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There is a timeless quality about the compositions which I rather like. Mainly Baptiste plays tenor with a smooth, dry tone suited to his quietly intense improvisations. They are full of melodic and rhythmic freshness, and the band, especially Andrew McCormack, provides strong support. For more go here. She has a great sound, perfect timing and the ability to add just the right nuances and decoration without ever getting frilly or self-indulgent.
She is obviously a firm believer that the song is the thing and a singer does her job well if she draws attention to that rather than to herself. Gone are the banks of keys, gone is the huge drum kit — here we have Chick Corea at the grand piano, Stanley Clarke at the double bass and Lenny White behind a small jazz drum kit. Disc two is rehearsal sessions with guests. They tunes we are used to hearing sung, and there is a happy logic to this, because if any guitarist can almost vocalise his instrument it is Scofield.
Goldings is an especial credit to the whole for his ability on both keyboard instruments. The most crucial participant here is Calvert, who provides some deeply dubby bass lines but also envelops the whole thing in a large and dark, echoey soundscape. While that album risked falling into that debut album showcase syndrome, this time around Lage eschews the celebrity guests to thoroughly explore the talents of his own touring band. He also brings his wide range of influences — jazz, Americana, bluegrass — into a much more cohesive whole.
And his music now really does sound thoroughly personal and original, with an appeal that should extend beyond the jazz field. Here he works with Romanian acoustic guitarist Zsolt Bende and Irish bodhran player Cormac Byrne, and the results are truly lovely, taking inspiration from the music and landscape of Scotland, Ireland, Romania and elsewhere.
Imagine the views from all the country cottages of your dreams, translated into music. With the exception of the standard Stranger In Paradise , all the tunes are Blake originals, and the mood, down in that terrific little Greenwich basement with Louis Armstrong looking on imperiously from behind the bandstand, is luxuriously relaxed. It has that slight rough-round-the-edges feel of a genuine Village night and musicians at ease, just having a ball. The next best thing to being there.
The interlinking of all four instruments is fascinating, and even when one of them is soloing, one never feels they are stepping out from the quartet, merely leading the mood for a while. On the nearby island of Corsica an all-male group called A Filetta has been developing an ancient vocal music with both respect for the tradition and a new vitality. Add the bandoneon of Daniele de Bonaventura and the result is a strikingly original disc.
A song cycle that intersperses the sometimes strident, sometimes lush vocal septet with rich and gracious trumpet. And better, therefore. He has a rich, modern guitar sound which can be clean and singing, and often has a tinge of Scofield distortion to add burnish to the gleam.
This would be a fine album without Blake, But, as usual, the Anglo-Canadian tenor man does add the cherries. Together they record a debut album, and Wynton Marsalis writes the sleeve notes. Except that this has actually happened. They really are living the dream. Because while some of the new pretenders can sing OK, none of them can back it up with such sophisticated instrumental prowess.
The band includes legendary Brazilian guitarist Oscar Castro-Neves. Flautist Gareth Lockrane does some tasty stuff and the backline of Michael Janisch on bass and Cuban drummer Ernesto Simpson keeps things cooking. His compositions are strong with not necessarily just one good tune apiece. While Smith will never really escape the electric Miles soundalike tag, he does it so well, and brings that atmosphere so expertly into the 21st century, we end up not really caring too much about the similarities.
This double disc includes dedications to Don Cherry, Toni Morrison and Leroy Jenkins around the central part suite of the title. Binney achieves a mixture of complexity and accessibility through combining tricky rhythmic figures and long-winding harmonic structures with folkloric melodies, highly singable and immediately engaging. The fact that three of the instruments can play solo lines or chords and that all can cover a similar range, means the can act almost like a mini orchestra, and can interweave their lines very closely, defined very much by their individual timbres.
Mostly contemplative and gentle, sometimes ominous and disquieting, yet always strangely, quietly exciting. They quickly give way to the sounds of trumpeter Harrell, tenor saxophonist Wayne Escoffery, pianist Danny Grissett, basist Ugonna Okegwo and drummer Johnathan Blake, as fine an ensemble as you can hear anywhere on Manhattan island, I reckon. The tune burns darkly, especially when Grissett is on Fender Rhodes and Blake and Okegwo are in processional mode behind the horn lines.
