THE IMPOSSIBLE GENTLEMAN - Internationally Recognised Aliens
Basho Records SRCD 43-2
Mike Walker (guitar); Gwilym Simcock (piano, melodica); Steve Swallow (electric bass); Steve Rodby (acoustic bass); Adam Nussbaum (drums)
Recorded, mixed and mastered at Curtis Schwartz Studios, Ardingly, West Sussex, UK.
No date given.
`The Impossible Gentlemen` is an Anglo-American combo whose harmonious collaboration is likely to do more for `the special relationship` than any amount of political glad handing. Seriously though, although their chosen name hints at the improbability or incongruity of their union because of their distinct musical personalities and different national and generational backgrounds, these divergences do nothing to impair their ability to engage in a musical dialogue that displays a high degree of empathy demonstrating again that music is truly the most potent international language.
So we have two Brits of the new wave in home grown contemporary jazz : Gwilym Simcock, with his classically informed technique ; Mike Walker, whose gritty rock- fusion allegiances are tempered by a veneration of the great modern jazz guitarists and two Americans who have been at the cutting edge of modern jazz for many years: Steve Swallow , a pioneer of the electric bass and veteran of many historic sessions from the sixties onwards: Adam Nussbaum whose drumming has stoked the fire behind sax giants Brecker and Liebman and now, with this second album, the talent of Steve Rodby, long time acolyte of Pat Metheny, is added on acoustic bass as well as being the album’s producer.
Rodby certainly makes his presence felt in that, apart from the first track which is a funky jazz-rock thrash the pervading feel of the music reflects the sophisticated fusion purveyed by Metheny & Mays and whereas the elegiac moments of the first album had a `local colour ‘feel about them, there is a more pronounced mid- west feel here: prairies as opposed to moorland. If however a concept was the intention it doesn’t submerge the individual voices and talking of Simcock in particular his growing band of followers need not fear that his manifold talents are compromised by the need to submit to a `group sound` . We still have the romantic yearnings of an accomplished balladeer alongside his powerful command of jazz technique. Sample his Les McCann type riff in `Modern Day Heroes`, the stand out up tempo track, and the bluesy ostinato of `Barber’s Blues`, a clever re-imagining of a piano piece by the American classical composer, Samuel Barber.
Composer credits go to the British contingent with one exception, a limpid love song by Steve Swallow in his purest miniaturist style and the venerable gentleman’s voice is actually heard in the album’s one oddity, a narration of a slightly humorous incident in which a Caribbean vacationer takes rather tentative and pathetic umbrage with a group of noisy tourists who intrude upon his idyll. No great harm is done but it isn’t something you’d necessarily want to hear twice especially as the ambling musical theme doesn’t particularly relate to the story line. Everything else is just great- a perfect balance of ballads and burners- and I for one can’t wait to hear them live when their up-coming autumn tour takes in the North of England.
Reviewed by Euan Dixon
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Mike Walker (guitar); Gwilym Simcock (piano, melodica); Steve Swallow (electric bass); Steve Rodby (acoustic bass); Adam Nussbaum (drums)
Recorded, mixed and mastered at Curtis Schwartz Studios, Ardingly, West Sussex, UK.
No date given.
`The Impossible Gentlemen` is an Anglo-American combo whose harmonious collaboration is likely to do more for `the special relationship` than any amount of political glad handing. Seriously though, although their chosen name hints at the improbability or incongruity of their union because of their distinct musical personalities and different national and generational backgrounds, these divergences do nothing to impair their ability to engage in a musical dialogue that displays a high degree of empathy demonstrating again that music is truly the most potent international language.
So we have two Brits of the new wave in home grown contemporary jazz : Gwilym Simcock, with his classically informed technique ; Mike Walker, whose gritty rock- fusion allegiances are tempered by a veneration of the great modern jazz guitarists and two Americans who have been at the cutting edge of modern jazz for many years: Steve Swallow , a pioneer of the electric bass and veteran of many historic sessions from the sixties onwards: Adam Nussbaum whose drumming has stoked the fire behind sax giants Brecker and Liebman and now, with this second album, the talent of Steve Rodby, long time acolyte of Pat Metheny, is added on acoustic bass as well as being the album’s producer.
Rodby certainly makes his presence felt in that, apart from the first track which is a funky jazz-rock thrash the pervading feel of the music reflects the sophisticated fusion purveyed by Metheny & Mays and whereas the elegiac moments of the first album had a `local colour ‘feel about them, there is a more pronounced mid- west feel here: prairies as opposed to moorland. If however a concept was the intention it doesn’t submerge the individual voices and talking of Simcock in particular his growing band of followers need not fear that his manifold talents are compromised by the need to submit to a `group sound` . We still have the romantic yearnings of an accomplished balladeer alongside his powerful command of jazz technique. Sample his Les McCann type riff in `Modern Day Heroes`, the stand out up tempo track, and the bluesy ostinato of `Barber’s Blues`, a clever re-imagining of a piano piece by the American classical composer, Samuel Barber.
Composer credits go to the British contingent with one exception, a limpid love song by Steve Swallow in his purest miniaturist style and the venerable gentleman’s voice is actually heard in the album’s one oddity, a narration of a slightly humorous incident in which a Caribbean vacationer takes rather tentative and pathetic umbrage with a group of noisy tourists who intrude upon his idyll. No great harm is done but it isn’t something you’d necessarily want to hear twice especially as the ambling musical theme doesn’t particularly relate to the story line. Everything else is just great- a perfect balance of ballads and burners- and I for one can’t wait to hear them live when their up-coming autumn tour takes in the North of England.
Reviewed by Euan Dixon
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MIKE GIBBS + TWELVE Play Gil Evans
Whirlwind Recordings WR4639
Mike Gibbs - Conductor - Arranger & Composer; Hans Koller – Piano; Julian Siegel - Tenor & Soprano Saxophones, Bass Clarinet; Finn Peters - Alto Saxophone, Flutes; Lluis Mather - Tenor Saxophone, Clarinets; Percy Pursglove – Trumpet; Robbie Robson – Trumpet;
Joe Aukland – Trumpet; Jim Rattigan - French horn; Mark Nightingale – Trombone; Sarah Williams - Bass trombone, tuba; Michael Janisch - Double bass; Jeff Williams - Drums
Make no mistake this album is a delight, how could it not be? It is also important because anything by Mike Gibbs has to be welcomed and prized. If anyone deserves a tribute it is Gil Evans. If anyone should not be doing tributes it is Mike Gibbs. Six of these pieces are the original Gil Evans arrangements. Only four are pieces by Mike Gibbs. Wouldn’t it have been wonderful to have all ten original pieces by Gibbs? Gibbs is certainly one of the most gifted composer-arranger now writing. Shouldn’t someone
commission him?
Michael Janisch deserves considerable praise first for ensuring that the recording was made and secondly for his superb bass playing particularly on ‘Bilbao Song’ where he equals the playing of Ron Carter on the original. The subtlety of Jeff Williams’ playing enhances the contemplative mood. The piece also highlights the quality of the recording by Alex Bonney.
Bonney had some outstanding musicians to work with. They might be reproducing work from ‘Out Of The Cool’ or ‘The Individualism of Gil Evans’ but they were far from intimidated, rather they were inspired. Where Evans left space for improvisation they eagerly colonised the space. Finn Peters takes the Cannonball solo on ‘St Louis Blues’ and makes it his own. The brass section roaring out the tune over the alto is especially exhilarating.
‘Las Vegas Tango’ is one of the greatest tracks in jazz. Elvin Jones at his most understated and cryptic is equalled by Jeff Williams, equally discreet, mysterious; he prepares the way for and underpins Mark Nightingale’s majestic solo. The lemony brass punctuations herald Julian Siegal’s sinuous tenor.
Bill Russo who wrote for Kenton did not like the description “arranger”, he preferred re-composer. Mike Gibbs recomposes Carla Bley’s ‘Ida Lupino’. It is an insidious tune that winds its way in to your head and Louis Mather decorates the re-composition with his fluent tenor.
‘Feelings & Things’ is the first of two Gibbs originals. It’s an impressionistic piece enriched by Jim Rattigan’s French horn and Julian Siegal’s soprano. ‘Tennis, Anyone?’ is Gibbsian with solemn harmonies bathing the trumpet of Percy
Pursglove. Hans Koller’s improvisation sustains the mood.
Why was Ornette Coleman viewed as a threat when he could produce themes as jaunty and good humoured as ‘Ramblin’? Gibbs in his re-composition brings out the good humour of the piece. Finn Peters, not quite as melodic as Ornette, drives the piece forward and hands over to trumpeter Joe Auckland who has obviously listened to Don Cherry.
The 1961 Carnegie concert with Evans and Davis yielded ‘Spring Is Here’. The sonorities underpinning the trumpet of Robbie Robson are intriguing. Robbie does not seem to have been at all apprehensive about taking the Miles Davis role.
This is a great album and a wonderful tribute to Gil Evans. The real heroes are everyone in the ‘Twelve’ who can feel elated with what they achieved. Just think what they could do with an album full of new Mike Gibbs’pieces.
Reviewed by Jack Kenny
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Mike Gibbs - Conductor - Arranger & Composer; Hans Koller – Piano; Julian Siegel - Tenor & Soprano Saxophones, Bass Clarinet; Finn Peters - Alto Saxophone, Flutes; Lluis Mather - Tenor Saxophone, Clarinets; Percy Pursglove – Trumpet; Robbie Robson – Trumpet;
Joe Aukland – Trumpet; Jim Rattigan - French horn; Mark Nightingale – Trombone; Sarah Williams - Bass trombone, tuba; Michael Janisch - Double bass; Jeff Williams - Drums
Make no mistake this album is a delight, how could it not be? It is also important because anything by Mike Gibbs has to be welcomed and prized. If anyone deserves a tribute it is Gil Evans. If anyone should not be doing tributes it is Mike Gibbs. Six of these pieces are the original Gil Evans arrangements. Only four are pieces by Mike Gibbs. Wouldn’t it have been wonderful to have all ten original pieces by Gibbs? Gibbs is certainly one of the most gifted composer-arranger now writing. Shouldn’t someone
commission him?
Michael Janisch deserves considerable praise first for ensuring that the recording was made and secondly for his superb bass playing particularly on ‘Bilbao Song’ where he equals the playing of Ron Carter on the original. The subtlety of Jeff Williams’ playing enhances the contemplative mood. The piece also highlights the quality of the recording by Alex Bonney.
Bonney had some outstanding musicians to work with. They might be reproducing work from ‘Out Of The Cool’ or ‘The Individualism of Gil Evans’ but they were far from intimidated, rather they were inspired. Where Evans left space for improvisation they eagerly colonised the space. Finn Peters takes the Cannonball solo on ‘St Louis Blues’ and makes it his own. The brass section roaring out the tune over the alto is especially exhilarating.
