Label: Mercury - 538 219-2,PolyGram - 538 219-2 • Series: Millennium • Format: CD Compilation • Country: Brazil • Genre: Jazz • Style: Bossa Nova
Friday, December 28, WorldJazz Top 10 - Friday, December 14, Nancy Wilson - Sunday, December 02, 2 Sem - Part Nine.
Among those talents is one the finest—but under-recognized—jazz pianists of the past half-century. Jennings and Schaefer each contribute a composition and two others are from the very different worlds of The Doors and Modest Mussorgsky. The diversity of inspirations doesn't mar the overall theme.
Eric Schaeter's "Lied ohne Worte No. Really improvise—not knowing what you're going to do. Do it by doing. Track Listing:. In spite of its classical veneer, this is at its core a jazz session, and as such embodies the essential elements one would expect from such an enterprise. To phrase it another way, Cunliffe transports these masters of the classical genre into the twenty-first century, giving their timeless music a new vantage point from which to entice the contemporary listener.
Bach on the light-hearted "Solfeggietto. The first movement of Prokofiev's Piano Concerto No. High marks to Cunliffe and his teammates not only for braving music that is normally outside their comfort zone but doing so with proficiency and panache, all the while making sure it swings in the best big-band tradition. Personnel: Bill Cunliffe: leader, composer, arranger, piano, background vocal 7 ; Wayne Bergeron: trumpet 2, 3 ; John Daversa: trumpet 5 ; Dan Fornero: trumpet 5 ; Jamie Hovorka: trumpet 1, 6, 8 ; Kyle Martinez: trumpet 7 ; Kye Palmer: trumpet; Jon Papenbrook: trumpet 1, ; Terell Stafford: trumpet 2, 3, 5 ; Bob Summers: trumpet; Jeff Driskill: alto, soprano sax, clarinet, flute 5 ; Nathan King: alto, soprano sax, clarinet, flute 7 ; Brian Scanlon: alto, soprano sax, clarinet, flute5, 6, 8 ; Bob Sheppard:; Jeff Ellwood: tenor sax, clarinet, flute; Rob Lockart: tenor sax, clarinet, flute; Tom Peterson: baritone sax, bass clarinet 7 ; Adam Schroeder: baritone sax, bass clarinet5, ; John Chiodini: guitar 7 ; Larry Koonse: guitar5, ; Alex Frank: bass 4, 7 ; Jonathan Richards: bass5, 6, 8 ; Joe La Barbera: drums; Denise Donatelli: vocals 1, 4, 7, 8.
Lady Jane - The Rolling Stones - Big Hits - High Tide And Green Grass, November 24, 2 Sem - Part Eight. Yet his work as a composer may end up being his lasting legacy.
Saunders has amassed a considerable body of work—more than three hundred of his tunes appear in a Real Book-style collection titled New Jazz Standards—and he's been showcasing these compositions by handing them off to notable performers for a series of albums for Summit Records.
The late Sam Most's final date—also dubbed New Jazz Standards Summit Records, —kicked off said project, and trombonist Scott Whitfield took the baton and delivered a second volume of material in Now, top-notch pianist Roger Kellaway is taking his turn with the Saunders songbook.
Fronting Ela É Carioca - Tom Jobim* - Millennium - 20 Músicas Do Século XX first-rate trio with bassist Jay Leonhart and drummer Peter Erskine, Kellaway delivers a set that alternately swings and soothes. There's nothing cautious about this sunny swinger. Then there's "Dees Blues," a number dedicated to lyricist Michael Dees. Erskine, aligned perfectly with Leonhart's buoyantly shuffling bass, sets that train in motion with a Mel Lewis-worthy feel that perfectly supports Kellaway's excursions, which include some Gene Harris-esque tremolos.