This album goes a long way to feeding that appetite. This is the debut of a new quartet, a band she assembled when artist-in-residence for the Molde Jazz Festival in Norway in If the basic instrumentation on paper looks like a singer and a piano trio, the nature of the individual musicians and the scope of the sounds they work with means the musical landscape is far more varied.
Rich and lasting music in which less is more and the depths are as lovely as the surfaces. The horns and voice move together and in overlapping patterns over a sinuous and inviting groove. There is a Yoruba chart of dot patterns on the cover, and Coleman has used these patterns to directly inform the rhythms of the central suite. Here they are reflecting on disparate influences, from Steve Lehman to Monk, and on their own place in British society and in the international music world.
There are some particularly strong compositions by bassist Tom Farmer, and the whole affair is infused with great energy within some pretty demanding structures. The alto, vibes, bass and drums format is distinctive and the playing amazingly integrated and tight — clearly this is a band with focus and a lot of hard work behind it. The programme is brilliant, with two Leonard Cohen songs and a Nick Drake, worked in with the 17th-century stuff. They set off the trio rather than interact with it, and give Downes the chance to write some rich and strangely enigmatic charts against which he, Calum and Maddren can work their magic.
Gorgeous cover art, too. The material is equally split between original tunes by Wasilewski and shrewd choices from a variety of sources. Sometimes they can get quite busy and still there is space in the music. And then they can almost slow to a standstill and still maintain a flow and sense of structure.
Certainly all three star names play their socks off here, and the Cubans are, of course, easily up to matching the chops and musicianship of their visitors. A supergroup is born, methinks. The publicity blurb refers to this band sounding like a rock band playing jazz, as opposed to E.
Certainly the guitar, the song structures and the general feel are rockier, and Ostrom deserves a wide and vast audience for what is very accessible and attractive music. There is quite a lot of fast and funky playing with tricky time signatures abounding, with Neset multi-tracking his saxophone lines and Django Bates often playing two lines at once.
The material is, for the most part, unusual; the techniques Kurt uses are more expansive; the production is bigger and rounder. They were written with one exception — the gorgeous Plain Song — specially for this recording. They are by turns lyrical and energetic, rhapsodic and light-hearted. The richness of a Beethoven string trio, the earthiness of a village band, and the overall impression that what we are listening to is not three musicians but the sound of the world in motion.
The pair have leant increasingly towards classical music in their compositions in recent quartet recordings, and that feel is very much in evidence here on The Bard Lachrymose and La Valse Kendall, with Branford putting his exquisite soprano tone to good use.
On some tracks they are joined by Giacomo Ancillotto on guitar. All the music has that characteristic Rava mood of darker shadows within a generally sun-drenched Mediterranean landscape. It is both chic and at the same time deep with complex emotions. It is for the most part fairly quiet, fairly reflective and the barely-held fury of the Science Friction music is rarely even hinted at. At the same time that extraordinary precision of touch and tone that Taborn has, even when things are moving at quite a lick, is very much in evidence.
It has quite an echo when he needs to exploit it with hard-hit high notes, yet he can soften and smooth it too when he wants to. Each track is a fresh joy. Together the two men have turned their attentions to the Latin rhythms and traditions from Cuba, Puerto Rica, Colombia, Venezuala and Mexico that have found their way into the sound of New York.
I think this one ranks with the best both musicians have made separately. A good hour and a half here of solo piano playing which never becomes samey or self-indulgent, which continues to surprise, delight, excite and comfort in turn. Possibly the greatest melodist of our jazz age at a time when it sometimes feels like melodies are gems in short supply. To hear the band in full cry — saxophone quartet punching out staccato stabs, violins and flute adding a counter riff, horns sustaining a strange chord, drums and percussion rumbling beneath and marimba and Fx babbling constantly — is to see the full troupe piled pyramid-high and wide on the creaking but sturdy frame of a recycled bike making its way across a high wire.
Pohjola describes the pieces as short stories, and they have all that narrative and atmosphere. I suppose I should have been ready for the experience, due to the presence of Mark Turner on tenor saxophone on some of the tracks and Marcus Gilmore on drums. The tunes and performances conjure up images — a lovely virtual soundtrack to some unmakeable film.