‘Las Vegas Tango’ is one of the greatest tracks in jazz. Elvin Jones at his most understated and cryptic is equalled by Jeff Williams, equally discreet, mysterious; he prepares the way for and underpins Mark Nightingale’s majestic solo. The lemony brass punctuations herald Julian Siegal’s sinuous tenor.
Bill Russo who wrote for Kenton did not like the description “arranger”, he preferred re-composer. Mike Gibbs recomposes Carla Bley’s ‘Ida Lupino’. It is an insidious tune that winds its way in to your head and Louis Mather decorates the re-composition with his fluent tenor.
‘Feelings & Things’ is the first of two Gibbs originals. It’s an impressionistic piece enriched by Jim Rattigan’s French horn and Julian Siegal’s soprano. ‘Tennis, Anyone?’ is Gibbsian with solemn harmonies bathing the trumpet of Percy
Pursglove. Hans Koller’s improvisation sustains the mood.
Why was Ornette Coleman viewed as a threat when he could produce themes as jaunty and good humoured as ‘Ramblin’? Gibbs in his re-composition brings out the good humour of the piece. Finn Peters, not quite as melodic as Ornette, drives the piece forward and hands over to trumpeter Joe Auckland who has obviously listened to Don Cherry.
The 1961 Carnegie concert with Evans and Davis yielded ‘Spring Is Here’. The sonorities underpinning the trumpet of Robbie Robson are intriguing. Robbie does not seem to have been at all apprehensive about taking the Miles Davis role.
This is a great album and a wonderful tribute to Gil Evans. The real heroes are everyone in the ‘Twelve’ who can feel elated with what they achieved. Just think what they could do with an album full of new Mike Gibbs’pieces.
Reviewed by Jack Kenny
Top of Page
KAYHAN KAHLOR/ERDAL ERZINCAN - Kula Kulluk Yakisir Mi
ECM 279 0946
Kayhan Kahlor (kamancheh); Erdal Ezrincan (baglama)
Recorded February 2011
Expectations of reading reviews of new releases or re-issues usually have the prerequisite that the review will be informative, objective and the reviewer knowledgeable about the music that he or she is writing about, which in the case of this review some or all of the above maybe missing. In our fast moving and technology driven society information is available from the internet and is now more readily accessible than ever via tablets and mobile phones. However, in undertaking the review of this particular disc I am working on the basis that more than a little knowledge can be dangerous, and listening to what my ears, instincts and heart tell me about the music. Interspersed with this is what little information I have gleaned out of necessity to perhaps better describe this remarkable music.
Firstly, just for the record this is no hybrid or 'world music' but authentic Turkish and Persian music, played with traditional instruments by two master musicians. I have no theoretical knowledge of how the music is constructed or notational methods used, and have not sort information about the harmonic and rhythmic differences that are immediately apparent from the more familiar Western methods used in much of the music that I have previously encountered.
The two instruments heard, are by and large, alien to the Western tradition, although can be readily linked to more familiar instruments within the string family, which will give some indication of the sounds that they produce. The
kamancheh, sometimes referred to as the 'spike fiddle', is held in similar fashion to the cello. It has a smaller bowl shaped body and is supported on the players leg when sitting. The traditional kamancheh has three strings that are
played with a bow, although in recent times a fourth string is added, as is played by Kayhan Kalhor on this recording. Kalhor's musical credentials began in his native Teheran, working with the Iranian National Radio and Television
Orchestra from the age of thirteen, and he is also well versed in the Iranian classical reperoire,or radif. He also has extensive training in Western classical music having studied in Rome and Ottawa.
The baglama, also known as a saz guitar, is a seven stringed instrument that is traditionally played with a plectrum, although Erdal Erzincan has researched finger-picking approaches to the baglama whilst studying at the Istanbul
Technical University in the late 80's. Like his musical partner on this recording he has also studied Western classical music performing with the Ambassade Orchester Wilen, an ensemble of the Vienna Symphony Orchestra, and is
widely regarded as the most outstanding exponent of the Anatolian baglama tradition.
The music played is represented by a mix of traditional music drawn from all over Turkey and of Persian provenance, along with five freely improvised duets. Exuding a warmth from the outset, it is only after listening intently for a while to the sounds produced by the two musicians is one aware of the technical mastery that goes into playing this music, and thus is heard secondary to the singing and dancing melodies that come from the strings of these two unusual
instruments.
The pieces heard in this concert are full of events and rhythmic changes that seem to occur in a set sequence, and even the improvised cuts seem to develop organically, with one event leading to the next in a structually logical
manner.This will echo the sentiment of Kalhor's blueprint for the meeting with Erzincan when he said that he was "... looking for something that departs from nothing and then goes into developing material , and then goes into something
really improvised...". It is this apparent spontaneity within the formally composed titles that is immediately accessible, along with the rhythmic impetus within the performances.
This music may be alien to many Western ears, but listening with an open mind and eschewing the need to analyse the unknown the rewards are boundless.
Reviewed by Nick Lea
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Kayhan Kahlor (kamancheh); Erdal Ezrincan (baglama)
Recorded February 2011
Expectations of reading reviews of new releases or re-issues usually have the prerequisite that the review will be informative, objective and the reviewer knowledgeable about the music that he or she is writing about, which in the case of this review some or all of the above maybe missing. In our fast moving and technology driven society information is available from the internet and is now more readily accessible than ever via tablets and mobile phones. However, in undertaking the review of this particular disc I am working on the basis that more than a little knowledge can be dangerous, and listening to what my ears, instincts and heart tell me about the music. Interspersed with this is what little information I have gleaned out of necessity to perhaps better describe this remarkable music.
Firstly, just for the record this is no hybrid or 'world music' but authentic Turkish and Persian music, played with traditional instruments by two master musicians. I have no theoretical knowledge of how the music is constructed or notational methods used, and have not sort information about the harmonic and rhythmic differences that are immediately apparent from the more familiar Western methods used in much of the music that I have previously encountered.
The two instruments heard, are by and large, alien to the Western tradition, although can be readily linked to more familiar instruments within the string family, which will give some indication of the sounds that they produce. The
kamancheh, sometimes referred to as the 'spike fiddle', is held in similar fashion to the cello. It has a smaller bowl shaped body and is supported on the players leg when sitting. The traditional kamancheh has three strings that are
played with a bow, although in recent times a fourth string is added, as is played by Kayhan Kalhor on this recording. Kalhor's musical credentials began in his native Teheran, working with the Iranian National Radio and Television
Orchestra from the age of thirteen, and he is also well versed in the Iranian classical reperoire,or radif. He also has extensive training in Western classical music having studied in Rome and Ottawa.
The baglama, also known as a saz guitar, is a seven stringed instrument that is traditionally played with a plectrum, although Erdal Erzincan has researched finger-picking approaches to the baglama whilst studying at the Istanbul
Technical University in the late 80's. Like his musical partner on this recording he has also studied Western classical music performing with the Ambassade Orchester Wilen, an ensemble of the Vienna Symphony Orchestra, and is
widely regarded as the most outstanding exponent of the Anatolian baglama tradition.
The music played is represented by a mix of traditional music drawn from all over Turkey and of Persian provenance, along with five freely improvised duets. Exuding a warmth from the outset, it is only after listening intently for a while to the sounds produced by the two musicians is one aware of the technical mastery that goes into playing this music, and thus is heard secondary to the singing and dancing melodies that come from the strings of these two unusual
instruments.
The pieces heard in this concert are full of events and rhythmic changes that seem to occur in a set sequence, and even the improvised cuts seem to develop organically, with one event leading to the next in a structually logical
manner.This will echo the sentiment of Kalhor's blueprint for the meeting with Erzincan when he said that he was "... looking for something that departs from nothing and then goes into developing material , and then goes into something
really improvised...". It is this apparent spontaneity within the formally composed titles that is immediately accessible, along with the rhythmic impetus within the performances.
This music may be alien to many Western ears, but listening with an open mind and eschewing the need to analyse the unknown the rewards are boundless.
Reviewed by Nick Lea
Top of Page
DAVE BRUBECK QUARTET - NDR 60 Years Jazz Edition No 02
Moosicus Records 2CD N 1302-2
Dave Brubeck ( pno ) Paul Desmond ( alto ) Gene Wright ( bass ) Joe Morello ( drs )
Recorded at the Niedersachsenhalle Hanover, Germany 28 February
1958
This is the second release from Moosicus Records of recordings from the Hamburg based radio station NDR and there are more promised
in the coming months. During the nineteen fifties both the Dave Brubeck Quartet and the Modern Jazz Quartet were critically dismissed by a number of critics based on the premise that if was popular it couldn’t possibly be good jazz. Time has proved then wrong and both groups were long lived and produced a substantial body of acclaimed work.
This album features the classic Dave Brubeck Quartet with Gene Wright on bass and Joe Morello on drums who provide a solid cushion for Paul Desmond on alto saxophone and Dave Brubeck on piano.
The programme for the concert includes compositions from Brubeck’s previous recordings, two of his best originals
“The Duke” and “One Moment Worth Years” are given extended workouts. The bass and drums are a little forward in the mix you are able to appreciate what a formidable team they make.
The first disc gets off to a sprightly start with a Brubeck favourite standard “Gone With The Wind” and the whole group contribute to a cohesive performance. There are all kind of good things going on in Brubeck’s own “One Moment Worth Years” not least his own solo which contains hints of Erroll Garner, the exchanges between Brubeck and Morello are a delight.
Drummer Joe Morello has another chance to shine on Ellington’s “Take The A Train” where he takes some stunning breaks, he was certainly the final piece in the jigsaw which completed the successful Dave Brubeck Quartet. The final track on Disc one has some outstanding alto from Paul Desmond his stop time choruses are breathtaking.
Disc two opens with a Brubeck original “Two Part Contention” and commences with echoes of Bach but develops quickly into hard swinging Desmond alto solo Brubeck takes over with some heavy block chords with the piece finally
going full circle. “These Foolish Things” is the gem of the second disc with Desmond beautiful alto sound given
full exposure. Joe Morello has a long drum feature on “Drums Along The Thames” which demonstrates his wide technical skills and will be a gift for drum enthusiasts. The second disc closes with “St. Louis Blues” and bassist Gene
Wright his given his chance in the spotlight which he uses to good effect.
If you do not any examples of the classic Brubeck Quartet in concert this is probably as good as it gets and is a good example of his repertoire of that period.
