THE NORWEGIAN WIND
ENSEMBLE - The Brass from Utopia – A
Frank Zappa Tribute
Nor Wind Records NWD 132
Frank Brodahl ( lead trumpet, flugelhorn) Marius Halti (trumpet, flugelhorn) Stian Aareskold (trumpet, flugelhorn, piccolo trumpet, artistic leader and arranger) Torgeir Harra (trumpet, flugelhorn) Britt Kirstin Larsen (horn) Tarjei Grimsby ( lead trombone) Torild Grytting Berg ( trombone) Sindre Dalhaug ( trombone, euphonium) Helene Overlie (bass trombone) Roger Fjeldet ( tuba) Knut Aalefjar (drums) Andre Fjortoft ( percussion) Epsen Olsen (percussion)
No recording dates given
Frank Zappa, the visionary rock guitarist and band leader, avant-garde composer, social commentator, satirist and much else, died in 1993 at the early age of 53 but the music he created remains vibrant, relevant and ever eligible for re-evaluation through the legion of tribute bands and projects that are inspired by his undoubted genius. Zappa aspired to be a composer of substance rather than simply a purveyor of popular music even though the popular music of his formative years like Doo-Wop, Rock ‘n Roll and R&B influenced him heavily. Alongside these youthful passions he venerated the avant-garde orchestrations of Edgard Varese, a European émigré composer who specialised in vast atonal soundscapes and was aware of leading edge developments in jazz of the time though jazz per se was always a peripheral interest which he scandalously described as `the music of unemployment`. Notwithstanding this jaundiced view he employed many jazz musicians to give expression to his melange of American influences and with the help of albums like `The Grand Wazoo` `Hot Rats` and Waka/Jawaka and association with musicians like Jean Luc Ponty and George Duke he became indelibly associated with the jazz-rock genre.
All his influences and affinities are celebrated in this wonderful disc by The Norwegian Wind Ensemble in a performance of some of his most compelling instrumental scores that enables us to see his music in the wider context of 20th century American composition. Zappa is a natural heir to composers like Charles Ives, John Cage, Harry Partch and others I could mention and we see these connections clearly with hindsight thanks to retrospective tributes like this. His music has been recreated by several ensembles, notably the Ed Palermo big band of New York but this project is entirely instrumental and will appeal to those who find Zappa’s salacious lyrics and libertarian political views unpalatable but admire his freewheeling music nonetheless. It will also appeal to those who looking for a jazz oriented approach for unlike the `Yellow Shark` , one of Zappa’s last projects which covers a similar repertoire but is largely scored, this disc incorporates jazz solos within his complex polyrhythmic and metrically advanced structures. The interpretations also differ from the Ensemble Modern versions in that they are scored entirely for wind band and percussion but happily are not afflicted by the homophonic dreariness that can sometimes affect music produced by this type of ensemble – I’m thinking brass band here!
Far from it, the music absolutely bursts with energy and radiates colour as well as being replete with the characteristic Zappa wit and iconoclasm. Aareskjold’s arrangements capture the Zappa ethos to perfection whilst investing the music with authentic jazz credentials leaving plenty of space for solo statements from the trumpet section and Grimsby’s mellow trombone, the latter featuring at length on a headlong version of `Big Swifty`, one of Zappa’s more overtly jazzy pieces. Star billing, however, belongs to the entire ensemble as they negotiate these complicated but thrilling pieces with simply stunning technique which is particularly evident in the percussion work that is such an important textural element in Zappa’s music. Hats off too for the euphonium player who provides a bass line which bubbles along with every bit as much bounce and flexibility as could be achieved with a stringed instrument.
Mention must also be made of the programme which has been chosen wisely to reflect Frank’s predilections and influences opening with the melodic `pop tune` inclined `Peaches en Regalia`, surveying his anthem like themes in a medley from `Make A Jazz Noise Here ‘and including his mischievous avant –garde long form pieces such as `Revised Music For Low Budget Orchestra` with hilarious references to Wagner, Bizet and Tchaikovsky. The disc finishes with a realisation of `G-Spot Tornado`, a piece originally conceived for Zappa’s `Jazz From Hell` synthclavier project and which he originally believed could never be replicated instrumentally. He was delighted to be proved wrong when Ensemble Modern gave their live performance and he would be similarly impressed to hear this version which must even more difficult to execute given the wind band context. Hopefully there was plenty of lip salve on hand.
Never was the Man from Utopia better served – can’t wait for volume two.
Reviewed by Euan Dixon
Nor Wind Records NWD 132
Frank Brodahl ( lead trumpet, flugelhorn) Marius Halti (trumpet, flugelhorn) Stian Aareskold (trumpet, flugelhorn, piccolo trumpet, artistic leader and arranger) Torgeir Harra (trumpet, flugelhorn) Britt Kirstin Larsen (horn) Tarjei Grimsby ( lead trombone) Torild Grytting Berg ( trombone) Sindre Dalhaug ( trombone, euphonium) Helene Overlie (bass trombone) Roger Fjeldet ( tuba) Knut Aalefjar (drums) Andre Fjortoft ( percussion) Epsen Olsen (percussion)
No recording dates given
Frank Zappa, the visionary rock guitarist and band leader, avant-garde composer, social commentator, satirist and much else, died in 1993 at the early age of 53 but the music he created remains vibrant, relevant and ever eligible for re-evaluation through the legion of tribute bands and projects that are inspired by his undoubted genius. Zappa aspired to be a composer of substance rather than simply a purveyor of popular music even though the popular music of his formative years like Doo-Wop, Rock ‘n Roll and R&B influenced him heavily. Alongside these youthful passions he venerated the avant-garde orchestrations of Edgard Varese, a European émigré composer who specialised in vast atonal soundscapes and was aware of leading edge developments in jazz of the time though jazz per se was always a peripheral interest which he scandalously described as `the music of unemployment`. Notwithstanding this jaundiced view he employed many jazz musicians to give expression to his melange of American influences and with the help of albums like `The Grand Wazoo` `Hot Rats` and Waka/Jawaka and association with musicians like Jean Luc Ponty and George Duke he became indelibly associated with the jazz-rock genre.
All his influences and affinities are celebrated in this wonderful disc by The Norwegian Wind Ensemble in a performance of some of his most compelling instrumental scores that enables us to see his music in the wider context of 20th century American composition. Zappa is a natural heir to composers like Charles Ives, John Cage, Harry Partch and others I could mention and we see these connections clearly with hindsight thanks to retrospective tributes like this. His music has been recreated by several ensembles, notably the Ed Palermo big band of New York but this project is entirely instrumental and will appeal to those who find Zappa’s salacious lyrics and libertarian political views unpalatable but admire his freewheeling music nonetheless. It will also appeal to those who looking for a jazz oriented approach for unlike the `Yellow Shark` , one of Zappa’s last projects which covers a similar repertoire but is largely scored, this disc incorporates jazz solos within his complex polyrhythmic and metrically advanced structures. The interpretations also differ from the Ensemble Modern versions in that they are scored entirely for wind band and percussion but happily are not afflicted by the homophonic dreariness that can sometimes affect music produced by this type of ensemble – I’m thinking brass band here!
Far from it, the music absolutely bursts with energy and radiates colour as well as being replete with the characteristic Zappa wit and iconoclasm. Aareskjold’s arrangements capture the Zappa ethos to perfection whilst investing the music with authentic jazz credentials leaving plenty of space for solo statements from the trumpet section and Grimsby’s mellow trombone, the latter featuring at length on a headlong version of `Big Swifty`, one of Zappa’s more overtly jazzy pieces. Star billing, however, belongs to the entire ensemble as they negotiate these complicated but thrilling pieces with simply stunning technique which is particularly evident in the percussion work that is such an important textural element in Zappa’s music. Hats off too for the euphonium player who provides a bass line which bubbles along with every bit as much bounce and flexibility as could be achieved with a stringed instrument.
Mention must also be made of the programme which has been chosen wisely to reflect Frank’s predilections and influences opening with the melodic `pop tune` inclined `Peaches en Regalia`, surveying his anthem like themes in a medley from `Make A Jazz Noise Here ‘and including his mischievous avant –garde long form pieces such as `Revised Music For Low Budget Orchestra` with hilarious references to Wagner, Bizet and Tchaikovsky. The disc finishes with a realisation of `G-Spot Tornado`, a piece originally conceived for Zappa’s `Jazz From Hell` synthclavier project and which he originally believed could never be replicated instrumentally. He was delighted to be proved wrong when Ensemble Modern gave their live performance and he would be similarly impressed to hear this version which must even more difficult to execute given the wind band context. Hopefully there was plenty of lip salve on hand.
Never was the Man from Utopia better served – can’t wait for volume two.