And hugely rewarding. So, a whole week of recordings to choose from, and in the end, what he chose, and what we have here is the final set from the final night, from first note to last. Why is that? I think it has something to do not only with the individual musicianship — which is exemplary not only from a technical point of view but is also full of an often impossible to explain depth — but it has to do with the equally impossible to explain energy that is created communally by these four musicians.
And, damn! One For J. This sea-themed second release on the Blue Note label is probably the most cohesive of his recordings to date. He plays mostly double bass and sings quite a bit, but the music melds and merges jazz and world music styles in a more successful manner than he has ever achieved before. The decision to make the writing unashamedly unjazzy and then to take a jazzy approach to playing it, might give it the Marmite factor, but to my ears it sounds just delicious.
There is also, for me, a particular joy in hearing Mike Walker finally getting some of the attention and acclaim he so thoroughly deserves. What is remarkable about this concert — and you hear every note Jarrett plays — is its happy exuberance and clear contentment — not always a defining factor of Jarrett in his solo, most emotionally revealing, mode. The breathiness, the apparently slurred articulation interesting because in fact the words are always clear despite the way she has of swallowing consonants , the incredibly controlled delivery, the calmness and almost slowing of time, the spaciousness of the arrangements — all these could come across as slightly too arty, too contrived and too self-conscious.
The original compositions mark a real step forward on this disc. Lee sets the tone from the start with his improvised intro to Lover Man accompanied first just by Motian, with Mehldau and Haden joining in shortly thereafter. The way he mixes improvisation in around even the initially stated theme, and then continues to circle the tune like a prowling but very patient lion is just fascinating. The man still has so much to say to us, and more wisdom to share with every passing gig in every passing year.
The band leans towards a slightly spooky atmosphere, too. Would suit the Swedish police TV series Wallander. Matthews lays down a strong rock groove, Morton has a Maceo Parker sound and feel, while Ilett is suitably greasy playing lead or rhythm.
But the real powerhouse is Moore, who just steams on the mighty Hammond and never lets up. The band is strong and led by Rory Simmons. He has also written all the music. His classical technique is married to a more soulful jazz ballad mood at times. Silverwater is one piece lasting 67 minutes and 15 seconds, and is what fans of the Australian trio might expect — and then some. The slow development is there, the repeating, interlocking figures, the piano, bass and drums instrumentation, but this studio album — named after an industrial suburb of Sydney, also known for the prison there — has a wider ranging set of moods and the instrumentation includes resonant organ, electric guitar and percussion including gongs.
His treatment of the Watson classic, Love Remains , is rhapsodic and expansive. Timeless piano trio music. On the opener, Antifona Libera , Battaglia plays slow, fairly simple falling phrases, each following a similar pattern, while Rabbia scrapes notes from his cymbals and manipulates them into electronic swoops upwards and out of sonic reach. The effect is of snow falling from the sky while fireworks shoot into it simultaneously. I am not sure Billy Strayhorn would fully approve of the countless versions of Lush Life down the years, but I think he would nod and smile quietly at this one.
There are quite a few solo saxophone sections, but these are mainly group performances with Liam Noble on piano, Milo Fell on drums and either Patrick Bettison on electric or Oli Hayhurst on acoustic bass. This really feels like the work of a band and a composer in harmony, not just a group of individuals showing off their talents.
They know when to be flashy but they also know when to keep it simple. Consistent, but constantly developing and becoming more finely interwoven. And is there a saxophonist working in the UK today, or a band in fact, that is able quite to work up this kind of intensity?
He combines a broad and muted, overtone laden trumpet tone that not only echoes Miles but nods towards the Norwegians like Arve Henriksen too, while, on this opener, using it in a blistering, attacking fashion. Lots to delight heart and mind. Ana Moura has made a number of albums over the last six years and is growing with every release. She has a rich, passionate voice which she keeps more contained than Mariza, eschewing the operatic finales in favour of a more held-in intensity.
Elsewhere track 4, Duel , for example the writing feels almost mathematical, overlaid with a gorgeous trumpet solo that has a lot more emotion than the stricter groove would have first suggested. Try Berlin , a new song from Cantuaria on which he plays acoustic guitar, adds percussion and a great, Arto Lindsay-influenced he produces here electric guitar processed note that stays flickering behind at all times. Oh, and Brad Mehldau plays lovely piano on it. Angelique Kidjo, Esperanza Spalding and Richard Bona prove sympathetic fellow travellers, the latter two on bass as well as vocals.