Reviewed by Roy Booth
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Dave Brubeck ( pno ) Paul Desmond ( alto ) Gene Wright ( bass ) Joe Morello ( drs )
Recorded at the Niedersachsenhalle Hanover, Germany 28 February
1958
This is the second release from Moosicus Records of recordings from the Hamburg based radio station NDR and there are more promised
in the coming months. During the nineteen fifties both the Dave Brubeck Quartet and the Modern Jazz Quartet were critically dismissed by a number of critics based on the premise that if was popular it couldn’t possibly be good jazz. Time has proved then wrong and both groups were long lived and produced a substantial body of acclaimed work.
This album features the classic Dave Brubeck Quartet with Gene Wright on bass and Joe Morello on drums who provide a solid cushion for Paul Desmond on alto saxophone and Dave Brubeck on piano.
The programme for the concert includes compositions from Brubeck’s previous recordings, two of his best originals
“The Duke” and “One Moment Worth Years” are given extended workouts. The bass and drums are a little forward in the mix you are able to appreciate what a formidable team they make.
The first disc gets off to a sprightly start with a Brubeck favourite standard “Gone With The Wind” and the whole group contribute to a cohesive performance. There are all kind of good things going on in Brubeck’s own “One Moment Worth Years” not least his own solo which contains hints of Erroll Garner, the exchanges between Brubeck and Morello are a delight.
Drummer Joe Morello has another chance to shine on Ellington’s “Take The A Train” where he takes some stunning breaks, he was certainly the final piece in the jigsaw which completed the successful Dave Brubeck Quartet. The final track on Disc one has some outstanding alto from Paul Desmond his stop time choruses are breathtaking.
Disc two opens with a Brubeck original “Two Part Contention” and commences with echoes of Bach but develops quickly into hard swinging Desmond alto solo Brubeck takes over with some heavy block chords with the piece finally
going full circle. “These Foolish Things” is the gem of the second disc with Desmond beautiful alto sound given
full exposure. Joe Morello has a long drum feature on “Drums Along The Thames” which demonstrates his wide technical skills and will be a gift for drum enthusiasts. The second disc closes with “St. Louis Blues” and bassist Gene
Wright his given his chance in the spotlight which he uses to good effect.
If you do not any examples of the classic Brubeck Quartet in concert this is probably as good as it gets and is a good example of his repertoire of that period.
Reviewed by Roy Booth
Top of Page
STEFANO BOLLANI/HAMILTON DE HOLANDA - O Que Sera
ECM 374 0459
Stefano Bollani (piano); Hamilton de Holanda (bandolim)
Recorded August 17, 2012
Virtuosity abounds in this live recording from the Jazz Middelheim festival in Antwerpin 2012, but overriding the impressive technical display of both musicians is the sheer joy inherent in these performances. The ability to play anything and go anywhere on their instruments, rather than a hindrance, is a tool that is used with much good taste and exhilarating results that are never flashy for the sake of technical wizardry.
The Italian pianist has never made any secret of his love of the music of Brazil, and this meeting with bandolim player, Hamilton De Holanda, is a natural extension and pursuit of that interest. The bandolim is 10-string mandolin, that in the hands of a master like de Holanda is a truly expressive instrument, whether accompanying the piano, or playing single note lines, or even utilisnig the body of the instrument for percussive effect, de Holanda is totally at one with the bandolim, the music and the pianist.A collaboraton borne out of a chance encounter in 2009, the duo have actively sought out opportunities to further the empathy discovered in that first meeting, and in August 2011 reunited for their first full concert together, and now we too have the chance to hear this remarkable music with this release, and de Holanda's debut for ECM.
A major figre in Brazilain music, de Holanda has been happy to mix up musical genres from music of his native country, jazz and improvisation, a his collaboration with Bollani is now becoming an important development of this
musical quest. The album begins gently enough with the thoughtful and provocative 'Beatriz', but the pair soon liven things up with fingers flying across keys and strings as they up the tempo for Bollani's 'Il Barone Di Siviglia', which is followed by the equally finger-busting 'Caprichos De Espanha' by de Hoalnda. The pace once again drops and the tension released with a beautiful rendition of Antonio Carlos Jobim's 'Luiza'.
And that pretty much sets the mood for the entire concert as heard on this impeccable recording. A nicely balanced programme of delicate duo interplay interspersed with the dazzlingly complex lines that the two musicians weave in the up tempo pieces. Virtuosic this music may be, but the end results justify the means as the pair seek to push the music to the height of their considerable abilities. The end of the album may leave you breathless, as indeed it did the audience present at the concert, but this is duo playing of astonishing quality where the two musicians explore mutual musical ground and then push themselves further, always looking for the next level, and frequently finding new things
to say. The beginning perhaps of a longstanding partnership that will be exciting to hear flourish still further over
time.
Reviewed by Nick Lea
Top of Page
Stefano Bollani (piano); Hamilton de Holanda (bandolim)
Recorded August 17, 2012
Virtuosity abounds in this live recording from the Jazz Middelheim festival in Antwerpin 2012, but overriding the impressive technical display of both musicians is the sheer joy inherent in these performances. The ability to play anything and go anywhere on their instruments, rather than a hindrance, is a tool that is used with much good taste and exhilarating results that are never flashy for the sake of technical wizardry.
The Italian pianist has never made any secret of his love of the music of Brazil, and this meeting with bandolim player, Hamilton De Holanda, is a natural extension and pursuit of that interest. The bandolim is 10-string mandolin, that in the hands of a master like de Holanda is a truly expressive instrument, whether accompanying the piano, or playing single note lines, or even utilisnig the body of the instrument for percussive effect, de Holanda is totally at one with the bandolim, the music and the pianist.A collaboraton borne out of a chance encounter in 2009, the duo have actively sought out opportunities to further the empathy discovered in that first meeting, and in August 2011 reunited for their first full concert together, and now we too have the chance to hear this remarkable music with this release, and de Holanda's debut for ECM.
A major figre in Brazilain music, de Holanda has been happy to mix up musical genres from music of his native country, jazz and improvisation, a his collaboration with Bollani is now becoming an important development of this
musical quest. The album begins gently enough with the thoughtful and provocative 'Beatriz', but the pair soon liven things up with fingers flying across keys and strings as they up the tempo for Bollani's 'Il Barone Di Siviglia', which is followed by the equally finger-busting 'Caprichos De Espanha' by de Hoalnda. The pace once again drops and the tension released with a beautiful rendition of Antonio Carlos Jobim's 'Luiza'.
And that pretty much sets the mood for the entire concert as heard on this impeccable recording. A nicely balanced programme of delicate duo interplay interspersed with the dazzlingly complex lines that the two musicians weave in the up tempo pieces. Virtuosic this music may be, but the end results justify the means as the pair seek to push the music to the height of their considerable abilities. The end of the album may leave you breathless, as indeed it did the audience present at the concert, but this is duo playing of astonishing quality where the two musicians explore mutual musical ground and then push themselves further, always looking for the next level, and frequently finding new things
to say. The beginning perhaps of a longstanding partnership that will be exciting to hear flourish still further over
time.
Reviewed by Nick Lea
Top of Page
SCOOLPTURES - Please Drive By Carefully
Leo LR671/2
Nicola Negrini (doublebass, ubass, metallophone and live electronics); Achille Succi (alto sax, bass clarinet, shakuhachi); Philippe "Pipon" Garcia (drums, prepared guitar and live electronics);Antonio Della Marina (sinewaves and live electronics)
“In this double CD the original process of instant composing conceived by Scoolptures is powered by graphic scores obtained from the works of the street artist Banksy. His intimate and sharp stencils, motions of a suffering humanity, are transformed into the sound matrices of these 24 compositions. mould the sound into a pulsating, urban, tense or ecstatic conglomerate, densely fluid and dynamic, which are a sound equivalent of Banksy's stencils.”
“The sound equivalent of Banksy’s stencils” sounds like a great concept. But what does it mean? Banksy’s art is immediate, witty, sarcastic, caustic, razor sharp on issues, polemical, almost a call to action, Above all, Banksy’s art is aimed for maximum impact. No one listening to ‘Please Drive Carefully’ would see or hear the connection to Banksy if it was not explained to them and even then……… “
The album notes are little help. So let’s forget about Banksy and concentrate on the music. The improvisations are blended with live electronics. The adventurous use of the shakuhachi and bass clarinet layered over the electronic sounds gives the quartet its uniqueness. The tracks are short and succinct There is great variety across the twenty three tracks of the two CDs and the listener will have much to admire about the sounds that are created. The music is original, fresh and vital. There is enough here for the music to stand on its own. It should not, and does not, need
tendentious excuses for music making.
Reviewed by Jack Kenny
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Nicola Negrini (doublebass, ubass, metallophone and live electronics); Achille Succi (alto sax, bass clarinet, shakuhachi); Philippe "Pipon" Garcia (drums, prepared guitar and live electronics);Antonio Della Marina (sinewaves and live electronics)
“In this double CD the original process of instant composing conceived by Scoolptures is powered by graphic scores obtained from the works of the street artist Banksy. His intimate and sharp stencils, motions of a suffering humanity, are transformed into the sound matrices of these 24 compositions. mould the sound into a pulsating, urban, tense or ecstatic conglomerate, densely fluid and dynamic, which are a sound equivalent of Banksy's stencils.”
“The sound equivalent of Banksy’s stencils” sounds like a great concept. But what does it mean? Banksy’s art is immediate, witty, sarcastic, caustic, razor sharp on issues, polemical, almost a call to action, Above all, Banksy’s art is aimed for maximum impact. No one listening to ‘Please Drive Carefully’ would see or hear the connection to Banksy if it was not explained to them and even then……… “
The album notes are little help. So let’s forget about Banksy and concentrate on the music. The improvisations are blended with live electronics. The adventurous use of the shakuhachi and bass clarinet layered over the electronic sounds gives the quartet its uniqueness. The tracks are short and succinct There is great variety across the twenty three tracks of the two CDs and the listener will have much to admire about the sounds that are created. The music is original, fresh and vital. There is enough here for the music to stand on its own. It should not, and does not, need
tendentious excuses for music making.
Reviewed by Jack Kenny
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STAN TRACEY QUINTET - The Flying Pig
ReSteamed RSJ113
Stan Tracey (p); Simon Allen (s); Mark Armstrong (fl-h, t); Andy Cleyndert (b); Clark Tracey (d)
Recorded 30th Jnuary 2013
So long has he been such an important and vital force in British Jazz it is difficult to believe that Stan is now well into his eighties. That he is still playing is testament to his dedication to his craft and passion for music, but that he still plays and writes such exciting and invigorating music is a mark of his stature and high regard that he is so rightly
held.
This new album, featuring Stan's quintet and released on his ReSteamed imprint, blows in like a breath of fresh air and reminds one of just why this wonderful music retains it's vitality and validity into the 21st century. Dedicated to the
memory of Stanley Clark Tracey, Stan's father and Clark's grandfather and those who fought in the first World War, the music rather than taking at a forlorn and sorrowful look at those terrible times in the trenches endured by many, instead basks in the more humorous side capturing the British spirit and the 'Tommy' humour of the times.