Reviewed by Euan Dixon
KEITH JARRETT/DENNIS
RUSSELL DAVIES – Ritual
ECM 374 3517
Dennis Russell Davies (piano)
Recorded June 1977
Although recorded in 1977 this solo piano album was not released until 1982, and is a most welcome reissue on LP and making its debut on silver disc.
It must be said that this is not a jazz album but a formally composed classical piece written by Keith Jarrett, and performed at Jarrett’s request by conductor-pianist Dennis Russell Davies. The two had worked together in 1974 in a programme of new music performed by The Ensemble at New York’s Lincoln Center. This initial meeting led to further collaborations, and this association has continued to the present day.
The music performed is perhaps intended to show another side to the Jarrett’s musical persona, and was written at a time of intense activity and development for the pianist. At the time that this work would have been written and composed Jarrett was active with both his European and American Quartets, performing solo concerts, and had also performed other formally composed works including the recording of Arbour Zena with Charlie Haden, Jan Garbarek and members of the Radio Symphony Orchestra, Stuttgart which has also been released on CD as part of ECMs The story of our listening series (see our March CD Reviews).
If the touch at the piano is unfamiliar or different then there is no mistaking the composer, as the music has Jarrett written all over it. Listening to the way in which the composition develops it is impossible not to hear echoes of the pianist’s solo concerts, and it seems immediately apparent the written score played by Davies is the work of an improvising composer as opposed to a composer who also improvises.
Whilst the CD has two track selections, ‘Ritual 1’ and ‘Ritual 2’ the pieces run seamlessly into each other suggesting that the piece should be viewed and heard as a single entity. Throughout the combined playing time of the music Jarrett has allowed the music to flow with a natural ebb of peaks and troughs, building and releasing tension as he would in his improvised solo recitals. The music is full of rhythmic cues and melodies that appear, evolve and move on. The overall effect is of music that is well thought out and prepared but not over written, a besetting sin of many improvisers who try their hand at long form composition.
As such this reissue is a must for Jarrett fans, but is also a work that is truly engaging and deserving wider recognition.
Reviewed by Nick Lea
ECM 374 3517
Dennis Russell Davies (piano)
Recorded June 1977
Although recorded in 1977 this solo piano album was not released until 1982, and is a most welcome reissue on LP and making its debut on silver disc.
It must be said that this is not a jazz album but a formally composed classical piece written by Keith Jarrett, and performed at Jarrett’s request by conductor-pianist Dennis Russell Davies. The two had worked together in 1974 in a programme of new music performed by The Ensemble at New York’s Lincoln Center. This initial meeting led to further collaborations, and this association has continued to the present day.
The music performed is perhaps intended to show another side to the Jarrett’s musical persona, and was written at a time of intense activity and development for the pianist. At the time that this work would have been written and composed Jarrett was active with both his European and American Quartets, performing solo concerts, and had also performed other formally composed works including the recording of Arbour Zena with Charlie Haden, Jan Garbarek and members of the Radio Symphony Orchestra, Stuttgart which has also been released on CD as part of ECMs The story of our listening series (see our March CD Reviews).
If the touch at the piano is unfamiliar or different then there is no mistaking the composer, as the music has Jarrett written all over it. Listening to the way in which the composition develops it is impossible not to hear echoes of the pianist’s solo concerts, and it seems immediately apparent the written score played by Davies is the work of an improvising composer as opposed to a composer who also improvises.
Whilst the CD has two track selections, ‘Ritual 1’ and ‘Ritual 2’ the pieces run seamlessly into each other suggesting that the piece should be viewed and heard as a single entity. Throughout the combined playing time of the music Jarrett has allowed the music to flow with a natural ebb of peaks and troughs, building and releasing tension as he would in his improvised solo recitals. The music is full of rhythmic cues and melodies that appear, evolve and move on. The overall effect is of music that is well thought out and prepared but not over written, a besetting sin of many improvisers who try their hand at long form composition.
As such this reissue is a must for Jarrett fans, but is also a work that is truly engaging and deserving wider recognition.
Reviewed by Nick Lea
PETER EDWARDS TRIO - Safe And Sound
EMP 0001 C
Peter Edwards (pno); Max Luthert (bass); Moses Boyd (d)
No recording date or location listed
The Edwards trio has been around on the London jazz scene for a while now and this is their debut CD. The leader favours a light and yet percussive touch on a programme of original compositions except for one. Thelonious Monk’s I Mean You is the odd one out and the trio dig into it with vigour. This is at least a unique and personalized version of Monk’s theme and all three musicians do well with it. Edwards is a strong and attractive ballad player, as he demonstrates on Southern African Sunrise. His single note lines are light and propulsive and he receives just the right amount of forward driving support from Luthert’s bass and Boyd’s drums.
This is a young group with the leader 31, his bassist 25 and drummer Boyd just 22. They are, however, forging their own approach and sound. Playtime is an up tempo swinger which shows the trio off to advantage; the leader’s stop time phrases alternate with bassist Luthert’s driving lines as young Boyd punctuates and fills in the gaps like a veteran. It is an impressive performance by any standards. Luthert’s swirling bass solo rounds things off nicely.
There is plenty of variety on offer here from the trio. While the original compositions are not particularly distinctive and act more as mere frameworks to improvise on, the group do just that on every selection. Finishing Touches does just what it says on the tin, fifty two seconds of wrapping up time featuring some strong bass ostinato and a concluding flourish from piano and drums. The Monk piece, possibly the highlight of the programme, starts with a lively piano introduction and the theme played out of tempo before developing into a swinger. Cautionary note. The first time I played this CD I didn’t like it much but subsequent auditions caused me to change my mind. So, in the admittedly unlikely case you hear like me, play it through twice!
Reviewed by Derek Ansell
EMP 0001 C
Peter Edwards (pno); Max Luthert (bass); Moses Boyd (d)
No recording date or location listed
The Edwards trio has been around on the London jazz scene for a while now and this is their debut CD. The leader favours a light and yet percussive touch on a programme of original compositions except for one. Thelonious Monk’s I Mean You is the odd one out and the trio dig into it with vigour. This is at least a unique and personalized version of Monk’s theme and all three musicians do well with it. Edwards is a strong and attractive ballad player, as he demonstrates on Southern African Sunrise. His single note lines are light and propulsive and he receives just the right amount of forward driving support from Luthert’s bass and Boyd’s drums.
This is a young group with the leader 31, his bassist 25 and drummer Boyd just 22. They are, however, forging their own approach and sound. Playtime is an up tempo swinger which shows the trio off to advantage; the leader’s stop time phrases alternate with bassist Luthert’s driving lines as young Boyd punctuates and fills in the gaps like a veteran. It is an impressive performance by any standards. Luthert’s swirling bass solo rounds things off nicely.
There is plenty of variety on offer here from the trio. While the original compositions are not particularly distinctive and act more as mere frameworks to improvise on, the group do just that on every selection. Finishing Touches does just what it says on the tin, fifty two seconds of wrapping up time featuring some strong bass ostinato and a concluding flourish from piano and drums. The Monk piece, possibly the highlight of the programme, starts with a lively piano introduction and the theme played out of tempo before developing into a swinger. Cautionary note. The first time I played this CD I didn’t like it much but subsequent auditions caused me to change my mind. So, in the admittedly unlikely case you hear like me, play it through twice!
Reviewed by Derek Ansell
ZOOT SIMS & BOB BROOKMEYER - Stretching
Out
Dream Covers 6083
Stretching Out tracks 1 to 6
Zoot Sims ( tnr ) Bob Brookmeyer ( val. Tmb ) Al Cohn ( tnr / bar ) Harry Edison ( tpt ) Hank Jones
( pno ) Freddie Green ( gtr ) Eddie Jones ( bass ) Charlie Persip ( drs )
Recorded New York, 27th December 1958
Kansas City Revisited tracks 7 to 12
Bob Brookmeyer ( val. Tmb ) Al Cohn ( tnr ) Paul Quinichette ( tnr ) Nat Pierce ( pno ) Jim Hall ( gtr ) Addison Farmer ( bass ) Osie Johnson ( drs ) Clarence Horatio “Big” Miller ( vocals ) on 8 & 12 only
Recorded New York, 23rd October 1958
This is a welcome re-release of two compatible albums with a common denominator of Bob Brookmeyer and Al Cohn and an approach to the music rooted in the Count Basie Orchestra. All the arrangements are by either, Brookmeyer, Cohn or Bill Potts which lends itself to plenty of variety.
Both albums have stellar rhythm sections with the one on “Stretching Out” being a little more four square with the inclusion of Freddie Green on guitar but it is worse for that.
It is a bonus to hear Harry Edison playing open trumpet on some tracks rather than making use of the more familiar mute. Al Cohn plays mostly baritone sax rather than his usual tenor which gives a little more depth to the sound of the group.
The album opens with the title track “Stretching Out” an original by Bob Brookmeyer which has an immaculate piano solo from Hank Jones and a laid back tenor contribution from Zoot Sims.
