, ‘Eagle’, his arco playing incredibly moving.
Great to have this important album available again, and as with all of the reissues ECM have made this available in three formats, CD, high
resolution downloads and also on 180 gram vinyl albums.
Reviewed by Nick Lea
Miroslav Vitous (double bass); John Surman (soprano & baritone saxophones, bass clarinet); Kenny
Kirkland (piano); Jon Christensen (drums)
Recorded July 1980 at Talent studio, Oslo
This recording makes its debut on CD as part of a seven series reissue of some early recordings for the label under the subtitle of ECM The Story of Our Listening. These seven historical albums, we are told, are mastered from the original analogue sources and five of these reissues are making their first appearance on CD.
The Miroslav Vitous Group were active from 1979 to 1982 and actually recorded three albums for ECM of which this is the middle one. Recorded in 1980 the passing of time has done nothing to dull the impact of the music, and indeed this is a much welcome addition to the label’s back catalogue.
Viewed from a distance, this very much now looks like a bit of a super group with all four musicians recognised as major players on their
respective instruments. Kenny Kirkland was just 24 when this session was recorded but already shows a total command of both instrument and idiom, even if much of what was played may initially appear to outside of his usual setting.
The music is a mixture of more straight ahead and driving jazz as displayed in the opening ‘When Face Gets Pale’ with Vitous stating the theme
before the rhythm section kicks in for Surman’s dramatic entry on baritone, and an early version of John’s relentless ‘Number Six, and more exploratory pieces that serve to show the versatility of this superb group.
The freer side of the band is displayed in two improvisations ‘Second Meeting’ and ‘Interplay’ that show a remarkable degree of empathy that
make the most of the tonal variety available with the bowed and plucked strings of the double bass and Surman’s command of the bass clarinet.
Kenny Kirkland’s ‘Inner Peace’ is a wonderful example of freedom within structure, with Kirkland’s tentative opening being joined by Surman’s
baritone and Miroslav’s arco bass. This format is repeated on the Vitous original ‘Sleeping Beauty’ that evolves from Kenny’s unaccompanied introduction to some lyrical and jaunty soprano playing from the saxophonist.
The whole set benefits immensely from the presence of drummer, Jon Christensen who from his position at the kit will either set up a pulsating groove for the soloists, as for baritone and piano on ‘Gears’ that puts the quartet through its paces, or by interrupting or displacing the rhythmic impetus and pointing up new areas for exploration. As one would expect, Miroslav Vitous is superb throughout, and on the (all to brief) concluding piece, ‘Eagle’, his arco playing incredibly moving.
Great to have this important album available again, and as with all of the reissues ECM have made this available in three formats, CD, high
resolution downloads and also on 180 gram vinyl albums.
Reviewed by Nick Lea
VocCOLOURS & AlEXEY LAPIN - zvuKlang
Leo Records CD LR 690
VocColours - voices; Alexey Lapin – piano
Recorded in St Petersburg, Russia, June 2013
VocColours is a German vocal quartet and pianist Alexey Lapin is Russian; his piano sounds prepared.
The reverberation of these voices and piano together often suggests electronic music, which it is not, but this leads me to propose that such music has had its influences here. The voices are so manipulated that they seem electronic and so echo the effects of musique concrète, the piano
falling into line, like a ricochet from John Cage. The voices and rhythms also reveal other influences, the scat jazz vocal, voiced native-American forms, intonations from near-Orient sources.
The vocal lines here, spoken, growled or sung seem to take on themselves a unifying essence, as though to explain what the musical parts are all about, as if it might otherwise be bewildering. This, along with all those varied influences mentioned, presents a musical collage such as those of Varèse and Berio.
The collage is populated by these voices and the amalgamation of all these elements becomes a piece of thoroughly expressionist theatre in five
acts; the voices provide dance, drama and speech; the piano controls the lighting.