For those questioning the somewhat curious title, 'The Flying Pig' is a reference to the 9.45 inch heavy mortar that was used by the British army. Other tracks utilise such wonderful titles such as 'Bouncing Bertha' the original term for the German 42cm Morser and 'Weary Willie' which was the description for a German shell passing safely but slowly overhead.
Stan's writing for the quintet is suitably tough and muscular and swings with a vengeance, a trait which sometimes seems to be disappearing from much contemporary jazz. As is appropriate to the titles, the music whilst serious in
intent and delivery does not suffer from an over emphasis on the weight of the history of it's inspiration, but revels in the humour that the titles depict. Saxophonist, Simon Allen can barely contain his exuberance in his solos with his
sure tone and timing, with a debt to Charlie Parker and Cannonball Adderley clearly audible. This is not to say that Allen's solos have nothing new to say, but have a healthy regard for the tradition of his instrument, and are delivered
with a vibrant delivery that is truly infectious. The flugelhorn and trumpet of Mark Armstrong , as with the best two-horn frontlines, provides the perfect foil to the quicksilver solos of the saxophonist, and lays out his solos in a most logical, if more laid back and considered manner that is equally as satisfying.
Stan is Stan throughout. With his by now familiar sound at the keyboard that still throws up musical gems in both solos and in his accompaniment. As for the compositions, in my opinion he saves the best until last, with the beautiful
'Ballad For Loos', with a particularly fine solo from the leader, and the superb 'Silent Percy' featuring Armstrong's furiously contained muted trumpet in the opening theme, before giving way to alto and open horn solos that are brim full of ideas.
Another must have release to add to the already impressive Tracey discography, and surely a contender for album of the year.
Reviewed by Nick Lea
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Stan Tracey (p); Simon Allen (s); Mark Armstrong (fl-h, t); Andy Cleyndert (b); Clark Tracey (d)
Recorded 30th Jnuary 2013
So long has he been such an important and vital force in British Jazz it is difficult to believe that Stan is now well into his eighties. That he is still playing is testament to his dedication to his craft and passion for music, but that he still plays and writes such exciting and invigorating music is a mark of his stature and high regard that he is so rightly
held.
This new album, featuring Stan's quintet and released on his ReSteamed imprint, blows in like a breath of fresh air and reminds one of just why this wonderful music retains it's vitality and validity into the 21st century. Dedicated to the
memory of Stanley Clark Tracey, Stan's father and Clark's grandfather and those who fought in the first World War, the music rather than taking at a forlorn and sorrowful look at those terrible times in the trenches endured by many, instead basks in the more humorous side capturing the British spirit and the 'Tommy' humour of the times.
For those questioning the somewhat curious title, 'The Flying Pig' is a reference to the 9.45 inch heavy mortar that was used by the British army. Other tracks utilise such wonderful titles such as 'Bouncing Bertha' the original term for the German 42cm Morser and 'Weary Willie' which was the description for a German shell passing safely but slowly overhead.
Stan's writing for the quintet is suitably tough and muscular and swings with a vengeance, a trait which sometimes seems to be disappearing from much contemporary jazz. As is appropriate to the titles, the music whilst serious in
intent and delivery does not suffer from an over emphasis on the weight of the history of it's inspiration, but revels in the humour that the titles depict. Saxophonist, Simon Allen can barely contain his exuberance in his solos with his
sure tone and timing, with a debt to Charlie Parker and Cannonball Adderley clearly audible. This is not to say that Allen's solos have nothing new to say, but have a healthy regard for the tradition of his instrument, and are delivered
with a vibrant delivery that is truly infectious. The flugelhorn and trumpet of Mark Armstrong , as with the best two-horn frontlines, provides the perfect foil to the quicksilver solos of the saxophonist, and lays out his solos in a most logical, if more laid back and considered manner that is equally as satisfying.
Stan is Stan throughout. With his by now familiar sound at the keyboard that still throws up musical gems in both solos and in his accompaniment. As for the compositions, in my opinion he saves the best until last, with the beautiful
'Ballad For Loos', with a particularly fine solo from the leader, and the superb 'Silent Percy' featuring Armstrong's furiously contained muted trumpet in the opening theme, before giving way to alto and open horn solos that are brim full of ideas.
Another must have release to add to the already impressive Tracey discography, and surely a contender for album of the year.
Reviewed by Nick Lea
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YEAHWON SHIN - Lua ya
ECM 374 4030
Yeahwon Shin (v); Aaron Parks (p); Rob Curto (acc)
Recorded May 2012
I have found it very difficult to try and approach writing this review with any sort of impartiality or objectivity, and I was immediately captivated and won over by the sheer beauty and charm of the music played.
Yeahwon Shin is a South Korean singer who makes her ECM debut with this fine release of songs and lullabies from her native land, along with some original melodies that were composed/improvised by the trio, in what began as a fortuitous meeting at the Mechanics Hall where this album was eventually recorded in May last year.
The origins of this extraordinary music came about by a chance encounter between Yeahwon and Aaron Parks when the pianist was mid way through recording his own debut album of solo piano for ECM (to be released in October 2013), and it was decided to see how the voice would sound in the room's outstanding acoustics. A microphone was set up for Yeahwon, and although they had never met previously the she started singing a song from her childhood to Park's improvised accompaniment. Sensing that a connection had been made the pair decided to return to the studio to try and recreate and capture the spontaneity of that first encounter.
Returning to the same studio some five months later, and adding to the sound the accordion of Rob Curto, they decided to try and capture and expand on that initial encounter. Curto cut his jazz teeth as a pianist and is a fan of 40's popular music and bebop. Having decided to put down the lid on the piano keys, he has concentrated on the accordian and the diverse musical tradition associated with the instrument. Curto and Shin had previously worked together when the singer invited him to play on her debut album for ArtistShare, but Aaron Parks came to the session with only that singular brief encounter.
Singing in her native language Yeahwon has picked songs remembered from her childhood, with some of the melodies such as 'Island Child' and 'Remembrance' being well known in Korea with some other less familiar songs. All have been worked on a with a small amount preparation prior to recording that ensure maximum spontaneity in the material with piano and accordian in total accord with Yeahwon's sublime voice and delivery. All pieces are calm and gentle and thought provokingly reflective that transports the listener into their world.
One of my colleagues at work has borrowed this album and listened to it with her Korean husband. When returning the disc she said they had enjoyed the music and that her husband recalled some of the songs, but asked the question "But is it jazz?" Music such as this truly transcends such categorisation, and encapsulates the belief that music has the power to speak in a universal language. "Yeahwon" translates as "beautiful art", and that is indeed what we
get on this wonderful album.
Reviewed by Nick Lea
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Yeahwon Shin (v); Aaron Parks (p); Rob Curto (acc)
Recorded May 2012
I have found it very difficult to try and approach writing this review with any sort of impartiality or objectivity, and I was immediately captivated and won over by the sheer beauty and charm of the music played.
Yeahwon Shin is a South Korean singer who makes her ECM debut with this fine release of songs and lullabies from her native land, along with some original melodies that were composed/improvised by the trio, in what began as a fortuitous meeting at the Mechanics Hall where this album was eventually recorded in May last year.
The origins of this extraordinary music came about by a chance encounter between Yeahwon and Aaron Parks when the pianist was mid way through recording his own debut album of solo piano for ECM (to be released in October 2013), and it was decided to see how the voice would sound in the room's outstanding acoustics. A microphone was set up for Yeahwon, and although they had never met previously the she started singing a song from her childhood to Park's improvised accompaniment. Sensing that a connection had been made the pair decided to return to the studio to try and recreate and capture the spontaneity of that first encounter.
Returning to the same studio some five months later, and adding to the sound the accordion of Rob Curto, they decided to try and capture and expand on that initial encounter. Curto cut his jazz teeth as a pianist and is a fan of 40's popular music and bebop. Having decided to put down the lid on the piano keys, he has concentrated on the accordian and the diverse musical tradition associated with the instrument. Curto and Shin had previously worked together when the singer invited him to play on her debut album for ArtistShare, but Aaron Parks came to the session with only that singular brief encounter.
Singing in her native language Yeahwon has picked songs remembered from her childhood, with some of the melodies such as 'Island Child' and 'Remembrance' being well known in Korea with some other less familiar songs. All have been worked on a with a small amount preparation prior to recording that ensure maximum spontaneity in the material with piano and accordian in total accord with Yeahwon's sublime voice and delivery. All pieces are calm and gentle and thought provokingly reflective that transports the listener into their world.
One of my colleagues at work has borrowed this album and listened to it with her Korean husband. When returning the disc she said they had enjoyed the music and that her husband recalled some of the songs, but asked the question "But is it jazz?" Music such as this truly transcends such categorisation, and encapsulates the belief that music has the power to speak in a universal language. "Yeahwon" translates as "beautiful art", and that is indeed what we
get on this wonderful album.
Reviewed by Nick Lea
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ANITA WARDELL - The Road
Specific Jazz SPEC017
Anita Wardell (vocals); Robin Aspland (pno); Jeremy Brown (bass); Tristan Malliot (drs); Guillermo Hill (gtr); Adriano Adewale (perc,vocal)
Recorded April 2012
Anita Wardell goes from strength to strength & gives us her usual mixture of well known standards & more recent compositions, on a
couple of numbers she adds her own words to the music of current jazz composers. All the arrangements on the album are by her long time associate, pianist Robin Aspland.
The opening track “Travels / The Road” has music by Pat Metheny
with lyrics by Anita Wardell which are as good as anything I have heard for some time The piece has a country feel about it and Anita’s vocal is a beauty full of passion, and with the appropriate accompaniment by her backing group.
Robin Aspland’s piano intro to Cy Coleman’s “With Every Breath I Take” sets the scene for Anita’s fine vocal and his solo threatens to steal the thunder, a very satisfying track.
Anita’s wordless vocal on ”Frevo Em Maceio” raises the tempo and gives the guitarist Guillermo Hill a shine of which he takes full advantage. Rodgers and Hammerstein’s “Surrey With A Fringe On Top” is given a fairly
straightforward treatment but with enough of a twist to make it interesting, Robin Aspland again shines at the piano. Stevie Wonder’s “Superwoman” lends itself to a jazz treatment and Anita takes full advantage of its strong melody.
“Mirrors” has music by vibes star Bobby Hutcherson with lyrics by Anita and is given a suitable moody treatment. The album closes with an upbeat bossa nova “Voce e eu” which is a fitting conclusion to a very satisfying album.
I found this Nita’s best album to date and full marks to Robin Aspland for his fine arrangements and superb piano
accompaniment.