“Now you will be good” a catchy composition by Arthur Terker has an outstanding robust tenor solo by Al Cohn and hard blowing contribution from Bob Brookmeyer.
Hank Jones opens “King Porter Stomp” with a nod to Fats Waller with swinging solos from Zoot Sims and Bob Brookmeyer. Harry Edison contributes his best solo of the album with some fiery open trumpet.
A very satisfying album with outstanding contributions from Zoot Sims and Bob Brookmeyer
Kansas City Revisited includes the recording debut of singer Clarence Horatio “Big” Miller on two numbers, “A Blues ( What’s on your mind ) and “Trav’lin’ Light” he has a pleasant voice and owes much to Basie’s Joe Williams, if you have an a aversion to singers there are plenty of good solos from the horns.
All the instrumental tracks are numbers associated with the Count Basie band.The opening number is a scorcher with hard swinging solos from all of the front line with Bob Brookmeyer’s valve trombone particularly effective in the ensembles.
After a nice intro by Bob Brookmeyer to “Blue & Sentimental” it is followed by laid back solo by Vice Pres, Paul Quinichette, in contrast Al Cohn’s tenor solo is much more aggressive in style. Al Cohn and Paul Quinichette’s tenor exchanges on “Doggin’ Around” are more an exchange of ideas than a tenor battle with Bob Broomeyer mediating.
A very enjoyable pairing and is highly recommended to any lover of Basie style music.
Reviewed by Roy Booth
Dream Covers 6083
Stretching Out tracks 1 to 6
Zoot Sims ( tnr ) Bob Brookmeyer ( val. Tmb ) Al Cohn ( tnr / bar ) Harry Edison ( tpt ) Hank Jones
( pno ) Freddie Green ( gtr ) Eddie Jones ( bass ) Charlie Persip ( drs )
Recorded New York, 27th December 1958
Kansas City Revisited tracks 7 to 12
Bob Brookmeyer ( val. Tmb ) Al Cohn ( tnr ) Paul Quinichette ( tnr ) Nat Pierce ( pno ) Jim Hall ( gtr ) Addison Farmer ( bass ) Osie Johnson ( drs ) Clarence Horatio “Big” Miller ( vocals ) on 8 & 12 only
Recorded New York, 23rd October 1958
This is a welcome re-release of two compatible albums with a common denominator of Bob Brookmeyer and Al Cohn and an approach to the music rooted in the Count Basie Orchestra. All the arrangements are by either, Brookmeyer, Cohn or Bill Potts which lends itself to plenty of variety.
Both albums have stellar rhythm sections with the one on “Stretching Out” being a little more four square with the inclusion of Freddie Green on guitar but it is worse for that.
It is a bonus to hear Harry Edison playing open trumpet on some tracks rather than making use of the more familiar mute. Al Cohn plays mostly baritone sax rather than his usual tenor which gives a little more depth to the sound of the group.
The album opens with the title track “Stretching Out” an original by Bob Brookmeyer which has an immaculate piano solo from Hank Jones and a laid back tenor contribution from Zoot Sims.
“Now you will be good” a catchy composition by Arthur Terker has an outstanding robust tenor solo by Al Cohn and hard blowing contribution from Bob Brookmeyer.
Hank Jones opens “King Porter Stomp” with a nod to Fats Waller with swinging solos from Zoot Sims and Bob Brookmeyer. Harry Edison contributes his best solo of the album with some fiery open trumpet.
A very satisfying album with outstanding contributions from Zoot Sims and Bob Brookmeyer
Kansas City Revisited includes the recording debut of singer Clarence Horatio “Big” Miller on two numbers, “A Blues ( What’s on your mind ) and “Trav’lin’ Light” he has a pleasant voice and owes much to Basie’s Joe Williams, if you have an a aversion to singers there are plenty of good solos from the horns.
All the instrumental tracks are numbers associated with the Count Basie band.The opening number is a scorcher with hard swinging solos from all of the front line with Bob Brookmeyer’s valve trombone particularly effective in the ensembles.
After a nice intro by Bob Brookmeyer to “Blue & Sentimental” it is followed by laid back solo by Vice Pres, Paul Quinichette, in contrast Al Cohn’s tenor solo is much more aggressive in style. Al Cohn and Paul Quinichette’s tenor exchanges on “Doggin’ Around” are more an exchange of ideas than a tenor battle with Bob Broomeyer mediating.
A very enjoyable pairing and is highly recommended to any lover of Basie style music.
Reviewed by Roy Booth
ROS CUTHBERT - Ghost Child
RC 001
Ros Cuthbert (v); Jerry Crozier Cole (guitars); Anders Olinder (piano); Kevin Figes ( ts/flute); Ben Waghorn (cl); Mirek Salmon (accn); Ben Croenevelt (bass); Andy Tween (drums); Knud Stuwe (guitar)
Recorded White House Studio - 2013
All the songs except one were written by Ms Cuthbert. Ghost Child is a hypnotic line which she treats with a dramatic reading of the lyrics. He voice is fairly husky and seductive and fits the material she has written for it very well. I Know A Painter is a song with a story attached to it; Ms Cuthbert sings this one with spirit and a strong delivery as the band provides a sombre, pulsating backing complete with accordion solo.
A glowing alto sax flourish introduces Two Sides Of Lucky and provides supporting solo lines behind Ros’s smoky vocal. Pianist Olinder has a flowing solo on this one and the band hit a swinging groove which they maintain to the end of the track.
Although these songs are not particularly distinguished and might not survive in the general, open market, they do suit the mood and vocal style of Ros Cuthbert which, of course, is exactly what they were designed to do. The band supports vigorously and sympathetically throughout in spite of a somewhat unusual instrument selection. The rhythm section is good and Olinder a fine piano soloist. If only to establish herself though, it might have been a good idea to include a couple of standards or, at least, familiar material by another composer. There comes a point on this recital where the new songs become a wee bit repetitive and the listener could be inclined to lose interest. Ros Cuthbert has a strong, flexible voice though and a feel for jazz and will most likely do well in future with a more varied programme of music.
Reviewed by Derek Ansell
RC 001
Ros Cuthbert (v); Jerry Crozier Cole (guitars); Anders Olinder (piano); Kevin Figes ( ts/flute); Ben Waghorn (cl); Mirek Salmon (accn); Ben Croenevelt (bass); Andy Tween (drums); Knud Stuwe (guitar)
Recorded White House Studio - 2013
All the songs except one were written by Ms Cuthbert. Ghost Child is a hypnotic line which she treats with a dramatic reading of the lyrics. He voice is fairly husky and seductive and fits the material she has written for it very well. I Know A Painter is a song with a story attached to it; Ms Cuthbert sings this one with spirit and a strong delivery as the band provides a sombre, pulsating backing complete with accordion solo.
A glowing alto sax flourish introduces Two Sides Of Lucky and provides supporting solo lines behind Ros’s smoky vocal. Pianist Olinder has a flowing solo on this one and the band hit a swinging groove which they maintain to the end of the track.
Although these songs are not particularly distinguished and might not survive in the general, open market, they do suit the mood and vocal style of Ros Cuthbert which, of course, is exactly what they were designed to do. The band supports vigorously and sympathetically throughout in spite of a somewhat unusual instrument selection. The rhythm section is good and Olinder a fine piano soloist. If only to establish herself though, it might have been a good idea to include a couple of standards or, at least, familiar material by another composer. There comes a point on this recital where the new songs become a wee bit repetitive and the listener could be inclined to lose interest. Ros Cuthbert has a strong, flexible voice though and a feel for jazz and will most likely do well in future with a more varied programme of music.
Reviewed by Derek Ansell
BOB SANDS QUARTET - Out & About
Steeplechase SCCD 33111
Bob Sands ( tnr ) Pablo Gutierrez ( pno ) Francisco Lopez ( bass ) Daniel Garcia ( drs )
Recorded at Casa Limon, Madrid 22nd to 24th November 2012
Bob Sands was born in Manhattan in 1966 and studied piano from aged five to nine years old. He obtained a Batchelor of Music Degree in applied saxophone at the Eastern School of Music (University of Rochester) in 1988. He then went on to receive his Master of Music Degree in Jazz and Commercial Music at the Manhattan School of Music in 1991
He emigrated to Spain in 1992 where he now lives and works, participating in many tours with the likes of the Glenn Miller Orchestra, Lionel Hampton, Mel Lewis, Gerry Mulligan etc.. Since moving to Spain he has worked with many European musicians and records with various Spanish pop stars. His debut album under his own name was made for Fresh Sounds Record in 1998.
All the numbers on this album are originals by Bob Sands except Richard Whiting’s “My Ideal”, “Nobody Else But Me” by Jerome Kern and a little known number by Duke Ellington “Angelica”. Bob Sand’s composition are competent but hardly memorable the best is the ballad “Line in 3” which has a very nice solo by pianist Pablo Gutierrez how performs well throughout the album.