Griot , with his regular trio, is a fine track to start with, the timing shifting constantly behind multi-tracked vocals, before the groove is well and truly established for a blissful guitar solo. A very special recording by a very special jazz musician. Mahanthappa brings a raga sense of busyness achieving serenity, while Lehman has a drier sound and style that often reminds me of Henry Threadgill, both in tone and harmonically.
Whenever I hear this music I imagine how exciting Charlie Parker would have found it. The first thing that strikes the listener is the great contrast between the rumbunctious, note-piling hot Escoffery and the more measured, minimalist, lyrical and cool Harrell. They play up the contrast beautifully on the swift and straightforward Let The Children Play. A tremendous album from a bunch of thorough musicians with a brilliant leader.
But while the act of remembering might have a naturally reflective nature and a sometimes wistful air, there are also the things remembered which may be exuberant, which may be joyful. And so the gorgeous music that fills this disc is by no means dour or tragic. What it does have is a great multi-layered feel to it, just as remembrance is a multi-layered feeling and process. Radio , the opening track, starts quietly and gently, but very quickly Dahl is turning the flame up, and Brunborg continues to fan it, while Eilertsen and Louhivuori stir it up beneath, so that by the time we are over six minutes in, the tune is a very different beast, before returning to the theme in a more fulsome manner than at the start.
He sees this, he says in the liner notes, as his own Love Supreme. It sounds very different from that masterpiece, of course. This Flamenco musician started singing at the age of ten and is now notching up 35 years as a professional, in the interim gaining accolades and awards by the bucketload.
But this might just be her finest hour. She has taken the highly personal poems by Manual Alcantara, from Malaga, and brought out their exquisite beauty, earthy reality and heightened passions in song. The settings for guitars, violin, bass and percussion, are similarly meticulous and just plain lovely.
And the singing is as compelling as any you will hear. It is followed by one of my real favourites — Skip James. All of which Kit does full justice to here. Their blend of horns, percussion and electronics has never sounded quite so lovely. This disc really does echo its title: gentle, barely rippling expanses of electronic wash, detailed with dancing flecks of light and, on closer inspection, filled with busy insect-like life.
A recording to keep you nourished for years to come. Some intriguing electronics add another layer to Feedback PT. There are some fabulous bass solos — try Winter Sun for one — but what is striking about this album is how little grandstanding there is — the music, the arrangements, the overall feel and sound is what Spalding is interested in; she got over the need to show off while still in her teens, I suspect. The absence of trumpet gives the band a particularly lush timbre, and all the players are quite old-fashioned in tone and style, despite their youth.
There may not be anything particularly new here — it is, rather, a fine-tuning, a re-honing of some of the brilliant things Ibrahim has already done. He worked closely with Zawinul to conceive these arrangements and Joe and his regular band play at the centre of the ensemble. There are two different bands on this double disc. The Golden Quintet roams wide and free, managing to be pretty busy players yet still leave a nice amount of space in the music.
The tightly wound, urgent pulses and interlocking riffs are still there but now they relax and open out for periods, before tightening again. This gives saxophonist Sha more room to move, and the contrasts of main theme and interlude also serve to heighten the delight in both tension and release.
With this more wide-ranging album, Ronin should build an even more diverse audience. There are some freer tracks, like Bump and Scream — two brief group improvs — but most of the time things are pretty ordered. His protagonists have moved from the dole office to the debt-collection call centre — the new slavery. After the jumps between drama and music in the first half, the disc settles latterly into a series of strong group instrumentals interleaved with Soweto raps.
Listen to the opener, Love Sick, and you hear how complete a sound these three instruments make, Kang and Frisell sharing the melody and harmony while Royston creates a brushed cushion. The whole album is an extraordinary example of three-way empathy, ending up sounding like one three-headed vision.
And simply gorgeous music, of course. Some classic old tunes like the title track, and new orginals, too. There are familiar names here: Nate Smith is on drums, Steve Nelson is on vibes and marimba, Robin Eubanks is on trombone and Chris Potter is on tenor and soprano saxophones. The new additions are Alex Sasha Sipiagin on trumpet and flugelhorn, Antonio Hart on alto saxophone and flute, and Gary Smulyan on baritone saxophone.