Reviewed by Roy Booth
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Anita Wardell (vocals); Robin Aspland (pno); Jeremy Brown (bass); Tristan Malliot (drs); Guillermo Hill (gtr); Adriano Adewale (perc,vocal)
Recorded April 2012
Anita Wardell goes from strength to strength & gives us her usual mixture of well known standards & more recent compositions, on a
couple of numbers she adds her own words to the music of current jazz composers. All the arrangements on the album are by her long time associate, pianist Robin Aspland.
The opening track “Travels / The Road” has music by Pat Metheny
with lyrics by Anita Wardell which are as good as anything I have heard for some time The piece has a country feel about it and Anita’s vocal is a beauty full of passion, and with the appropriate accompaniment by her backing group.
Robin Aspland’s piano intro to Cy Coleman’s “With Every Breath I Take” sets the scene for Anita’s fine vocal and his solo threatens to steal the thunder, a very satisfying track.
Anita’s wordless vocal on ”Frevo Em Maceio” raises the tempo and gives the guitarist Guillermo Hill a shine of which he takes full advantage. Rodgers and Hammerstein’s “Surrey With A Fringe On Top” is given a fairly
straightforward treatment but with enough of a twist to make it interesting, Robin Aspland again shines at the piano. Stevie Wonder’s “Superwoman” lends itself to a jazz treatment and Anita takes full advantage of its strong melody.
“Mirrors” has music by vibes star Bobby Hutcherson with lyrics by Anita and is given a suitable moody treatment. The album closes with an upbeat bossa nova “Voce e eu” which is a fitting conclusion to a very satisfying album.
I found this Nita’s best album to date and full marks to Robin Aspland for his fine arrangements and superb piano
accompaniment.
Reviewed by Roy Booth
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CHRISTIAN WALLUMROD ENSEMBLE - Outstairs
ECM 373 3062
Christian Wallumrod (p, jarmonium, toy p); Eivind Lonning (t); Gjermund Larsen (vln, hardanger fiddle, vla);Espen Reinertsen (ts); Tove Torngren (clo); Per Oddvar Johansen (d, vib)
Recorded May 2012
This is an austere and sometimes chilly recording that even when burning on a low heat never gets above room temperature. In further pursuing his own path and developing his music on from his previous Ensemble releases on ECM, the pianist enters a sound world that is uniquely his own, drawing sounds and textures for his music from the distinctive blending of acoustic instruments.
On this latest offering, Wallumrod produces an album that is at time melodically very sparse and harmonically static, and relies on the attention to detail and the smallest of sounds and gestures to retain interest. This very much has the
effect of linking ideas together as opposed to allowing the music to flow, and there are points in the music that can actually shock and jar the listener's attention with the rhythmic pull of the piece at odds with the melodic and timbral contours of the wind and stringed instruments.
Wallumrod's piano is suitably restrained, colouring and filling out the ensemble, but the use of the harmonium takes some getting used to. This seldom heard instrument produces an unusual variety of sounds from its keyboard. A harmonium is a reed organ, as opposed to the more familiar pipe organ, and infinitely more portable in size. It produces sound by use of foot pumps or pedals that act as bellows, however its tonal range and volume are somewhat limited.
Wallumrod works this music very cleverly, and has an intuitive gift for knowing just how far he can take the concept behind each composition. Some tracks are through very quickly in a matter of two or three minutes, others such as 'Stille Rock' at just over the nine minute mark develop their ideas and impetus over a longer time frame before the composer feels that the piece is complete. Compositions are sometimes given titles that can be taken literally such as 'Very Slow', whilst 'Third Try' although written by the pianist is credited as arranged by the Ensemble which could indicate an collectively improvised 'arrangement' a the time of recording.
The overall impression of the music contained on this album is that it may invoke more impassioned and emotive response in a live situation as opposed to the rather claustrophobic studio environment. On CD however, for this listener, I could not shake the feeling that although skilfully played and arranged that this is music that is easy to appreciate on an intellectual level but very hard to warm to.
Reviewed by Nick Lea
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Christian Wallumrod (p, jarmonium, toy p); Eivind Lonning (t); Gjermund Larsen (vln, hardanger fiddle, vla);Espen Reinertsen (ts); Tove Torngren (clo); Per Oddvar Johansen (d, vib)
Recorded May 2012
This is an austere and sometimes chilly recording that even when burning on a low heat never gets above room temperature. In further pursuing his own path and developing his music on from his previous Ensemble releases on ECM, the pianist enters a sound world that is uniquely his own, drawing sounds and textures for his music from the distinctive blending of acoustic instruments.
On this latest offering, Wallumrod produces an album that is at time melodically very sparse and harmonically static, and relies on the attention to detail and the smallest of sounds and gestures to retain interest. This very much has the
effect of linking ideas together as opposed to allowing the music to flow, and there are points in the music that can actually shock and jar the listener's attention with the rhythmic pull of the piece at odds with the melodic and timbral contours of the wind and stringed instruments.
Wallumrod's piano is suitably restrained, colouring and filling out the ensemble, but the use of the harmonium takes some getting used to. This seldom heard instrument produces an unusual variety of sounds from its keyboard. A harmonium is a reed organ, as opposed to the more familiar pipe organ, and infinitely more portable in size. It produces sound by use of foot pumps or pedals that act as bellows, however its tonal range and volume are somewhat limited.
Wallumrod works this music very cleverly, and has an intuitive gift for knowing just how far he can take the concept behind each composition. Some tracks are through very quickly in a matter of two or three minutes, others such as 'Stille Rock' at just over the nine minute mark develop their ideas and impetus over a longer time frame before the composer feels that the piece is complete. Compositions are sometimes given titles that can be taken literally such as 'Very Slow', whilst 'Third Try' although written by the pianist is credited as arranged by the Ensemble which could indicate an collectively improvised 'arrangement' a the time of recording.
The overall impression of the music contained on this album is that it may invoke more impassioned and emotive response in a live situation as opposed to the rather claustrophobic studio environment. On CD however, for this listener, I could not shake the feeling that although skilfully played and arranged that this is music that is easy to appreciate on an intellectual level but very hard to warm to.
Reviewed by Nick Lea
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EMMANUEL WALDREN - All Seasons
www.emmanuelwaldron.co.uk
Emmanuel Waldron ( Yamaha C3 grand piano; Wurlitzer EP200; Hammond C3 organ; Korg PE 1000 analogue keyboard; and all other additional keyboards) Ruth Waldron ( vocals ) Carl Stanbridge (upright & electric basses) Troy Miller ( drs ) Andre “saxman” Brown ( saxxes )
Recorded 2013
Emmanuel Waldron is a new name to me and is not to be confused
with the pianist Mal Waldron who worked with Billie Holiday and Charles Mingus among others. Emmanuel has played for The Pope and the Mayor of London and you don’t get much more diverse than that. His background has a range of experience from classical and gospel to jazz and blues along with soul and folk. He also teaches, conducting piano and keyboard workshops.
All the compositions on this album are written by Waldron except Victor Young and Edward Heyman’s “When I Fall In Love” It is difficult to locate a common thread to this album but there is some very satisfying music to be heard particularly some fine piano from Waldron himself, I was as impressed by the two vocals by his wife which did not seem to fit into the overall mood of the album.
“Big City Blues” has a catchy soulful melody and could have been lifted from the album of a blues based pop group. I cannot see why “The Carpenter” is split over three tracks and interspersed over the album as it could stand up as a continuous piece. “When I Fall In Love” has some very lyrical piano and a pleasant tenor solo but it seems out of place as though it belongs on another album. Much the same can be said of “Summers Dream” and sounds as though it’s taken from a Scandinavian album.
There are some good things to be heard on this uneven album but if you enjoy a variety of styles on one album this may be for you.
Reviewed by Roy Booth
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Emmanuel Waldron ( Yamaha C3 grand piano; Wurlitzer EP200; Hammond C3 organ; Korg PE 1000 analogue keyboard; and all other additional keyboards) Ruth Waldron ( vocals ) Carl Stanbridge (upright & electric basses) Troy Miller ( drs ) Andre “saxman” Brown ( saxxes )
Recorded 2013
Emmanuel Waldron is a new name to me and is not to be confused
with the pianist Mal Waldron who worked with Billie Holiday and Charles Mingus among others. Emmanuel has played for The Pope and the Mayor of London and you don’t get much more diverse than that. His background has a range of experience from classical and gospel to jazz and blues along with soul and folk. He also teaches, conducting piano and keyboard workshops.
All the compositions on this album are written by Waldron except Victor Young and Edward Heyman’s “When I Fall In Love” It is difficult to locate a common thread to this album but there is some very satisfying music to be heard particularly some fine piano from Waldron himself, I was as impressed by the two vocals by his wife which did not seem to fit into the overall mood of the album.
“Big City Blues” has a catchy soulful melody and could have been lifted from the album of a blues based pop group. I cannot see why “The Carpenter” is split over three tracks and interspersed over the album as it could stand up as a continuous piece. “When I Fall In Love” has some very lyrical piano and a pleasant tenor solo but it seems out of place as though it belongs on another album. Much the same can be said of “Summers Dream” and sounds as though it’s taken from a Scandinavian album.
There are some good things to be heard on this uneven album but if you enjoy a variety of styles on one album this may be for you.