The three non Bob Sand’s compositions I found more enjoyable as I had a yardstick to judge them by, “My Ideal was a fine reading of the tune. The Whole group seemed much more relaxed on these numbers and gave their best performances, perhaps there is a lesson to be learned that you can’t improve on quality numbers.
Like many of today’s tenor players Bob Sands tends to perform on one level very little light and shade to add interest to the performance. With so many tenor saxophone albums available I would be hard pushed to recommend this one from the many and although it is a perfectly good album there is nothing to single it out.
Reviewed by Roy Booth
Steeplechase SCCD 33111
Bob Sands ( tnr ) Pablo Gutierrez ( pno ) Francisco Lopez ( bass ) Daniel Garcia ( drs )
Recorded at Casa Limon, Madrid 22nd to 24th November 2012
Bob Sands was born in Manhattan in 1966 and studied piano from aged five to nine years old. He obtained a Batchelor of Music Degree in applied saxophone at the Eastern School of Music (University of Rochester) in 1988. He then went on to receive his Master of Music Degree in Jazz and Commercial Music at the Manhattan School of Music in 1991
He emigrated to Spain in 1992 where he now lives and works, participating in many tours with the likes of the Glenn Miller Orchestra, Lionel Hampton, Mel Lewis, Gerry Mulligan etc.. Since moving to Spain he has worked with many European musicians and records with various Spanish pop stars. His debut album under his own name was made for Fresh Sounds Record in 1998.
All the numbers on this album are originals by Bob Sands except Richard Whiting’s “My Ideal”, “Nobody Else But Me” by Jerome Kern and a little known number by Duke Ellington “Angelica”. Bob Sand’s composition are competent but hardly memorable the best is the ballad “Line in 3” which has a very nice solo by pianist Pablo Gutierrez how performs well throughout the album.
The three non Bob Sand’s compositions I found more enjoyable as I had a yardstick to judge them by, “My Ideal was a fine reading of the tune. The Whole group seemed much more relaxed on these numbers and gave their best performances, perhaps there is a lesson to be learned that you can’t improve on quality numbers.
Like many of today’s tenor players Bob Sands tends to perform on one level very little light and shade to add interest to the performance. With so many tenor saxophone albums available I would be hard pushed to recommend this one from the many and although it is a perfectly good album there is nothing to single it out.
Reviewed by Roy Booth
VIJAY IYER – Mutations
ECM 376 4798
Vijay Iyer (piano, electronics); Miranda Cuckson, Michi Wiancko (violin); Kyle Ambrust (viola); Kivie Cahn-Lipman (cello)
Recorded September 2013
Many who will be familiar Iyer’s work with contemporary jazz luminaries such John Zorn, Steve Coleman, Roscoe Mitchell, George Lewis, Craig Taborn and Wadada Leo Smith to name a few, maybe somewhat surprised at the setting that he has chosen for his ECM debut, Mutations. Stepping outside of the jazz genre, the pianist has elected to work with a ‘classical’ instrumentation, for which he has considerable experience having initially started his musical journey studying violin and playing in string quartets and orchestras.
The largest segment of the album, is taken up with Mutations I-X, and is a piece that was specifically written for string quartet, piano and electronics, and this is framed by three solo statements featuring Iyer’s piano and subtle use of electronics, and these pieces compliment the longer middle section well despite the fact that the compositions also have a life of their own away from the concept presented here.
Focussing on Mutations I-X, Vijay offers ten distinct parts that are inextricably linked to form a complete and varied suite, with each part working from small compositional motifs and rhythmic figures that evolve and gradually mutate as the pieces progress. If the material is at times quite complex and detailed within the written parts, the string quartet are encouraged to ‘improvise’ in the way that they deploy these written instructions, and are able to draw from a range of the notated material that they can draw on spontaneously introducing into the fabric of the piece being performed at that particular moment.
In the accompanying notes with this release, Vijay makes many references to a ‘palette of notated material’, or what he terms a ‘gesture palette’ and in some ways the piece can be very painterly in its development. There is no sense of urgency or hurried brush strokes, but more a mixing of pastel shades that change gradually with the addition of new colours introduced by the acoustic instruments and electronic tinting of the sound palette.
First performed in 2005, Mutations has clearly been itself an ever changing and evolving work in progress, and one suspects that the process has not stopped with this recording. This may well turn out to be a snap shot in the composition’s life span, and indeed in the work of this most diligent of musicians.
Reviewed by Nick Lea
ECM 376 4798
Vijay Iyer (piano, electronics); Miranda Cuckson, Michi Wiancko (violin); Kyle Ambrust (viola); Kivie Cahn-Lipman (cello)
Recorded September 2013
Many who will be familiar Iyer’s work with contemporary jazz luminaries such John Zorn, Steve Coleman, Roscoe Mitchell, George Lewis, Craig Taborn and Wadada Leo Smith to name a few, maybe somewhat surprised at the setting that he has chosen for his ECM debut, Mutations. Stepping outside of the jazz genre, the pianist has elected to work with a ‘classical’ instrumentation, for which he has considerable experience having initially started his musical journey studying violin and playing in string quartets and orchestras.
The largest segment of the album, is taken up with Mutations I-X, and is a piece that was specifically written for string quartet, piano and electronics, and this is framed by three solo statements featuring Iyer’s piano and subtle use of electronics, and these pieces compliment the longer middle section well despite the fact that the compositions also have a life of their own away from the concept presented here.
Focussing on Mutations I-X, Vijay offers ten distinct parts that are inextricably linked to form a complete and varied suite, with each part working from small compositional motifs and rhythmic figures that evolve and gradually mutate as the pieces progress. If the material is at times quite complex and detailed within the written parts, the string quartet are encouraged to ‘improvise’ in the way that they deploy these written instructions, and are able to draw from a range of the notated material that they can draw on spontaneously introducing into the fabric of the piece being performed at that particular moment.
In the accompanying notes with this release, Vijay makes many references to a ‘palette of notated material’, or what he terms a ‘gesture palette’ and in some ways the piece can be very painterly in its development. There is no sense of urgency or hurried brush strokes, but more a mixing of pastel shades that change gradually with the addition of new colours introduced by the acoustic instruments and electronic tinting of the sound palette.
First performed in 2005, Mutations has clearly been itself an ever changing and evolving work in progress, and one suspects that the process has not stopped with this recording. This may well turn out to be a snap shot in the composition’s life span, and indeed in the work of this most diligent of musicians.
Reviewed by Nick Lea
THE RICH O’BRIEN PROJECT - Horizons
ROBP 2013-14
Rich O’Brian (bass) Joe Price (guitar) Jon Herbert (alto sax) Gary Alesbrook (flugelhorn) Dale Hambridge (keyboards) Matt Brown (drums) Jack Skuse and Victoria Klewin (guest vocals)
Recorded at Artswork Studios, no date given
The Rich O’Brien Project is a Bristol (UK) based combo purveying a sophisticated line in jazz funk that combines rhythmic vitality with intelligently constructed cliché free solos in a way that makes it compelling fare for dancers and listeners alike. There are eight numbers on this disc, all composed by the leader, in which cool, legato horn riffs ride on top of some sensual keyboard harmonies and chunky electric bass lines interspersed with deliciously sleazy electric guitar breaks.
The opening two numbers bring to mind the Average White Band or perhaps Steps Ahead minus the R & B grittiness in the horn section. The more relaxed mood is largely attributed to the lambent sound of Gary Alesbrook’s flugel and the absence of excessive vibrato in Herbert’s alto stylings: both horns carry the melodies and construct cogent modern jazz solos leaving bass and guitar to get `down and dirty` in a blues sense. This is amply demonstrated in one of the longer tracks, `Ricardinho`. which is a loping mid tempo blues and contains the best example of Price’s rock inflected deliberations which sound excitingly subversive set against the more restrained and melodic horns.
Two tracks feature soul style vocals that employ all the usual mannerisms associated with the genre, the better of the two being a duet that benefits from the vocal counterpoint provided by the female voice and has a more memorable melody. Not strictly jazz vocals but they do demonstrate the band’s versatility and ability to communicate with a wider audience of the type that easily becomes fatigued by a surfeit of instrumental music.
All in all Rich O’Brien’s band delivers a very creditable performance and the only thing that fatigued me was the rather inflexible, metronomic beat laid down by Matt Brown on some of the tracks. This may be a necessary element in a club or dance hall context but to this listener, at least, it has the effect of nailing the music to the floor when it should float on a cushion of softer, more flexible polyrhythms . This would be my personal preference but I’m not a dancer so you will have to judge yourself. What I do know is that Rich’s project represents a conscientious attempt to create a fusion sound that has broad appeal without short changing on the jazz element. Fans of this category will want to check out this very worthwhile work in progress and tag Rich O’Brien and his associates as talent to be watched. You can start by visiting O’Brien’s website, http://www.richardobrienmusic.com/, where the album is available as a modestly priced download and take it from there.