The aptly titled "Calming Notion," where Kellaway overdubs a second piano, provides a marked shift in direction, but the laid-back pseudo-bop of "Noodlin" puts the trio back on its cheery track while showcasing Kellaway's remarkable chops and split- handed brilliance. As the program continues, Kellaway and company deliver more of the same along with a few surprises. Leonhart puts his voice and bow to good use in a humorous blues setting on "Is That Asking Too Much," "Valtzing" calmly bounds along in line with the titular dance, and "Sweetness" proves to be the standout ballad on the set.
But Saunders goes one better, tacking on a balladic bonus track recorded by the trio of Kellaway, bassist Buster Williams and drummer Santo Savino at the sessions for his first solo album.
It may or may not have been necessary, but it's most definitely the cherry on top. Whether or not these and other Saunders songs will take their place Little April Shower - Bambi - Various - The Best Of Disney new jazz standards remains to be seen, but they certainly have merit.
And there's plenty more from where these came from: a fourth volume in the series—with guitarist Larry Koonse taking the reins—is already in the works, so we'll be hearing more of Saunders' music in no time. Denny Zeitlin. After three more excellent sets for Columbia, Zeitlin's career shifted into a smaller label mode, resulting in several high quality but under-recognized albums. Additionally, in he seized the opportunity to score the orchestral electro-acoustic avant-garde soundtrack to the classic remake of the science fiction film classic The Invasion of the Body Snatchers.
But it is his association with Sunnyside Records that's been the biggest boost. The disc on the table now is Wishing on the Moon, featuring Zeitlin's long term trio with Buster Williams on bass and Matt Wilson sitting in on drums. This is the third live Sunnyside recording from them.
Opening with a dazzlingly reharmonized Cole Porter's "All of You," the group explores every nuance of the melody, improvises with a fluid grace and throws in surprises in interplay, melody stretching and harmonic ingenuity. The result is a sparkling jewel, stretched out over eleven gorgeous minutes. Zeitlin's setlists mix American Songbook tunes and jazz standards with his own classic tunes that either are or should be standards. Considering the Zeitlin originals, the Bus Dem Shut (Payaka) - The Wailers - Bus Dem Shut (Pyaka) title tune—a slow bossa nova, lushly harmonized—is ten minutes of sweet yearning.
With the set's centerpiece, "Slickrock," Zeitlin and the trio explore the avant-garde side, with paean to one of the pianist's former pastimes, mountain biking. This adventurous, four part, seventeen minute suite captures the essence of the experience, from the Zen calm of "Dawn Gathering" to the bone-jarring momentum of "On the Trail," and the mental and physical discombobulation of "Recovery," followed by a re-gathering of the senses and a re-establishment of a strong, steady rhythm, followed by a re-set of the joy of acceleration with "On the Trail Again.
Stefano Bollani Trio. In addition to Italian pianist Stefano Bollaniand his pair of Danes, Jesper Bodilsen on bass and Morten Lund on drums, we hear Frenchman Ela É Carioca - Tom Jobim* - Millennium - 20 Músicas Do Século XX Peirani on accordion and accordina as well as 14 members Caifás - Stukas - A Pesar De Todo the Berliner Philharmoniker, all playing music Im Riffin / Boogie Nights - Various - Y2K House by Norwegian Geir Lysne.
Were any two musicians more perfectly suited than Rota and Bollani? Six years seems like too long a gap for such a prodigiously talented performer and composer but this extended stewing period sees the Krakow pianist return in absolutely splendid form with Something Personal, his fourth album as a leader. On Complexity in SimplicityKaczmarczyk was bursting with ideas, harnessing a dozen of Poland's brightest young musicians in settings ranging from trio to septet.
Yet paradoxically, in the reduced trio format of Something Personal, the pianist, it appears, has much more to say. The overt flirtations with post-bop, harp-bop and an elegiac tribute to Esbjorn Svensson on his previous album signposted Kaczmarczyk's influences, whereas on the aptly titled Something Personal these idioms are refined and absorbed into something altogether more forward-looking.