Reviewed by Roy Booth
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WAYNE SHORTER - Beginnings
Properbox 178 (4 CD Set)
CD ( 1 ) Wynton Kelly Quintet: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Wynton Kelly ( pno ) Paul Chambers ( bass ) Philly Joe Jones ( drs ) August 12 1959
Wayne Shorter quintet:
Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Wynton Kelly ( pno ) Paul Chambers (bass ) Jimmy Cobb ( drs )
November 10 1959
Art Blakey & the Jazz Messengers: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Bobby Timmons ( pno ) Jymie Merritt ( bass ) Art Blakey ( drs )
March 6 1960
CD ( 2 ) Art Blakey & the Jazz Messengers: same personnel as CD 1
March 6 1960 & Birdland April 23 1960
The Young Lions: Lee Morgan ( tpt ) Frank Strozier ( alto ) Wayne Shorter ( tnr ) Bobby Timmons (pno ) Bob Crenshaw ( bass ) Lois Hayes / Al Heath ( drs)
April 25 1960
Art Blakey & the Jazz Messengers: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Bobby Timmons ( pno ) Jymie
Merritt ( bass ) Art Blakey ( drs ) August 7 & 14 plus Birdland September 14 1960
CD ( 3 ) Wayne Shorter ( tnr) Cedar Walton ( pno ) Bob Crenshaw ( bass ) Art Blakey ( drs ) October 11 1960
Art Blakey & the Jazz Messengers: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Bobby Timmons ( pno ) Jymie
Merritt ( bass ) Art Blakey ( drs ) Birdland October 28 1960
Add Cutis Fuller ( tmb ) June 13/14 1961
Art Blakey & the Jazz Messengers: Freddie Hubbard ( tpt ) Cutis Fuller ( tmb ) Wayne Shorter ( tnr ) Cedar Walton ( pno ) Jymie Merritt ( bass ) Art Blakey ( drs ) October 2 1961
CD ( 4 ) Art Blakey & the Jazz Messengers: Freddie Hubbard ( tpt ) Curtis Fuller ( tmb ) Wayne Shorter ( tnr ) Cedar Walton ( pno ) Jymie Merritt ( bass ) Art Blakey ( drs ) October 2 1961
Freddie Hubbard ( tpt ) Wayne Shorter ( tnr ) Eddie Higgins ( pno ) Jymie Merritt ( bass ) Marshall Thompson ( drs ) Early 1962
Art Blakey & the Jazz Messengers: Freddie Hubbard ( tpt ) Curtis Fuller ( tmb ) Wayne Shorter ( tnr ) Cedar Walton ( pno ) Reggie Workman ( bass ) Art Blakey ( drs ) October 23/24 1962
This 4 CD set charts Wayne Shorter’s early recording career from his debut session under Wynton Kelly’s leadership in August 1959 to October 1962 as a sideman with Art Blakey’s Jazz Messengers. His second recording session is
under his own leadership but retains the same personnel as the Kelly date except Jimmy Cobb takes over the drum chair from Philly Joe Jones. Almost all the numbers are Shorter originals and are pretty much in the Hard Bop tradition of the period. ”Pug Nose” has an attractive theme and has good solos by both front line players. Jimmy Cobb’s drumming is restrained but moves things along nicely giving solid support to the soloists. Lee Morgan’s trumpet playing is full of confidence and ideas which outshines the other soloists. The final two tracks on the first CD are by the Art Blakey Jazz Messengers and the frontline of Wayne Shorter and Lee Morgan with Bobby Timmons on piano is probably one of the best editions of the Messengers. Shorter’s solo on “The Chess Players” shows much more confidence and a more robust style, with a searing solo by Lee Morgan this is an excellent track.
The second CD contains tracks by the Jazz Messengers with same personnel plus three tracks from The Young Lions which has Lee Morgan and Wayne Shorter in the front line plus Frank Strozier on alto, these tracks are fine do not hold the same excitement as the Messenger tracks.
The third CD again has tracks by the Jazz Messengers which are on a par with the earlier ones but the main interest is a full session by a Wayne Shorter Quartet with Blakey again on drums & Cedar Walton at the piano this gives Shorter a chance to stretch out and he produces some of his best work of his earlier career.
The final CD in the set has again a couple of sessions by The Jazz Messengers but with Freddy Hubbard replacing Lee Morgan and Curtis Fuller added on trombone, Cedar Walton is the pianist.
The standard is still high but Freddie Hubbard is an excellent trumpet player but does not have the same fiery attack as Lee Morgan. Curtis Fuller adds an extra voice to the front line 7 provides a broader palette to the ensemble playing. There is a full session by a quintet with Freddy Hubbard with Eddie Higgins at the piano, this is my favourite session of the whole set with both frontline players producing some excellent music & Eddie Higgins is a joy on piano his solos have a vibrancy many better pianists lack.
If you are looking for a representative collection of Wayne Shorter’s earlier work this is the one for you, and the set contains the usual informative booklet.
Reviewed by Roy Booth
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CD ( 1 ) Wynton Kelly Quintet: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Wynton Kelly ( pno ) Paul Chambers ( bass ) Philly Joe Jones ( drs ) August 12 1959
Wayne Shorter quintet:
Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Wynton Kelly ( pno ) Paul Chambers (bass ) Jimmy Cobb ( drs )
November 10 1959
Art Blakey & the Jazz Messengers: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Bobby Timmons ( pno ) Jymie Merritt ( bass ) Art Blakey ( drs )
March 6 1960
CD ( 2 ) Art Blakey & the Jazz Messengers: same personnel as CD 1
March 6 1960 & Birdland April 23 1960
The Young Lions: Lee Morgan ( tpt ) Frank Strozier ( alto ) Wayne Shorter ( tnr ) Bobby Timmons (pno ) Bob Crenshaw ( bass ) Lois Hayes / Al Heath ( drs)
April 25 1960
Art Blakey & the Jazz Messengers: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Bobby Timmons ( pno ) Jymie
Merritt ( bass ) Art Blakey ( drs ) August 7 & 14 plus Birdland September 14 1960
CD ( 3 ) Wayne Shorter ( tnr) Cedar Walton ( pno ) Bob Crenshaw ( bass ) Art Blakey ( drs ) October 11 1960
Art Blakey & the Jazz Messengers: Lee Morgan ( tpt ) Wayne Shorter ( tnr ) Bobby Timmons ( pno ) Jymie
Merritt ( bass ) Art Blakey ( drs ) Birdland October 28 1960
Add Cutis Fuller ( tmb ) June 13/14 1961
Art Blakey & the Jazz Messengers: Freddie Hubbard ( tpt ) Cutis Fuller ( tmb ) Wayne Shorter ( tnr ) Cedar Walton ( pno ) Jymie Merritt ( bass ) Art Blakey ( drs ) October 2 1961
CD ( 4 ) Art Blakey & the Jazz Messengers: Freddie Hubbard ( tpt ) Curtis Fuller ( tmb ) Wayne Shorter ( tnr ) Cedar Walton ( pno ) Jymie Merritt ( bass ) Art Blakey ( drs ) October 2 1961
Freddie Hubbard ( tpt ) Wayne Shorter ( tnr ) Eddie Higgins ( pno ) Jymie Merritt ( bass ) Marshall Thompson ( drs ) Early 1962
Art Blakey & the Jazz Messengers: Freddie Hubbard ( tpt ) Curtis Fuller ( tmb ) Wayne Shorter ( tnr ) Cedar Walton ( pno ) Reggie Workman ( bass ) Art Blakey ( drs ) October 23/24 1962
This 4 CD set charts Wayne Shorter’s early recording career from his debut session under Wynton Kelly’s leadership in August 1959 to October 1962 as a sideman with Art Blakey’s Jazz Messengers. His second recording session is
under his own leadership but retains the same personnel as the Kelly date except Jimmy Cobb takes over the drum chair from Philly Joe Jones. Almost all the numbers are Shorter originals and are pretty much in the Hard Bop tradition of the period. ”Pug Nose” has an attractive theme and has good solos by both front line players. Jimmy Cobb’s drumming is restrained but moves things along nicely giving solid support to the soloists. Lee Morgan’s trumpet playing is full of confidence and ideas which outshines the other soloists. The final two tracks on the first CD are by the Art Blakey Jazz Messengers and the frontline of Wayne Shorter and Lee Morgan with Bobby Timmons on piano is probably one of the best editions of the Messengers. Shorter’s solo on “The Chess Players” shows much more confidence and a more robust style, with a searing solo by Lee Morgan this is an excellent track.
The second CD contains tracks by the Jazz Messengers with same personnel plus three tracks from The Young Lions which has Lee Morgan and Wayne Shorter in the front line plus Frank Strozier on alto, these tracks are fine do not hold the same excitement as the Messenger tracks.
The third CD again has tracks by the Jazz Messengers which are on a par with the earlier ones but the main interest is a full session by a Wayne Shorter Quartet with Blakey again on drums & Cedar Walton at the piano this gives Shorter a chance to stretch out and he produces some of his best work of his earlier career.
The final CD in the set has again a couple of sessions by The Jazz Messengers but with Freddy Hubbard replacing Lee Morgan and Curtis Fuller added on trombone, Cedar Walton is the pianist.
The standard is still high but Freddie Hubbard is an excellent trumpet player but does not have the same fiery attack as Lee Morgan. Curtis Fuller adds an extra voice to the front line 7 provides a broader palette to the ensemble playing. There is a full session by a quintet with Freddy Hubbard with Eddie Higgins at the piano, this is my favourite session of the whole set with both frontline players producing some excellent music & Eddie Higgins is a joy on piano his solos have a vibrancy many better pianists lack.
If you are looking for a representative collection of Wayne Shorter’s earlier work this is the one for you, and the set contains the usual informative booklet.
Reviewed by Roy Booth
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RAAHE '99 - For Paul Rutherford
SLAMCD 328
Paul Rutherford (tb); George Haslam (bs, tarogato); Samuli Mikkonen (p); Ulf Krokfors (b); Mika Kallio (d)
Recorded 31st July 1999
George Haslam must be one of the unsung and underappreciated musicians in British jazz. Since 1989 he has worked tirelessly promoting his SLAM imprint and in doing so given musician's around the world the opportunity to release their music to a wider audience than would have otherwise been possible, and in the interim it isperhaps easy to forget that Haslam is a formidable player in his own
right.
I first heard George with his quartet 'The Siger Band' that he led in the early eighties, who recorded a couple of
excellent LPs for Tony Williams' Spotlite label which are have sadly not reappeared on CD. Since then Haslam has performed throughout the world with musicians of all persuasions looking for that all elusive 'musical connection',
and frequently finding it in the most unusual places.
One such occasion was the Raahen Rantajatsit (Jazz On The Beach) Festival in Finland, and captures the meeting Haslam and Pail Rutherford with the Samuli Mikkonen Trio. The music is finally making an appearance some 14 years after being recorded, but rather than lamenting the fact that is has remained in the vaults for so long, we should be grateful for it appearing at all.
Performed as one continuous improvisation, '53 Minutes' is exactly that, although the CD is cleverly broken down with 15 separate markers that Haslam has inserted at certain points in the performance where the music changes, although as the saxophonist says in his liner notes the music benefits from, and indeed only makes sense when listened to as a whole.
The performance is impressive, and listened to carefully depicts quite graphically the events on stage that night when five musicians meet and play together for the first time. From the opening segment where the trio introduce themselves, to the point where the guests enter the conversation and pleasantries are exchanged. As the improvisation progresses it is heard how everyone starts to feel more comfortable and relaxed and the music moves up a gear. Mikkonen's Trio if rooted in more straight ahead playing situations react and interact with Rutherford and Haslam with ideas and conversation become more detailed and in depth.
There is much common ground to be discovered, and with trombonist Paul Rutherford perhaps playing in a more abstract manor that his colleagues his knowledge and use of the blues ensure that all have a handle on proceedings, and that is perhaps where George Haslam's baritone is wielded to best effect, acting as a commentator and mediator and helping to keep dialogue flowing with his gruff lines that float between abstraction and a more structured form that prevents dialects from clashing.
By the concluding segment of the disc we have been taken on a musical conversation that embraces cultural and musical differences, bring all together in an extended piece that, like a meeting between old and new friends, has humour, depth and warmth in abundance. Paul Rutherford is greatly missed, and it is great to hear him once again on this excellent release.