Reviewed by Euan Dixon
ROBP 2013-14
Rich O’Brian (bass) Joe Price (guitar) Jon Herbert (alto sax) Gary Alesbrook (flugelhorn) Dale Hambridge (keyboards) Matt Brown (drums) Jack Skuse and Victoria Klewin (guest vocals)
Recorded at Artswork Studios, no date given
The Rich O’Brien Project is a Bristol (UK) based combo purveying a sophisticated line in jazz funk that combines rhythmic vitality with intelligently constructed cliché free solos in a way that makes it compelling fare for dancers and listeners alike. There are eight numbers on this disc, all composed by the leader, in which cool, legato horn riffs ride on top of some sensual keyboard harmonies and chunky electric bass lines interspersed with deliciously sleazy electric guitar breaks.
The opening two numbers bring to mind the Average White Band or perhaps Steps Ahead minus the R & B grittiness in the horn section. The more relaxed mood is largely attributed to the lambent sound of Gary Alesbrook’s flugel and the absence of excessive vibrato in Herbert’s alto stylings: both horns carry the melodies and construct cogent modern jazz solos leaving bass and guitar to get `down and dirty` in a blues sense. This is amply demonstrated in one of the longer tracks, `Ricardinho`. which is a loping mid tempo blues and contains the best example of Price’s rock inflected deliberations which sound excitingly subversive set against the more restrained and melodic horns.
Two tracks feature soul style vocals that employ all the usual mannerisms associated with the genre, the better of the two being a duet that benefits from the vocal counterpoint provided by the female voice and has a more memorable melody. Not strictly jazz vocals but they do demonstrate the band’s versatility and ability to communicate with a wider audience of the type that easily becomes fatigued by a surfeit of instrumental music.
All in all Rich O’Brien’s band delivers a very creditable performance and the only thing that fatigued me was the rather inflexible, metronomic beat laid down by Matt Brown on some of the tracks. This may be a necessary element in a club or dance hall context but to this listener, at least, it has the effect of nailing the music to the floor when it should float on a cushion of softer, more flexible polyrhythms . This would be my personal preference but I’m not a dancer so you will have to judge yourself. What I do know is that Rich’s project represents a conscientious attempt to create a fusion sound that has broad appeal without short changing on the jazz element. Fans of this category will want to check out this very worthwhile work in progress and tag Rich O’Brien and his associates as talent to be watched. You can start by visiting O’Brien’s website, http://www.richardobrienmusic.com/, where the album is available as a modestly priced download and take it from there.
Reviewed by Euan Dixon
SAM RIVERS – Contrasts
ECM 374 3508
Sam Rivers (soprano & tenor saxophones), George Lewis (trombone), Dave Holland (double bass); Thurman Barker (drums, marimba)
Recorded December 1979
Released for the first time on CD this is a welcome reissue that captures the American reedsman and British bassist Dave Holland together on record. After their collaboration on Holland’s ECM classic Conference of the Birds from 1972 the two musicians found much common ground and worked together consistently in the seven years that separates the two albums.
On this outing, recorded under Sam River’s leadership for ECM, the album’s title, Contrasts, can be taken literally, as the music seesaws between structured thematically based tunes and freely constructed pieces, although the sleeve notes advise that all the music was composed by Rivers. The opening cut ‘Circles’ set the mood and tone of the freer or more loosely structured pieces, with the interplay between soprano saxophone and trombone quietly focussed, with an underlying lyricism that keeps the music moving in an agreeably conversational manner. ‘Solace’ is in similar vein with the three way dialogue between soprano, Thurman Barker’s marimba and Lewis’ gruff trombone interjections before Barker’s move to the kit.
To this end Barker’s contribution is paramount, whether colouring the ensemble with marimba or propelling the music along from behind the drums his awareness of his surroundings and the needs of his colleagues is much in evidence. His work with River’s tenor saxophone on the fast paced ‘Zip’ is wholly appropriate, nudging and cajoling the saxophonist in to a powerhouse solo. ‘Verve’ find River’s switching to flute for the albums most melodic outing, and this finds Barker throwing in lightly dancing drum figures that follow the flute as opposed to pushing proceeding along.
Holland remains steadfast in his role, and if the main interest in the music is the relationship between horn and percussion then it is the bassist who is the cement that holds the construction together, although he does get in a particular muscular and dynamic solo on ‘Verve’.
All in all a valuable addition to the catalogue that shows how the free and thematically structured music can work hand in hand.
Reviewed by Nick Lea
ECM 374 3508
Sam Rivers (soprano & tenor saxophones), George Lewis (trombone), Dave Holland (double bass); Thurman Barker (drums, marimba)
Recorded December 1979
Released for the first time on CD this is a welcome reissue that captures the American reedsman and British bassist Dave Holland together on record. After their collaboration on Holland’s ECM classic Conference of the Birds from 1972 the two musicians found much common ground and worked together consistently in the seven years that separates the two albums.
On this outing, recorded under Sam River’s leadership for ECM, the album’s title, Contrasts, can be taken literally, as the music seesaws between structured thematically based tunes and freely constructed pieces, although the sleeve notes advise that all the music was composed by Rivers. The opening cut ‘Circles’ set the mood and tone of the freer or more loosely structured pieces, with the interplay between soprano saxophone and trombone quietly focussed, with an underlying lyricism that keeps the music moving in an agreeably conversational manner. ‘Solace’ is in similar vein with the three way dialogue between soprano, Thurman Barker’s marimba and Lewis’ gruff trombone interjections before Barker’s move to the kit.
To this end Barker’s contribution is paramount, whether colouring the ensemble with marimba or propelling the music along from behind the drums his awareness of his surroundings and the needs of his colleagues is much in evidence. His work with River’s tenor saxophone on the fast paced ‘Zip’ is wholly appropriate, nudging and cajoling the saxophonist in to a powerhouse solo. ‘Verve’ find River’s switching to flute for the albums most melodic outing, and this finds Barker throwing in lightly dancing drum figures that follow the flute as opposed to pushing proceeding along.
Holland remains steadfast in his role, and if the main interest in the music is the relationship between horn and percussion then it is the bassist who is the cement that holds the construction together, although he does get in a particular muscular and dynamic solo on ‘Verve’.
All in all a valuable addition to the catalogue that shows how the free and thematically structured music can work hand in hand.
Reviewed by Nick Lea
ABDULLAH IBRAHIM – African Piano
ECM/JAPO 374 3552
Abdullah Ibrahim (piano)
Recorded live on October 22, 1969 at Jazzhus Montmartre, Copenhagen
Continuing the series of reissues under The story of our listening banner, and released on CD, high resolution download and 180 gram vinyl this is not quite the sound quality one expects from ECM. Mastered from the original analog tapes, this captures the pianist in an informal recording made in a rather noisy Jazzhus Montmartre, but listeners should not be detracted from the less than perfect (although much better than most) live sound quality, as Ibrahim’s performance is worthy of serious consideration.
From the outset in this continuous set, the selected titles all segue into each other, Ibrahim (or Dollar Brand as he was still known as in 1969) powers his way through some original compositions. If references to idols such as Monk and especially Duke are on display, the pianist still imbues the music with his own unique musical personality, and the music of his homeland. Familiar themes such as ‘Bra Joe from Kilimanjaro’ are investigated from every rhythmical angle, twisting and turning through the themes and the pianist’s improvisations in a headlong rush of notes.
It is not until the sixth title, ‘Kippy’ that the pace relents into a reflective and calming moment, only to be off again with the advent of ‘Jubulani – Easter Joy’ seeming to chase the melody around with lithe short bursts and rhythmic stabs that exude the spirit of the moment.
This is joyous music making that is full of melodic and rhythmic delights, from an artist that is revelling in the act of playing and communicating so directly with the audience. This is a truly uplifting album that cannot fail to leave the listener with a smile on their face.
Reviewed by Nick Lea
ECM/JAPO 374 3552
Abdullah Ibrahim (piano)
Recorded live on October 22, 1969 at Jazzhus Montmartre, Copenhagen
Continuing the series of reissues under The story of our listening banner, and released on CD, high resolution download and 180 gram vinyl this is not quite the sound quality one expects from ECM. Mastered from the original analog tapes, this captures the pianist in an informal recording made in a rather noisy Jazzhus Montmartre, but listeners should not be detracted from the less than perfect (although much better than most) live sound quality, as Ibrahim’s performance is worthy of serious consideration.