Stories Yet To Tell is another triumph, the formula repeated, the style very much the same, but some more live performing and further sessions in the studio have built in even more empathy, allowing the trio more freedom and scope for individual intuition in what was already a remarkable intuitive band. Ivo Neame is well-known both as a saxophonist and pianist, but here he restricts himself to the keyboard and brings a mixture of strong harmony and a real searching spirit to his playing. And then there is brilliant drumming of Mark Guiliana.
All the instruments are very much integrated in this music, all play live and the instrumentation changes practically with each track, so giving a lovely rise and fall, swell and contraction. A wide screen movie for the imagination. Another challenging, absorbing and rewarding Vijay Iyer recording takes its very secure place in my permanent collection — his is turning into a pretty substantial body of work and one which I know will bring me fresh insights and continuing pleasures for years to come.
Just try the old spiritual, Go Down Moses , for an example. This is a masterclass in the art of saying so much without showing off, without shouting, with just sharing the love… For more go here. What is remarkable is how much is achieved in such an apparently unadventurous way.
Both musicians have come to that point in their art, it seems, where they have realised the beauty of simplicity and straightforwardness. He does this trick continually throughout this piano trio CD, moving back and forward in and out of bebop, and he does it brilliantly. Bates and his Danish friends, Petter Eldh on double bass and Peter Bruun on drums, have made not only a spectacularly fine piano trio record but also the most interesting, articulate and exciting Bird album since… well, since Bird.
Guitarist Liberty Ellman slots in perfectly to the Threadgill sound and style, Jose Davila adds trombone and the characteristic tuba bass lines, leaving bass guitarist Stomu Takeishi to play the role of colourist while drummer Elliot Humberto Kavee keeps the rhythms sinuously funky.
Five substantial originals, all carrying a coherent mood and drenched in that deeply strange and deeply beguiling kind of Threadgill beauty. Rather than feeling unjustly deprived of sleep, I found myself revelling in the joy of being awake. As with that album, I have the feeling my initial listen to Jasmine is the start of a long and beautiful friendship. Both saxophonist and pianist are slower, more contemplative than we are used to from their own albums, and both explore new musical territory in a hugely satisfying way.
The Village Vanguard atmosphere adds that final patina to make this a truly great masterpiece. The finest Motian album, the finest Potter album and the finest Moran album I think I have ever heard. And what a wonderful choice Hobson has here. I urge you, buy multiple copies and send them to all those you love… The link is here.
Smith is pushy when he needs to be but is always very musical with it. Narrada is a place on Bodmin moor where Hart grew up, and this more elemental, lyrical music begins to leaven my initial wariness that this might just be clever-clogs music.
And where so many jazz singers have failed singing Burt, Traincha succeeds. In his spare time he recorded the recent solo project Inner Voices , but this live recording shows the rewards of the day job — his own compositions played live by the Frankfurt Radio Big Band, with guest soloist Gwilym Simcock on piano and, of course, the man himself on tenor and soprano saxophones. Momenta is another highly worthwhile addition to the Arguelles catalogue, and a reminder that the scope and depth of his contribution to 21st century jazz continues to grow.
He has been wearing his heart more openly on his sleeve for the past few releases on the German ACT label, and this could just about be his loveliest yet. The textures he gives us on the opening track, Pegasus, include breathy Norwegian trumpet from Mathias Eick, graceful acoustic guitar from John Parricelli, and the double bass and bowed cello of the boss. The band is completed by Leszek Mozdzer on piano, celesta and harpsichord, and Eric Harland on drums and percussion.
A fine way to approach jazz, which is filled with such moments. There is no showing off I can discern here — it feels like four young men intend on the selfless exploration of what is special in the moment, and how best they can share it with the listening world. There are quite a few of the young British post-jazz bands that do the loud thrashy, free thing very well but seem incapable of leavening it with something slower, quieter and contrasting.
Get The Blessing can do big and brash but they can also do small and subtle. To be able to approach the vocal near-perfection of the great Ms Fitzgerald is an achievement in itself. But this is certainly not to suggest that Gill Manly is an imitator for nothing could be further from the truth. This is tricksy modern jazz that suggests some Steve Coleman influence in the way the lines are constructed.