This is a very interesting and exciting album whose sleeve notes tell you very little at all, except to advise you to play it loud. So you should or you will miss the very quiet introduction to the opening track.
Reviewed by Ken Cheetham
VocColours - voices; Alexey Lapin – piano
Recorded in St Petersburg, Russia, June 2013
VocColours is a German vocal quartet and pianist Alexey Lapin is Russian; his piano sounds prepared.
The reverberation of these voices and piano together often suggests electronic music, which it is not, but this leads me to propose that such music has had its influences here. The voices are so manipulated that they seem electronic and so echo the effects of musique concrète, the piano
falling into line, like a ricochet from John Cage. The voices and rhythms also reveal other influences, the scat jazz vocal, voiced native-American forms, intonations from near-Orient sources.
The vocal lines here, spoken, growled or sung seem to take on themselves a unifying essence, as though to explain what the musical parts are all about, as if it might otherwise be bewildering. This, along with all those varied influences mentioned, presents a musical collage such as those of Varèse and Berio.
The collage is populated by these voices and the amalgamation of all these elements becomes a piece of thoroughly expressionist theatre in five
acts; the voices provide dance, drama and speech; the piano controls the lighting.
This is a very interesting and exciting album whose sleeve notes tell you very little at all, except to advise you to play it loud. So you should or you will miss the very quiet introduction to the opening track.
Reviewed by Ken Cheetham
Birchall & Woolhouse: The Scenery of Life Unfolding
Jazz Piano Australia - Available from www.jazzpiano.com.au
Shannon Birchall – bass; Jeremy Woolhouse – piano
Unquestionably, music about emotions and a very intimate collusion between the elegantly lyrical compositions of the pianist/composer and the rich interplay of the virtuoso bass player provide a schema for what could so easily be a cinematic soundtrack. The story of the film would tell of passion; brooding, melancholic and wistful, each mood is underscored by the bowing of the bass.
The track titles echo this thinking; look at and of course listen to Echoes in Emptiness, Virtual
Affection, Lost Friends, Darkening Shadows and Tears for the Summer and feel the spaciousness, brought about perhaps by absence? Yet this space is also airy, harbinger perhaps of freedom, as the music also brings with it at times a sense of unperturbed serenity.
Once again among CDs recently reviewed, we have an album which defies categorization really, much of the musical training and experience of the duo lending them a classical or 'light classical' ambience, while there still remain the influences of both contemporary-European and Afro-American jazz. This is not music to excite you – rather it may render you reflective: contemplative of the worlds of weightlessness, obscurity, fantasy, chimera and apprehension. No surprise there – Woolhouse has been an exponent of the Alexander Technique for some 16 years; it goes hand-in-hand with exercises in relaxation.
Reviewed by Ken Cheetham
Shannon Birchall – bass; Jeremy Woolhouse – piano
Unquestionably, music about emotions and a very intimate collusion between the elegantly lyrical compositions of the pianist/composer and the rich interplay of the virtuoso bass player provide a schema for what could so easily be a cinematic soundtrack. The story of the film would tell of passion; brooding, melancholic and wistful, each mood is underscored by the bowing of the bass.
The track titles echo this thinking; look at and of course listen to Echoes in Emptiness, Virtual
Affection, Lost Friends, Darkening Shadows and Tears for the Summer and feel the spaciousness, brought about perhaps by absence? Yet this space is also airy, harbinger perhaps of freedom, as the music also brings with it at times a sense of unperturbed serenity.
Once again among CDs recently reviewed, we have an album which defies categorization really, much of the musical training and experience of the duo lending them a classical or 'light classical' ambience, while there still remain the influences of both contemporary-European and Afro-American jazz. This is not music to excite you – rather it may render you reflective: contemplative of the worlds of weightlessness, obscurity, fantasy, chimera and apprehension. No surprise there – Woolhouse has been an exponent of the Alexander Technique for some 16 years; it goes hand-in-hand with exercises in relaxation.
Reviewed by Ken Cheetham