From the outset in this continuous set, the selected titles all segue into each other, Ibrahim (or Dollar Brand as he was still known as in 1969) powers his way through some original compositions. If references to idols such as Monk and especially Duke are on display, the pianist still imbues the music with his own unique musical personality, and the music of his homeland. Familiar themes such as ‘Bra Joe from Kilimanjaro’ are investigated from every rhythmical angle, twisting and turning through the themes and the pianist’s improvisations in a headlong rush of notes.
It is not until the sixth title, ‘Kippy’ that the pace relents into a reflective and calming moment, only to be off again with the advent of ‘Jubulani – Easter Joy’ seeming to chase the melody around with lithe short bursts and rhythmic stabs that exude the spirit of the moment.
This is joyous music making that is full of melodic and rhythmic delights, from an artist that is revelling in the act of playing and communicating so directly with the audience. This is a truly uplifting album that cannot fail to leave the listener with a smile on their face.
Reviewed by Nick Lea
LIBBY YORK - Memoir
2014 Libby York Music
Libby York ( vocal); Russell Malone (el guitar); John Dimartino (p); Martin Wind (b); Greg Sergo (d); Warren Vache ( cornet/vocal)
NYC, no recording dates listed
This is a bright, refreshingly up beat vocal record with Libby choosing to sing mainly standards. Most tracks benefit from Warren Vache’s lyrical cornet as well as a lively rhythm section. Russell Malone adds nourishing guitar chords to three tracks. Influenced originally by June Christy, Libby York obtained a degree in political science while getting as many club dates at night in Chicago as she could. She later moved to New York where she was helped and coached by Abbey Lincoln and the two became friends.
When In Rome finds the singer on top form with some tasty blues backing by Malone and muted horn from Vache. Put It There, Pal, is a lively vocal duet with Vache where the two are obviously enjoying themselves immensely. Thanks For The Memory finds Libby sounding as though she really is thinking through half a lifetime of good round memories and regretting the end of the affair. She tells a story and reflects her moods as all the best singers do. Vache’s mournful cornet is a big factor in the success of this track. And Malone’s guitar is also suitably blue; the singer appears to have transmitted her mood to her sidemen successfully.
All the material on this CD is familiar jazz ground and Libby York makes the most of it with some well structured vocals. Take Me Back To Manhattan is sung as though she really wouldn’t want to be anywhere else for any length of time. Warren Vache and DiMartino on piano are particularly supportive here but generally, the band is on good form throughout in support of a lively, thoughtful and versatile jazz vocalist.
Reviewed by Derek Ansell
2014 Libby York Music
Libby York ( vocal); Russell Malone (el guitar); John Dimartino (p); Martin Wind (b); Greg Sergo (d); Warren Vache ( cornet/vocal)
NYC, no recording dates listed
This is a bright, refreshingly up beat vocal record with Libby choosing to sing mainly standards. Most tracks benefit from Warren Vache’s lyrical cornet as well as a lively rhythm section. Russell Malone adds nourishing guitar chords to three tracks. Influenced originally by June Christy, Libby York obtained a degree in political science while getting as many club dates at night in Chicago as she could. She later moved to New York where she was helped and coached by Abbey Lincoln and the two became friends.
When In Rome finds the singer on top form with some tasty blues backing by Malone and muted horn from Vache. Put It There, Pal, is a lively vocal duet with Vache where the two are obviously enjoying themselves immensely. Thanks For The Memory finds Libby sounding as though she really is thinking through half a lifetime of good round memories and regretting the end of the affair. She tells a story and reflects her moods as all the best singers do. Vache’s mournful cornet is a big factor in the success of this track. And Malone’s guitar is also suitably blue; the singer appears to have transmitted her mood to her sidemen successfully.
All the material on this CD is familiar jazz ground and Libby York makes the most of it with some well structured vocals. Take Me Back To Manhattan is sung as though she really wouldn’t want to be anywhere else for any length of time. Warren Vache and DiMartino on piano are particularly supportive here but generally, the band is on good form throughout in support of a lively, thoughtful and versatile jazz vocalist.
Reviewed by Derek Ansell
TINA MAY – Divas
Hep Jazz HEP CD2099
Tina May (vocals); Frank Griffiths (clarinet, tenor saxophone, arranger); Bob Martin (alto saxophone); Freddie Gravita (trumpet); Dave Cliff (guitar); John Pearce (piano); Andy Cleyndert (bass); Bobby Worth (drums)
Recorded June 1, 2 and 26, 2013
Tina May has produced many fine albums over the years, and this is another to add to the collection. Indeed, throughout her impressive discography May has continued to develop, and has now refined her craft to the point where she has the ability to sing whatever she chooses always adding her own personality to the material.
Throughout this wonderful selection the band swing mightily providing solid support as heard on the opening track ‘Why Don’t You Do Right’, with arranger Frank Griffith getting in some nifty clarinet playing for good measure, and also getting in on the action with his tenor solo on ‘Can’t Get Out Of This Mood’.
As always Tina brings a freshness to her repertoire that can delight, even on familiar pieces that are indelibly linked to other artists. I am referring in particular of ‘Let’s Get Lost’ that Chet Baker staked a claim on in the fifties, but here May has enough to offer of her own to make a personal statement on this most romantic of songs. Coupled with the familiar is a tune not immediately identifiable as a vehicle for jazz in Brecht and Weill’s ‘Surabaya Johnny’, with an impeccable arrangement by trombonist, Adrian Fry, is a wild card that proves to be a truly captivating performance that retains the flavour of the cabaret of the 20’s and 30’s as well as displaying the singer’s versatility.
As hard as the band swing, it is often the stripped down up line up with just rhythm section and perhaps one horn that Tina can allow the full expressiveness in her voice to shine through. A perfect example of this intimate setting is the seldom heard and less familiar ‘Forgetful’ from the pen of George Handy. Guitarist, Dave Cliff, is sublime in his accompaniment making this one of the star performances of the set. Another such triumph is heard on Hoagy Carmichael’s ‘Baltimore Oriole’ where May is accompanied only by John Pearce’s compelling piano playing.
Divas will not disappoint her many followers, and should by rights find her acquiring many more.
Reviewed by Nick Lea
Hep Jazz HEP CD2099
Tina May (vocals); Frank Griffiths (clarinet, tenor saxophone, arranger); Bob Martin (alto saxophone); Freddie Gravita (trumpet); Dave Cliff (guitar); John Pearce (piano); Andy Cleyndert (bass); Bobby Worth (drums)
Recorded June 1, 2 and 26, 2013
Tina May has produced many fine albums over the years, and this is another to add to the collection. Indeed, throughout her impressive discography May has continued to develop, and has now refined her craft to the point where she has the ability to sing whatever she chooses always adding her own personality to the material.
Throughout this wonderful selection the band swing mightily providing solid support as heard on the opening track ‘Why Don’t You Do Right’, with arranger Frank Griffith getting in some nifty clarinet playing for good measure, and also getting in on the action with his tenor solo on ‘Can’t Get Out Of This Mood’.
As always Tina brings a freshness to her repertoire that can delight, even on familiar pieces that are indelibly linked to other artists. I am referring in particular of ‘Let’s Get Lost’ that Chet Baker staked a claim on in the fifties, but here May has enough to offer of her own to make a personal statement on this most romantic of songs. Coupled with the familiar is a tune not immediately identifiable as a vehicle for jazz in Brecht and Weill’s ‘Surabaya Johnny’, with an impeccable arrangement by trombonist, Adrian Fry, is a wild card that proves to be a truly captivating performance that retains the flavour of the cabaret of the 20’s and 30’s as well as displaying the singer’s versatility.
As hard as the band swing, it is often the stripped down up line up with just rhythm section and perhaps one horn that Tina can allow the full expressiveness in her voice to shine through. A perfect example of this intimate setting is the seldom heard and less familiar ‘Forgetful’ from the pen of George Handy. Guitarist, Dave Cliff, is sublime in his accompaniment making this one of the star performances of the set. Another such triumph is heard on Hoagy Carmichael’s ‘Baltimore Oriole’ where May is accompanied only by John Pearce’s compelling piano playing.
Divas will not disappoint her many followers, and should by rights find her acquiring many more.
Reviewed by Nick Lea
BILLY HART QUARTET – One Is The Other
ECM 375 9733
Mark Turner (tenor saxophone); Ethan Iverson (piano); Ben Street (double bass); Billy Hart (drums)
Recorded April/May 2013
Heralded as a major musical statement, this is the second release for ECM by the Billy Hart Quartet following up from the 2011 album All Our Reasons, and whereas such a bold remark can often blight or dull the initial impact of the actual music, in this case it could not be further from the truth.
The playing on One Is The Other is more expansive that on its predecessor, perhaps as the quartet become more settled and comfortable with both material and each other. One of the remits of the new album is that the leader gets to ‘play everything that he wants to play’, and that he most certainly does. Saying that, Hart achieves this is the most quiet of fashions, never overplaying or seeking to dominate but capturing the listeners attention by the sheer musicality of his playing. Just listen to his interaction in the tenor/drum duet that forms part of ‘Amethyst’.