A wide variety of mood, the songs are all very strong, the playing is great and the band wonderfully cohesive. And Partisans seem to me to embody many of them. It is this ability to blend these folk and jazz traditions that marks Steele out as an important composer and this as an album of importance. They both contribute as does young and very talented piano star Taylor Eigsti, and then there are a bunch of hugely talented kids Lage was at Berklee with.
The music adds jazz and a hyphen to classical, bluegrass, folk, etc, and although Lage often takes the spotlight with seemingly effortless displays of virtuosity, he is not just a grandstander and does give a lot of attention to textures within the arrangements, leaving space for others to shine too. The band may swell and contract in size, the personnel may change from track to track, but the strong character of the leader makes it all hang together.
Track two, Within Me , is an ideal introduction, Parlato singing in a just-above-a-whisper, bossa-tinged tone against a skittish snare pattern and lovely cushioning piano chords. She is particularly adept at the odd timings and nuanced harmonic changes found in this very cool, very contemporary jazz. The quintet brings together established names — Carl Allen on drums, Eric Scott Reed on piano, Steve Wilson on saxophone — and their playing is as impeccable as one would expect.
He is vibes-player Warren Wolf Jr. Mr Elling pops in for three. It features his long-time trio of David Finck on bass and Joey Baron on drums, plus Lovano in absolutely stunning form. Kuhn is a rich and multi-layered player — a far cry in style from the pianist who would come to be most strongly associated with Coltrane, McCoy Tyner — but one who gets to new places in the music via a very different route.
In fact, that can be said of the whole album. Martin has found a way of making jazz singing a modern art when so much of the time it has retreated into an exercise in nostalgia. It is fascinating how the sounds all feel part of the same world, whether acoustically or electronically generated. And an expansive world it is, throwing up wide landscapes of sound. But it is also highly detailed and multi-layered, leading the listener to lean in and become absorbed in the micro sounds as well as the macro one.
Or rather, she places the head in service to the heart. Drummer Anthony Pinciotti is a new name to me, but he is equally classy. And then on track three, Jadwa , it adds a more contemporary groove to that ancient feel. So, Andalusian music, early Baroque and jazz all come together, united by their flexibility and ability to incorporate improvisation. Eclipse is, if anything, even more assured. One of the young shining stars of world music.
This is music of acute intellectual rigour but also of deep spirit. All four are searching, intellectual musicians, but they are not just about serious exploration — they also have a damn fine time. In duos and in an all-star quintet with Kenny Garrett on saxophone, Christian McBride on bass and Vinnie Colaiuta on drums, they turn in superhuman performances. Listen to the final track, Someday My Prince Will Come, and forget a mere prince; this time there are kings, two of them, bringing instrumental grace to the world.
His spoken introduction shows his humour and perfect timing, and those too are here in spades in the nine tunes he then plays. Along with, of course, an encyclopaedic knowledge of the history of jazz piano and a prodigious technique. More than anything it is the generosity of the great man that shines through. In addition to Oren Marshall on tuba, we have pianist Myra Melford and drummer Jim Black joining the trumpeter and woodwind-player.
But tomorrow it might be Song For The Garlic Seller with its looped trumpet blanket intro against which Buckley plays some great whistle. This feels very much like four-dimensional music, having great space and depth as well as forward propulsion. It attains an almost mystical or magical quality — one that is difficult to describe because, like his melodies and moods, it feels always just out of reach. But of course, you would be wrong, or at least wrong a lot of the time.
Right from the start there is more going on. DeJohnette plays the lovely Tango African melody on Melodica in harmony with the bass and elsewhere uses electronic drums, Perez plays keyboards as well as piano, Patitucci plays electric as well as acoustic bass, and sometimes plays up in the guitar range in the former instrument and with bowing in cello range on the latter. In the crowded place where young Englishmen mix free jazz and heavy rock, trio VD are more focused, more original and more skilled.