Reviewed by Nick Lea
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Paul Rutherford (tb); George Haslam (bs, tarogato); Samuli Mikkonen (p); Ulf Krokfors (b); Mika Kallio (d)
Recorded 31st July 1999
George Haslam must be one of the unsung and underappreciated musicians in British jazz. Since 1989 he has worked tirelessly promoting his SLAM imprint and in doing so given musician's around the world the opportunity to release their music to a wider audience than would have otherwise been possible, and in the interim it isperhaps easy to forget that Haslam is a formidable player in his own
right.
I first heard George with his quartet 'The Siger Band' that he led in the early eighties, who recorded a couple of
excellent LPs for Tony Williams' Spotlite label which are have sadly not reappeared on CD. Since then Haslam has performed throughout the world with musicians of all persuasions looking for that all elusive 'musical connection',
and frequently finding it in the most unusual places.
One such occasion was the Raahen Rantajatsit (Jazz On The Beach) Festival in Finland, and captures the meeting Haslam and Pail Rutherford with the Samuli Mikkonen Trio. The music is finally making an appearance some 14 years after being recorded, but rather than lamenting the fact that is has remained in the vaults for so long, we should be grateful for it appearing at all.
Performed as one continuous improvisation, '53 Minutes' is exactly that, although the CD is cleverly broken down with 15 separate markers that Haslam has inserted at certain points in the performance where the music changes, although as the saxophonist says in his liner notes the music benefits from, and indeed only makes sense when listened to as a whole.
The performance is impressive, and listened to carefully depicts quite graphically the events on stage that night when five musicians meet and play together for the first time. From the opening segment where the trio introduce themselves, to the point where the guests enter the conversation and pleasantries are exchanged. As the improvisation progresses it is heard how everyone starts to feel more comfortable and relaxed and the music moves up a gear. Mikkonen's Trio if rooted in more straight ahead playing situations react and interact with Rutherford and Haslam with ideas and conversation become more detailed and in depth.
There is much common ground to be discovered, and with trombonist Paul Rutherford perhaps playing in a more abstract manor that his colleagues his knowledge and use of the blues ensure that all have a handle on proceedings, and that is perhaps where George Haslam's baritone is wielded to best effect, acting as a commentator and mediator and helping to keep dialogue flowing with his gruff lines that float between abstraction and a more structured form that prevents dialects from clashing.
By the concluding segment of the disc we have been taken on a musical conversation that embraces cultural and musical differences, bring all together in an extended piece that, like a meeting between old and new friends, has humour, depth and warmth in abundance. Paul Rutherford is greatly missed, and it is great to hear him once again on this excellent release.
Reviewed by Nick Lea
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ENRICO FAZIO CRITICAL MASS - Shibui
Leo Records CD LR 678
Luca Campioni (violin); Alberto Mandarini (trumpet, flugelhorn); Gianpiero Malfatto (trombone, euphonium, flute); Adalberto Ferrari (clarinet, bass, contrabass and Turkish clarinets); Francesco Aroni Vigone (soprano and alto saxes); Gianni Virone (tenor and
baritone saxes, lead flute); Enrico Fazio (composer, double bass, balafon); Simone Fazio (voice overdubbing)) Fiorenzo Sordini (drums, percussion); Paolo Rolandi (keyboards on tracks 4, 5, 7, 8)
Recorded during June and September 2012, Studio AglianoTerme,
Italy.
The music of Enrico Fazio is an eclectic mix of such wilful diversity that in the hands of lesser musicians it could easily have turned out to be a stylistic mess. As it is the wayward complexity of his scores is so masterfully realised that the listener who can live with the twists and turns – what Fazio calls “harmonic and melodic side slipping” – will be rewarded with a recital that is bursting with incident that is as dramatic and exciting as it is humorous and thought provoking.
Shibui` is a Japanese word that denotes the blending of textures : sweet and sour, subtle simplicity with complexity etc , to create a new synthesis of taste or aesthetics and in Fazio’s music it finds expression in an amalgam of musical styles and sounds that despite their apparent incongruity merge almost seamlessly into a coherent whole.
His lively musical imagination combines advanced modern jazz with retro swing touches , gypsy jazz, European salon music, prog rock riffs , latin rhythms , New Orleans polyphony, cool jazz homophony as in the canonic title track, Balkan and Turkish Phrygian scales, serialism and a smattering of Mr Bojangles style hoofing in the final cut, “N.O.Tap”. Wow!
As well as this near bewildering variety of musical styles Fazio creates a delicious blending of instrumental sounds, pitting winds and brass against each other in what might appear potentially chaotic and un-harmonious combinations but actually produce a rich harmonic brew that is as satisfying to the ear as Turkish coffee is to the taste buds. Particularly potent in this context is the use of dark liquid sounds generated by the bass and contrabass clarinet and the thundering choruses delivered by Virone’s baritone sax. Exotic instruments such as the marimba like Balafon and the deeply resonant Turkish clarinet also enhance this effect
One might find, in Fazio’s musical concept, some parallels with the musical ideology of Peter Apfelbaum, whose New York Hierogylphics Orchestra pursues a similar post – modernist agenda of mopping up diverse musical influences, but whereas the American likes to incorporate country and western style elements there are no guitars in Fazio’s line-up and therefore few obvious funk & blues clichés. This is European art house music devoid of any deeply held
ethnic commitments but there is nothing prissy or superficial about Fazio’s approach which is both simulating and entertaining and will be a joy to everyone who possesses a lively ear. This one I will play again.
Reviewed by Euan Dixon
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Luca Campioni (violin); Alberto Mandarini (trumpet, flugelhorn); Gianpiero Malfatto (trombone, euphonium, flute); Adalberto Ferrari (clarinet, bass, contrabass and Turkish clarinets); Francesco Aroni Vigone (soprano and alto saxes); Gianni Virone (tenor and
baritone saxes, lead flute); Enrico Fazio (composer, double bass, balafon); Simone Fazio (voice overdubbing)) Fiorenzo Sordini (drums, percussion); Paolo Rolandi (keyboards on tracks 4, 5, 7, 8)
Recorded during June and September 2012, Studio AglianoTerme,
Italy.
The music of Enrico Fazio is an eclectic mix of such wilful diversity that in the hands of lesser musicians it could easily have turned out to be a stylistic mess. As it is the wayward complexity of his scores is so masterfully realised that the listener who can live with the twists and turns – what Fazio calls “harmonic and melodic side slipping” – will be rewarded with a recital that is bursting with incident that is as dramatic and exciting as it is humorous and thought provoking.
Shibui` is a Japanese word that denotes the blending of textures : sweet and sour, subtle simplicity with complexity etc , to create a new synthesis of taste or aesthetics and in Fazio’s music it finds expression in an amalgam of musical styles and sounds that despite their apparent incongruity merge almost seamlessly into a coherent whole.
His lively musical imagination combines advanced modern jazz with retro swing touches , gypsy jazz, European salon music, prog rock riffs , latin rhythms , New Orleans polyphony, cool jazz homophony as in the canonic title track, Balkan and Turkish Phrygian scales, serialism and a smattering of Mr Bojangles style hoofing in the final cut, “N.O.Tap”. Wow!
As well as this near bewildering variety of musical styles Fazio creates a delicious blending of instrumental sounds, pitting winds and brass against each other in what might appear potentially chaotic and un-harmonious combinations but actually produce a rich harmonic brew that is as satisfying to the ear as Turkish coffee is to the taste buds. Particularly potent in this context is the use of dark liquid sounds generated by the bass and contrabass clarinet and the thundering choruses delivered by Virone’s baritone sax. Exotic instruments such as the marimba like Balafon and the deeply resonant Turkish clarinet also enhance this effect
One might find, in Fazio’s musical concept, some parallels with the musical ideology of Peter Apfelbaum, whose New York Hierogylphics Orchestra pursues a similar post – modernist agenda of mopping up diverse musical influences, but whereas the American likes to incorporate country and western style elements there are no guitars in Fazio’s line-up and therefore few obvious funk & blues clichés. This is European art house music devoid of any deeply held
ethnic commitments but there is nothing prissy or superficial about Fazio’s approach which is both simulating and entertaining and will be a joy to everyone who possesses a lively ear. This one I will play again.
Reviewed by Euan Dixon
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IVO PERELMAN/MATTHEW SHIPP - The Art Of The Duet: Volume 1
Leo Records CD LR665
Ivo Perelman (ts); Matthew Shipp (p)
Recorded Brooklyn, NY in September 2012
Another release from Leo Records from the prolific tenorman, Ivo Perelman, to accompany the two quartet albums also with Matthew Shipp at the piano reviewed in July's CD Reviews, and rather than saturate the market or dilute the musical impact this a much welcome release with the promise of more to come from this particular collaboration.
I suppose the clue comes in the title, with the sub-heading Volume 1, and it transpires that this is the first of three CDs featuring the duet
improvisations of the pair, with some forty improvisations being recorded over two sessions a few days apart in September 2012. If the remaining yet to be issued volumes are as good as this one then we will indeed have a pretty comprehensive and completely realised statement that will bear testament to the powers of invention from these two
collaborators.
The accompanying booklet contains a wealth of well considered and informed opinions from the Scottish writer/broadcaster, Brian Morton and the American writer Neil Tesser from ChicagoMusic.org that offers a brief resume on Perelman's career and development and also takes an interesting look at not how the music is produced, but more how the listener can process, organise and make sense of the freely improvised pieces performed. In an informative essay fellow saxophonist, Dave Liebman, delves into the creative process and thus offers a different perspective on the music contained that give an insight into the how Perelman and Shipp create and utilise their instrumental and intuitive skills to produce spontaneously conceived music that stands up to repeated hearings and
scrutiny.
With Perelman's huge tenor sound, and penchant for leading from the front it is testament to Matthew Shipp that the resultant music is genuine duet improvisations and not duels, as Shipp not only matches the saxophonist at every
twist and turn, but has the force and tenacity not to take the lead but lead Perelman down a different path with a deft touch or change of dynamic. It is indeed worth the time and effort to listen closely to the pianist, as if turning down the volume on the saxophone as it were, in order to hear most fully Shipp's contribution. From dense clusters, to single note runs from the right hand the pianist prompts, prods and cajoles. In doing so, he is not merely shadowing or accompanying the saxophone line, but contributing fully in music making that is quite staggering in its off the cuff
invention.
Perelman deploys his usual range of tonal effects, use of the altissimo register that sharply contrasts with the bottom notes of his horn but does so in a way that retains a strong grip on melody as the essential ingredient in the mix.
A true meeting of musical minds and spirits, and I for one look forward with anticipation to the release of volumes 2 and 3.