In Tristano/Marsh disciple, Mark Turner, the drummer has found a saxophonist who seeks to play beyond the obvious. Turner uses his warm pliable sound and impressive command of the altissimo register to look for a fresh way of approaching his improvisations, and tells his stories with unexpected melodic shapes. This is superbly counter-balanced by the equally canny Ethan Iverson at the piano, whose oblique lines and ambiguous voicing are always satisfying yet also leave plenty of space, weaving in and out of the lines spun by tenor and drums.
If compositions such as ‘Amethyst’ and ‘Teule’s Redemption’ work off patiently developed thematic materials, then the quartet is more overtly insistent on the finger busting Turner tune ‘Lennie Groove’ and the equally tricky ‘Big Trees’ (that also features a great Hart solo at the kit), yet still a feeling of space prevails, there is no sense of urgency or of being hurried, with all four musicians having time to lay out their agenda. Not shying away from their roots the foursome also deliver up ‘Yard’ which stands as an excellent contemporary bebop anthem.
The one solitary standard of the set, ‘Some Enchanted Evening’ from the musical South Pacific is given a charming reading, and is exceptional for the lyrical tenor playing of Turner and Ethan Iverson’s sensitive accompaniment, making this listener wonder how these guys would sound on an album of all standards.
Not an album of virtuoso displays of technique, but quietly virtuosic none the less.
Reviewed by Nick Lea
ECM 375 9733
Mark Turner (tenor saxophone); Ethan Iverson (piano); Ben Street (double bass); Billy Hart (drums)
Recorded April/May 2013
Heralded as a major musical statement, this is the second release for ECM by the Billy Hart Quartet following up from the 2011 album All Our Reasons, and whereas such a bold remark can often blight or dull the initial impact of the actual music, in this case it could not be further from the truth.
The playing on One Is The Other is more expansive that on its predecessor, perhaps as the quartet become more settled and comfortable with both material and each other. One of the remits of the new album is that the leader gets to ‘play everything that he wants to play’, and that he most certainly does. Saying that, Hart achieves this is the most quiet of fashions, never overplaying or seeking to dominate but capturing the listeners attention by the sheer musicality of his playing. Just listen to his interaction in the tenor/drum duet that forms part of ‘Amethyst’.
In Tristano/Marsh disciple, Mark Turner, the drummer has found a saxophonist who seeks to play beyond the obvious. Turner uses his warm pliable sound and impressive command of the altissimo register to look for a fresh way of approaching his improvisations, and tells his stories with unexpected melodic shapes. This is superbly counter-balanced by the equally canny Ethan Iverson at the piano, whose oblique lines and ambiguous voicing are always satisfying yet also leave plenty of space, weaving in and out of the lines spun by tenor and drums.
If compositions such as ‘Amethyst’ and ‘Teule’s Redemption’ work off patiently developed thematic materials, then the quartet is more overtly insistent on the finger busting Turner tune ‘Lennie Groove’ and the equally tricky ‘Big Trees’ (that also features a great Hart solo at the kit), yet still a feeling of space prevails, there is no sense of urgency or of being hurried, with all four musicians having time to lay out their agenda. Not shying away from their roots the foursome also deliver up ‘Yard’ which stands as an excellent contemporary bebop anthem.
The one solitary standard of the set, ‘Some Enchanted Evening’ from the musical South Pacific is given a charming reading, and is exceptional for the lyrical tenor playing of Turner and Ethan Iverson’s sensitive accompaniment, making this listener wonder how these guys would sound on an album of all standards.
Not an album of virtuoso displays of technique, but quietly virtuosic none the less.
Reviewed by Nick Lea
COLIN VALLON TRIO – Le Vent
ECM 376 2782
Colin Vallon (piano); Patrice Moret (double bass); Julian Sartorius (drums)
Recorded April 2013
This is pianist Vallon’s second album for ECM following on from Rruga that was recorded some three years earlier and whilst the language remains the same Le Vent has offer a whole new sound, and this can be attributed directly to the change of drummer. Samuel Ruhrer who played on the debut album was much more explicit in his approach to metre and the rhythmic propulsion that drove the music forward. In contrast, his replacement, Julian Santorius brings a different sound and overall role for the drums in the trios gently captivating music, making effective use of the scraping of sticks on cymbals and other small gestures, sometimes playing against the piano and bass who will stick to their prescribed roles until common ground is found.
Within the music performed by the trio there is a great creative tension that Vallon successfully resolves in each composition, with the pianist being fond of using repetitive melodic riffs and ostinato. Much of the music is of a sedate tempo allowing ideas to evolve gradually that reveal the internal logic of the material and the way in which the musicians interact with each other in such an intuitive manner. A fine example of this can be heard on ‘Rouge’ that slowly and change as if by metamorphosis to become something new only for the process to begin again.
The title track, ‘Le Vent’ is almost painstakingly compiled, gradually leading into an ostinato from which the tension is yet further heightened, and not to be relinquished until the final notes decay. By contrast, there is a nobility in the progression of ‘Juuichi’ that suggests an original and new way of utilising silence, space and movement.
Two brief pieces, both under the under two and a half minutes in duration, close the set. Both are free improvisations by the trio with ‘Styx’ displaying a scintillating three way dialogue, whilst ‘Coriolis' follows a more dissonant and out of tempo route. All in all, Le Vent is a satisfying listen, a truly collective effort with all three musicians contributing to an imaginative and original album.
Reviewed by Nick Lea
ECM 376 2782
Colin Vallon (piano); Patrice Moret (double bass); Julian Sartorius (drums)
Recorded April 2013
This is pianist Vallon’s second album for ECM following on from Rruga that was recorded some three years earlier and whilst the language remains the same Le Vent has offer a whole new sound, and this can be attributed directly to the change of drummer. Samuel Ruhrer who played on the debut album was much more explicit in his approach to metre and the rhythmic propulsion that drove the music forward. In contrast, his replacement, Julian Santorius brings a different sound and overall role for the drums in the trios gently captivating music, making effective use of the scraping of sticks on cymbals and other small gestures, sometimes playing against the piano and bass who will stick to their prescribed roles until common ground is found.
Within the music performed by the trio there is a great creative tension that Vallon successfully resolves in each composition, with the pianist being fond of using repetitive melodic riffs and ostinato. Much of the music is of a sedate tempo allowing ideas to evolve gradually that reveal the internal logic of the material and the way in which the musicians interact with each other in such an intuitive manner. A fine example of this can be heard on ‘Rouge’ that slowly and change as if by metamorphosis to become something new only for the process to begin again.
The title track, ‘Le Vent’ is almost painstakingly compiled, gradually leading into an ostinato from which the tension is yet further heightened, and not to be relinquished until the final notes decay. By contrast, there is a nobility in the progression of ‘Juuichi’ that suggests an original and new way of utilising silence, space and movement.
Two brief pieces, both under the under two and a half minutes in duration, close the set. Both are free improvisations by the trio with ‘Styx’ displaying a scintillating three way dialogue, whilst ‘Coriolis' follows a more dissonant and out of tempo route. All in all, Le Vent is a satisfying listen, a truly collective effort with all three musicians contributing to an imaginative and original album.
Reviewed by Nick Lea
HERBIE HANCOCK - Takin’Off
Essential Jazz Classics – EJC55630
Freddie Hubbard (trumpet) Dexter Gordon ( tenor sax) Herbie Hancock (piano) Butch Warren (bass) Billy Higgins (drums) and on bonus track Herbie Hancock plays in trio format with Cleveland Eaton (bass) and Teddy Robinson (drums)
Recorded Englewood Cliffs, New Jersey, May 28th 1962 and live at Jorgie’s Jazz Club, St Louis. Missouri, June 24th 1961
Jazz fans of a certain age will be sure to have a copy of the original release of this Blue Note classic in their collection but for those who missed it the first time around or where not around themselves to partake this will be a most welcome re-issue. It is of course one of those jazz milestones being both Hancock’s debut as a leader and the launch of `Watermelon Man`, a anthem of abiding durability that has retained the power to thrill with undiminished potency .
At only 22 years of age Hancock was without doubt a formidable talent who was about to storm the heights of jazzdom through his association with the Miles Davis Quintet but it is perhaps understandable that Alfred Lion would not want to entrust a solo session to such a youngster , notwithstanding his previous showing as an impressive sideman to trumpeter Donald Byrd, and would want to present him within the protective cocoon of established stalwarts like Dexter Gordon whose reputation was copper bottomed by virtue of a then recent string of Blue Note releases that have themselves become essential classics.