Yes, we have heard Indo-jazz synthesis before, from Mahavishu and Shakti and so on, but this really is very fresh and very exciting. The playing is jaw-droppingly good, especially when they are really firing on Vandanaa Trayee and on IIT. Having said that, there is not a dud track on this disc. My favourite track is A Dance Took Place , in which Downes keeps reducing me to slack-jawed wonderment — his sound on the piano is so strong and personal, his touch both definite and graceful, the shifting dynamics of the piece continually surprising.
He brings all those influences to bear here upon the music and inspiration of the Brazilian bandleader, composer and all-round extraordinary human being Hermeto Pascoal. Peter Herbert is on bass and Martin France on drums. Concord Some of the tunes come from way back when they were together before, some are new — all are just great. Metheny explains in the notes that vibes and guitar make for a really rich set of possibilities — both are able to play single notes or chords, and their timbres can blend or contrast as needed.
And, while drums may be drums, Sanchez does have a great and wide ranging way with them. Drummer Manu Katche is clearly a key driver of the new sound the group has, and the funkier sound of the electric bass Yuri Daniel is vital, too. But Rainer Bruninghaus is not to be ignored and turns in some of the most dramatic playing of the evening.
Garbarek is on fire on soprano on the opener and just as impassioned on tenor. He is also a great spotter of young talent — this time its up-and-coming pianist Alexi Tuomarila, Jakob Bro on guitar, Andres Christensen on electric bass and Olavi Louivuori on drums two Finns book-ending two Danes. Stanko himself is on blinding form, so controlled so much of the time, then occasionally unleashing one of those blistering, choked screams… More.
There is evidence of great labours, sometimes a struggle, to achieve what we hear which transforms both jazz itself and maybe us, the listeners, along the way. And there is a great flow to the music — a stream, sometimes near a deluge, of both compositional and improvisational ideas. Fans of the younger New York musicians like Vijay Iyer and Stephan Crump as well as longtime travaillers working to find a new musical language like Henry Threadgill will be familiar with this kind of sound.
We might be forgiven had we wearied of the latter, but these reworkings are so fresh and so fascinating that our interest is reinvigorated. With Double Booked Glasper brings his two distinct musical personalities into a thoroughly coherent and exceptionally enjoyable whole. This album is a double CD, the first consisting of the pianist solo and in a duo with cellist Cara Berridge, the second a piano trio set with Yuri Goloubev on double bass and James Maddren on drums.
But, make that saxophone the smaller, straight soprano, and Marsalis changes shape to become an angel, soaring effortlessly and ecstatically over the piano of composer Joey Calderazzo on the exquisitely titled, and exquisitely lyrical The Blossom Of Parting.
Eric Revis is on bass. More complex than ever, sure, but filled with new possibilities, new conundrums, fresh ways of hearing. Apparently all this music was written by Murray for a documentary film called Banished about all the black families expelled from their homes between the Civil War and the Great Depression.
Somehow, four musicians on a Berlin stage in evoke the trauma, sorrow and anger of all this in the most compelling and profound way, and somehow turn it into a celebration of life nevertheless. Elling is surely the most intelligent vocalist on the planet today. Those quiet high notes he hits in Dedicated To You ; the breathy, bending phrasing, the ability to suggest a whole very interesting chord in a single note by somehow finding just the right overtones; the grittiness in his voice on Nancy which is as close as a singer comes to the saxophone.
Sonny is Sunny in an elemental way — a bringer of light and energy to the world — life-giving, vital, a source. This disc is of live tunes between and and while it might be to being there as a picture of the sun is to the sun itself, it is nevertheless one of the most evocative pictures of the sun you will ever hear, if you catch my drift.
There are a number of solo codas here, including on Easy Living and on More Than You Know , and they are masterpieces of saxophone playing, of jazz and of personal expression. He reveals in the extraordinarily frank liner notes that he came very close to a nervous breakdown in the days before the London gig.
That what he chose to cling to was a grand piano on a concert hall stage is possibly what brought him back from that edge, but it is certainly what gives us both alarming and, in some ways, comforting insights into the nature of artistic creativity and its ability to both explore the darkest parts of the human psyche while possibly healing them, too. A departure from its signature live-from-the-studio film and audio style, the band spent a week in the middle of a pecan orchard at the remote Sonic Ranch Studios in Tornillo, Texas, just a five minute walk from the Mexican border.