Reviewed by Nick Lea
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Ivo Perelman (ts); Matthew Shipp (p)
Recorded Brooklyn, NY in September 2012
Another release from Leo Records from the prolific tenorman, Ivo Perelman, to accompany the two quartet albums also with Matthew Shipp at the piano reviewed in July's CD Reviews, and rather than saturate the market or dilute the musical impact this a much welcome release with the promise of more to come from this particular collaboration.
I suppose the clue comes in the title, with the sub-heading Volume 1, and it transpires that this is the first of three CDs featuring the duet
improvisations of the pair, with some forty improvisations being recorded over two sessions a few days apart in September 2012. If the remaining yet to be issued volumes are as good as this one then we will indeed have a pretty comprehensive and completely realised statement that will bear testament to the powers of invention from these two
collaborators.
The accompanying booklet contains a wealth of well considered and informed opinions from the Scottish writer/broadcaster, Brian Morton and the American writer Neil Tesser from ChicagoMusic.org that offers a brief resume on Perelman's career and development and also takes an interesting look at not how the music is produced, but more how the listener can process, organise and make sense of the freely improvised pieces performed. In an informative essay fellow saxophonist, Dave Liebman, delves into the creative process and thus offers a different perspective on the music contained that give an insight into the how Perelman and Shipp create and utilise their instrumental and intuitive skills to produce spontaneously conceived music that stands up to repeated hearings and
scrutiny.
With Perelman's huge tenor sound, and penchant for leading from the front it is testament to Matthew Shipp that the resultant music is genuine duet improvisations and not duels, as Shipp not only matches the saxophonist at every
twist and turn, but has the force and tenacity not to take the lead but lead Perelman down a different path with a deft touch or change of dynamic. It is indeed worth the time and effort to listen closely to the pianist, as if turning down the volume on the saxophone as it were, in order to hear most fully Shipp's contribution. From dense clusters, to single note runs from the right hand the pianist prompts, prods and cajoles. In doing so, he is not merely shadowing or accompanying the saxophone line, but contributing fully in music making that is quite staggering in its off the cuff
invention.
Perelman deploys his usual range of tonal effects, use of the altissimo register that sharply contrasts with the bottom notes of his horn but does so in a way that retains a strong grip on melody as the essential ingredient in the mix.
A true meeting of musical minds and spirits, and I for one look forward with anticipation to the release of volumes 2 and 3.
Reviewed by Nick Lea
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TERJE RYPDAL - Melodic Warrior
ECM 372 9504
Terje Rypdal (electric guitar); The Hiliard Ensemble: David James (countertenor); Rogers Covey-Crump (tenor); Steven Harold (tenor); Gordon Jones (baritone); Bruckner Orchestra Linz conducted by Dennis Russell Davies; Wroclaw Philharmonic Orchestra conducted by Sebastian Perlowski
Recorded December 2003 & November 2009
This latest offering from Terje Rypdal could just have have easily found itself released under the label's New Series imprint as the music contained leans far more to classical music although as one would expect from the guitarist there is scope for improvisation. Recorded in 2003 and 2009, the album consist of two through composed compositions; the forty five minute 'Melodic Warrior' that was commissioned by the Hilliard Ensemble and the shorter four part 'And The Sky Was Coloured With Waterfalls And Angels'.
Rypdal is no stranger to writing long form composition having composed for orchestras and other ensembles as far back as the late sixties, and prior to his emergence as jazz guitarist with studies and appearances with George Russell and Jan Garbarek. Studying composition formerly with Finn Mortensen, Rypdal premiered his large scale piece 'Eternal Circulation' with the Oslo Philharmonic and the Jan Garbarek Group.
Since then he has combined his interest in jazz and improvisational music along with his aspirations as a composer of more formal work, and perhaps none more successfully than with the Hilliards commission, 'Melodic Warrior'. Drawing
their texts from Native American poetry, Rypdal weaves complex lines on electric guitar reacting and blending his sound with not just the Brucjner Orchestra but also the voices of the four members of the Hilliards. The opening four movements introduce elements and moods in the music that develop into what becomes the heart of the composition. Rypdal's guitar cries and soars above the orchestra on 'The Music Reaches To The Sky', making way for the four male voices in the deeply satisfying 'But Then Again' with gentle scoring of the orchestra supporting. 'A Prayer' moves with a serenity that is hautingly beautiful with orchestra, guitar and voices working as one.
'And The Sky...' is a completely different work. Much darker in tone and making full use the of textural and timbral colours available to him Rypdal takes us on a journey through the 'Waterfalls'. Not afraid to use dissonance to sour and discolour the purity of the water, he will splash showers of notes from the guitar or sustained lines that glimmer, varying light and shade of the orchestration.In addition the composer is also able to make use of contrasting
sound of brass, woodwind and strings that add to the overall texture of the music, and provide much timbral interest in the quieter sections.
How you wish to catagorise this music is perhaps best left to the individual listener, but another satisfying cross genre release that is worthy of our consideration.
Reviewed by Nick Lea
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Terje Rypdal (electric guitar); The Hiliard Ensemble: David James (countertenor); Rogers Covey-Crump (tenor); Steven Harold (tenor); Gordon Jones (baritone); Bruckner Orchestra Linz conducted by Dennis Russell Davies; Wroclaw Philharmonic Orchestra conducted by Sebastian Perlowski
Recorded December 2003 & November 2009
This latest offering from Terje Rypdal could just have have easily found itself released under the label's New Series imprint as the music contained leans far more to classical music although as one would expect from the guitarist there is scope for improvisation. Recorded in 2003 and 2009, the album consist of two through composed compositions; the forty five minute 'Melodic Warrior' that was commissioned by the Hilliard Ensemble and the shorter four part 'And The Sky Was Coloured With Waterfalls And Angels'.
Rypdal is no stranger to writing long form composition having composed for orchestras and other ensembles as far back as the late sixties, and prior to his emergence as jazz guitarist with studies and appearances with George Russell and Jan Garbarek. Studying composition formerly with Finn Mortensen, Rypdal premiered his large scale piece 'Eternal Circulation' with the Oslo Philharmonic and the Jan Garbarek Group.
Since then he has combined his interest in jazz and improvisational music along with his aspirations as a composer of more formal work, and perhaps none more successfully than with the Hilliards commission, 'Melodic Warrior'. Drawing
their texts from Native American poetry, Rypdal weaves complex lines on electric guitar reacting and blending his sound with not just the Brucjner Orchestra but also the voices of the four members of the Hilliards. The opening four movements introduce elements and moods in the music that develop into what becomes the heart of the composition. Rypdal's guitar cries and soars above the orchestra on 'The Music Reaches To The Sky', making way for the four male voices in the deeply satisfying 'But Then Again' with gentle scoring of the orchestra supporting. 'A Prayer' moves with a serenity that is hautingly beautiful with orchestra, guitar and voices working as one.
'And The Sky...' is a completely different work. Much darker in tone and making full use the of textural and timbral colours available to him Rypdal takes us on a journey through the 'Waterfalls'. Not afraid to use dissonance to sour and discolour the purity of the water, he will splash showers of notes from the guitar or sustained lines that glimmer, varying light and shade of the orchestration.In addition the composer is also able to make use of contrasting
sound of brass, woodwind and strings that add to the overall texture of the music, and provide much timbral interest in the quieter sections.
How you wish to catagorise this music is perhaps best left to the individual listener, but another satisfying cross genre release that is worthy of our consideration.
Reviewed by Nick Lea
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WARREN WOLF - Wolfgang
Mack Avenue MAC 1077
This is a pleasurable and exciting record. It shows convincingly that there is life in the mainstream of jazz. Just ignore the order of the CD and go to ‘Frankie and Johnny’ and taste the musicality and zest of the solos. There is real swing here largely generated by bassist Christian McBride who has mentored Wolf for the last six years.
On the CD are two different three-man rhythm sections: (pianist Benny Green, bassist Christian McBride, drummer Lewis Nash; and pianist Aaron Goldberg, bassist Kris Funn, drummer Billy Williams Jr.)
Move on to the turmoil of ‘Grand Central’ and the momentum of that rail terminus generated by Billy Williams. Wolf is close to the Milt Jackson school of vibe playing and he likes to improvise with a purpose, directness and rhythmic panache. This is probably the most exciting track on the album.
‘Wolfgang’ is a two part invention with pianist Aaron Diehl. This is almost homage to the partnership of Jackson and John Lewis of the MJQ.
The CD has been arranged and programmed as an album to illustrate the range of the Warren Wolf as well as to give variety to the listener. Wolf can compose. Indeed, there are pretty tunes: the arco bass of McBride introduces the appealing 'Arrogance'.
‘Lake Nerraw Flow’ moves at a brisk pace driven by Williams, Kris Funn and Aaron Godberg. Wolf threads his thoughts around theirs.
Not all the tracks are successful. The vocal on Setembro by Darryl Tookes is mawkish. The marimba and piano duet on ‘Le Carnaval de Venise’ sounds like a party piece or one that could be played as an encore when the musicians are exhausted.
All in all, Warren Wolf uses the album as a shop window to show what he can do. On this evidence he can do a great deal to revivify the mainstream of jazz.
Reviewed by Jack Kenny
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This is a pleasurable and exciting record. It shows convincingly that there is life in the mainstream of jazz. Just ignore the order of the CD and go to ‘Frankie and Johnny’ and taste the musicality and zest of the solos. There is real swing here largely generated by bassist Christian McBride who has mentored Wolf for the last six years.
On the CD are two different three-man rhythm sections: (pianist Benny Green, bassist Christian McBride, drummer Lewis Nash; and pianist Aaron Goldberg, bassist Kris Funn, drummer Billy Williams Jr.)
Move on to the turmoil of ‘Grand Central’ and the momentum of that rail terminus generated by Billy Williams. Wolf is close to the Milt Jackson school of vibe playing and he likes to improvise with a purpose, directness and rhythmic panache. This is probably the most exciting track on the album.
‘Wolfgang’ is a two part invention with pianist Aaron Diehl. This is almost homage to the partnership of Jackson and John Lewis of the MJQ.
The CD has been arranged and programmed as an album to illustrate the range of the Warren Wolf as well as to give variety to the listener. Wolf can compose. Indeed, there are pretty tunes: the arco bass of McBride introduces the appealing 'Arrogance'.
‘Lake Nerraw Flow’ moves at a brisk pace driven by Williams, Kris Funn and Aaron Godberg. Wolf threads his thoughts around theirs.
Not all the tracks are successful. The vocal on Setembro by Darryl Tookes is mawkish. The marimba and piano duet on ‘Le Carnaval de Venise’ sounds like a party piece or one that could be played as an encore when the musicians are exhausted.
All in all, Warren Wolf uses the album as a shop window to show what he can do. On this evidence he can do a great deal to revivify the mainstream of jazz.
Reviewed by Jack Kenny
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