This was one of Gordon’s last recording dates before he set off for an extended sojourn in Europe where he was to renew his career by finding a new audience for his burnished, magisterial tenor sound which was becoming just a mite dated in the context of the American scene. As powerful as his playing is on this set I think he sounds just a little out of his comfort zone on some pieces , his articulation being a bit stiff in contrast to the way a player like Joe Henderson would have tackled them. Many people will disagree with this analysis but I think there is a slight awkwardness in his negotiation of the modal pieces which shows up particularly in the unnecessary alternative take of `Watermelon` . Hubbard is a strong soloist throughout playing with an assertive confidence borne of his tutelage as a `Messenger` and the rhythm unit of Warren & Higgins being familiar with the work of the horn men make them a perfect hard –bop partnership.
The principal honours must go to Hancock, however, who can now been seen with the perspective of hindsight as being a pivotal figure in the development of jazz piano, bridging the hard-bop funk of Horace Silver with the advanced harmonic sophistication of today’s post modern stylings . His bluesy cadences in `Watermelon Man` are pure Silver but the impressionistic chromatics that grace the set’s one ballad track are all his own and the product of a musical education that offered exposure to music other than jazz. All the compositions drawn from the original issue are attributed to Hancock and whilst none of them have the immediate, easy appeal of `Watermelon Man` ( only `Driftin’ , with its catchy hook, comes close) they presage Hancock’s more cerebral, adventurous nature that would become more apparent in subsequent releases.
As with the original Blue Note CD three alternative takes are added which don’t add much to our appreciation of the music and for this re-issue we are offered a 12 minute live `bonus` track of Hancock in trio format from the previous year, playing the ballad `Like Someone in Love`. It doesn’t sit very comfortably alongside the main feature but if the reason for its inclusion is the show how much Hancock’s playing had matured in the space of 12 months, all well and good. Unfortunately it turns out to be something of a showcase for the bass player whose friends and family sound if they were in the club that night to give him a boost; consequently it turns out to be a bit of a waste of space. On the credit side the disc comes with a well presented booklet giving original artwork and liner notes as well as an informative re-appraisal by Margaret Jonas.
Reviewed by Euan Dixon
Essential Jazz Classics – EJC55630
Freddie Hubbard (trumpet) Dexter Gordon ( tenor sax) Herbie Hancock (piano) Butch Warren (bass) Billy Higgins (drums) and on bonus track Herbie Hancock plays in trio format with Cleveland Eaton (bass) and Teddy Robinson (drums)
Recorded Englewood Cliffs, New Jersey, May 28th 1962 and live at Jorgie’s Jazz Club, St Louis. Missouri, June 24th 1961
Jazz fans of a certain age will be sure to have a copy of the original release of this Blue Note classic in their collection but for those who missed it the first time around or where not around themselves to partake this will be a most welcome re-issue. It is of course one of those jazz milestones being both Hancock’s debut as a leader and the launch of `Watermelon Man`, a anthem of abiding durability that has retained the power to thrill with undiminished potency .
At only 22 years of age Hancock was without doubt a formidable talent who was about to storm the heights of jazzdom through his association with the Miles Davis Quintet but it is perhaps understandable that Alfred Lion would not want to entrust a solo session to such a youngster , notwithstanding his previous showing as an impressive sideman to trumpeter Donald Byrd, and would want to present him within the protective cocoon of established stalwarts like Dexter Gordon whose reputation was copper bottomed by virtue of a then recent string of Blue Note releases that have themselves become essential classics.
This was one of Gordon’s last recording dates before he set off for an extended sojourn in Europe where he was to renew his career by finding a new audience for his burnished, magisterial tenor sound which was becoming just a mite dated in the context of the American scene. As powerful as his playing is on this set I think he sounds just a little out of his comfort zone on some pieces , his articulation being a bit stiff in contrast to the way a player like Joe Henderson would have tackled them. Many people will disagree with this analysis but I think there is a slight awkwardness in his negotiation of the modal pieces which shows up particularly in the unnecessary alternative take of `Watermelon` . Hubbard is a strong soloist throughout playing with an assertive confidence borne of his tutelage as a `Messenger` and the rhythm unit of Warren & Higgins being familiar with the work of the horn men make them a perfect hard –bop partnership.
The principal honours must go to Hancock, however, who can now been seen with the perspective of hindsight as being a pivotal figure in the development of jazz piano, bridging the hard-bop funk of Horace Silver with the advanced harmonic sophistication of today’s post modern stylings . His bluesy cadences in `Watermelon Man` are pure Silver but the impressionistic chromatics that grace the set’s one ballad track are all his own and the product of a musical education that offered exposure to music other than jazz. All the compositions drawn from the original issue are attributed to Hancock and whilst none of them have the immediate, easy appeal of `Watermelon Man` ( only `Driftin’ , with its catchy hook, comes close) they presage Hancock’s more cerebral, adventurous nature that would become more apparent in subsequent releases.
As with the original Blue Note CD three alternative takes are added which don’t add much to our appreciation of the music and for this re-issue we are offered a 12 minute live `bonus` track of Hancock in trio format from the previous year, playing the ballad `Like Someone in Love`. It doesn’t sit very comfortably alongside the main feature but if the reason for its inclusion is the show how much Hancock’s playing had matured in the space of 12 months, all well and good. Unfortunately it turns out to be something of a showcase for the bass player whose friends and family sound if they were in the club that night to give him a boost; consequently it turns out to be a bit of a waste of space. On the credit side the disc comes with a well presented booklet giving original artwork and liner notes as well as an informative re-appraisal by Margaret Jonas.
Reviewed by Euan Dixon
THELONIOUS MONK
QUARTET - The Complete 1961 Amsterdam
Concert
Solar Records -4569944
Thelonious Monk (piano) Charlie Rouse (tenor sax) John Ore (bass) Frankie Dunlop (drums)
Recorded live at the Concertgebouw, Amsterdam, Holland, Saturday April 15th 1961
This `live` recording documents Monk’s second visit to Europe, the first with his own group. We are told that his first visit wasn’t too successful because audiences found his style of playing too avant-garde but by the time of this second visit in 1961 his audience had caught up and his status as a jazz superstar was assured. It occurred at an important juncture in his career as he was poised to move from Riverside Records to Columbia, another indicator of his potential as a bankable commodity.
Perhaps this also indicates why he appears fairly laid back in this session having nothing to prove other than being able to replicate his standard repertoire. Monk scholars will probably say that he had no other ambition than to revisit and redefine his corpus of asymmetric compositions and whilst this is probably true his performance in this set seems particularly perfunctory as though he didn’t give a damn what anyone thought. His solos are a combination of dissonant block chords and spiralling arpeggios which lack the spark of his more challenging and provocative discontinuities. He doesn’t play badly but compared to his very best work this sounds as though he is coasting.
If there is a star of the show it is Charlie Rouse whose solo statements are quite exemplary in content and duration making for a really satisfying listen. Ore and Dunlop keep time and little else, which would have been okay had their leader been a bit more challenging but given his restraint the rhythm section comes over as rather pedestrian. Rouse deserved better support for his hard work and that goes for the recording too which, though better than bootleg quality, has a reedy resonance which disqualifies it as Hi-Fi. This is not an essential or even necessary disc for anyone other than dedicated acolytes of Monk who need to capture every moment of his illustrious career.
Reviewed by Euan Dixon
Solar Records -4569944
Thelonious Monk (piano) Charlie Rouse (tenor sax) John Ore (bass) Frankie Dunlop (drums)
Recorded live at the Concertgebouw, Amsterdam, Holland, Saturday April 15th 1961
This `live` recording documents Monk’s second visit to Europe, the first with his own group. We are told that his first visit wasn’t too successful because audiences found his style of playing too avant-garde but by the time of this second visit in 1961 his audience had caught up and his status as a jazz superstar was assured. It occurred at an important juncture in his career as he was poised to move from Riverside Records to Columbia, another indicator of his potential as a bankable commodity.
Perhaps this also indicates why he appears fairly laid back in this session having nothing to prove other than being able to replicate his standard repertoire. Monk scholars will probably say that he had no other ambition than to revisit and redefine his corpus of asymmetric compositions and whilst this is probably true his performance in this set seems particularly perfunctory as though he didn’t give a damn what anyone thought. His solos are a combination of dissonant block chords and spiralling arpeggios which lack the spark of his more challenging and provocative discontinuities. He doesn’t play badly but compared to his very best work this sounds as though he is coasting.
If there is a star of the show it is Charlie Rouse whose solo statements are quite exemplary in content and duration making for a really satisfying listen. Ore and Dunlop keep time and little else, which would have been okay had their leader been a bit more challenging but given his restraint the rhythm section comes over as rather pedestrian. Rouse deserved better support for his hard work and that goes for the recording too which, though better than bootleg quality, has a reedy resonance which disqualifies it as Hi-Fi. This is not an essential or even necessary disc for anyone other than dedicated acolytes of Monk who need to capture every moment of his illustrious career.
Reviewed by Euan Dixon