With no cameras, no audience, and the opportunity to overdub, they have crafted an album much darker and moodier than any before it. The typical flash and bombastic moments that Snarky Puppy is known for have been replaced by a more patient, restrained, and sonically creative approach to both composition and performance. The melodies are intricate, the counterpoint is fluid, and groove reigns supreme in mixes that are bass and percussion-heavy.
In February of , Grammy Award-winning band Snarky Puppy recorded Family Dinner Volume Two in front of a live studio audience with guest instrumentalists and vocalists from all over the world. The project is a true testament for showing first-hand how music can be a bridge between diverse cultures from countries from all over the world to create a unifying musical statement for the average listener or the devout music-connoisseur.
Released on May 26 via Impulse! The minute suite was recorded and filmed live with the multi-Grammy-winning Metropole Orkest orchestra from the Netherlands, for whom it was specifically written. It topped 4 separate Billboard and iTunes charts upon release. From the moment Snarky Puppy played its first overseas show to a sold-out London crowd, they felt at home in Europe. Recorded and filmed live with a studio audience over 4 nights in the Netherlands, We Like It Here captures the band at its most explorative point in its career, in both composition and improvisation.
The film also contains over an hour of interviews, behind the scenes tour footage in Europe, and alternate solo takes from the recording sessions. Made by possible by a grant from Chamber Music America, Amkeni fuses traditional central African music with the band's unique take on Bukuru's songs. It marks the first recorded appearance of Grammy Award-winner Shaun Martin on organ and Moog, and a live person studio audience.
Snarky Puppy's third studio album is the first recording of the band after it melded with the Dallas music community. It was recorded as most of the band was leaving college at the University of North Texas in Here's where it all started! Made all the way back in and released in '06, The Only Constant is a snapshot of the band in its infancy as students at the University of North Texas.
It features 5 very, very different tracks by Michael League and has a more open and acoustic sound than any other of Snarky Puppy's albums. Empire Central September 30, Snarky Puppy, the genre-defying super-band, is a lot like Dallas, city of its birth.
Preorder Now. Live at the Royal Albert Hall March 13, In , Snarky Puppy booked their first European tour through Facebook posts, begging people to help find a bar they could play in. Available Now. Immigrance March 15, Immigrance , the new Snarky Puppy studio album, is all about movement. Buy CD Buy Digital. Culcha Vulcha Fresh off of the heels of its tenth album, Family Dinner - Volume Two, the band is returning to its roots as an instrumental ensemble with a brand new collection of nine original songs.
Family Dinner, Vol.
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Snarky Puppy — Beep Box Snarky Puppy — Kite Snarky Puppy — Tio Macaco Snarky Puppy — Gemini Magda Giannikou — Amour T es La Snarky Puppy — Outlier Knower, Jeff Coffin — I Remember Snarky Puppy — Quarter Master Snarky Puppy — Semente Snarky Puppy — Skate U Snarky Puppy — Grown Folks Snarky Puppy — Intelligent Design Snarky Puppy — While We re Young Snarky Puppy — Whitecap Snarky Puppy — Bent Nails Snarky Puppy — Xavi Snarky Puppy — The Simple Life Snarky Puppy — Like a Light Lucy Woodward — Too Hot to Last Snarky Puppy — Anomynous Bonus Track David Crosby — Somebody Home Snarky Puppy — Fair Play Deep Amour T'es La Something Too Hot To Last Turned Away Shofukan What About Me?
Sleeper Jambone Kite Outlier Tio Macaco Lingus Released 25 February Sintra Flight Atchafalaya The Curtain Gretel The Clearing Released 20 April CD 1: Whitecap O CD 2: Shofukan Released 08 November I Asked Molino Molero Liquid Love Soro Afriki Sing To The Moon Don't You Know I Remember Somebody Home Bonus Track: Be Still Fuego Y Agua Shapons Vindaloo One Hope Brother, I'm Hungry Released 12 February Tarova Semente Gemini Grown Folks Beep Box GO The Simple Life Palermo Big Ugly Jefe Released 29 April Beep Box - Poole, 7th May Tarova - Zurich, 24th May Grown Folks - Eindhoven, 7th June Binky - Lyon, 20th May Palermo - Bogota, 9th December Go - Brussels, 9th May Flood - Manchester, 4th May Outlier - Esch-Sur-Alzette, 10th May
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