Last time out Kaczmarczyk hinted at his interpretive and balladeering nuance on Elton John's "Blue Eyes," but even Brad Mehldau would have to doff his cap to the caressing lyricism and improvisational flare Kaczmarczyk brings to Massive Attack's "Teardrop," deftly accompanied by bassist Maciej Adamczak and drummer Dawid Fortuna. The trio chemistry is pronounced throughout, notably on the spirited title track where the three voices interweave in exhilarating fashion. Virtuosity, however, is never an end in itself, and the sense of balance and space in the trio's dialogue is a big part of the music's charm—the grooving, Vince Guaraldi-esque "Birthday Song" the perfect illustration of less is more.
Adamczak in particular is afforded ample solo time where his measured lyricism shines; his affinity with Kaczmarczyk, in whatever gear, is notable. Fortuna's whispering cymbals and fine brushwork illuminate the gentler passages, while his more animated, inventive rhythms stoke Kaczmarczyk's fire. When in full flow, as on the dramatic "Mr. Blacksmith," Kaczmarczyk combines the rhythmic intensity of Neil Cowley and the thrilling melodic invention of Esbjorn Svensson, yet his modern jazz vocabulary is equally colored by a baroque vein and a pop sensibility that values tunefulness.
A little of all these traits merge in the outstanding "Crazy Love," whose elegant, Beatles-esque melody and Bach underbelly rubs shoulders with Kaczmarczyk's more charged pianism. Adamczak's exquisitely weighted solo—nicely framed at the tune's midpoint—provides a compelling mini-narrative and an album highlight. Something Personal, in turn thrilling and gently hypnotic, makes a persuasive case for Kaczmarczyk's Audiofeeling Trio as one of jazz's most exciting contemporary piano trios.
If Kaczmarczyk gains the wider international recognition his talents merit, then the void left in the wake of the Esbjorn Svensson Trio's demise might not seem quite so big.
Blacksmith; Garana. Sunday, November 18, 2 Sem - Part Seven. By Paul Rauch Seattle based pianist Bill Anschell has created a tremendous body of work over the the past 30 years, as a composer, musical director, and pianist. He returned to Seattle in after 25 years abroad and formed a relationship with Origin Records, releasing more than a dozen Ela É Carioca - Tom Jobim* - Millennium - 20 Músicas Do Século XX both as a leader and co-leader.
Anschell's musical personality can perhaps be best experienced within the confines of Tula's Jazz Club, an intimate jazz spot in Seattle's Belltown neighborhood. The trio has been performing on and off sinceand have achieved an intuitive, almost telepathic musical relationship that produces moments only attained through the one mindedness of the piano trio format.
They perform in the area of 80 standards, never play from a set list, and are subject to the momentary whims of Anschell's inventive curiosity. At long last, the trio has released a definitive collection of standards aptly titled Shifting Standards on the Origin label. This studio recording closely resembles the unabridged collective spirit the trio achieves in a club setting, recording it organically, set up close together without the benefit of isolation booths.
The result is a conversation in spontaneous invention, exquisitely recorded by Reed Ruddy at Avast Studios in Seattle. Anschell chose his mates for the project well, in the persons of Johnson and Lewis. Johnson, one of the most musical of bassists drenched refreshingly Ela É Carioca - Tom Jobim* - Millennium - 20 Músicas Do Século XX the oral tradition, is a true innovator in the art of the trio.
His work with the Hal Galper Trio, both as a bassist and composer has helped revolutionize the piano trio, by using a rubato approach that creates an elasticity to time.
He as well has been a driving force in the trios of transcendent pianists Jessica Williams, and Chano Dominguez. The uber talented Lewis, a fourth generation Seattle musician, is a perfect reactionary participant, gathering the energy tossed about by the unbridled melodicism of Anschell and the absolutely unique and identifiable sound of Johnson.
The music communicates a joy and contentment between Yeah, Yeah, Yeah - Alice Cooper - Killer three that pulls the listener in, seeking the same.
For the opener, the band gets inside Dizzy Gillespie's "A Night in Tunisia," all the while alluding to the Latin feel of the piece, without ever engaging it. The trio revolves around the harmony as Surf Rider - The Ventures - Surfing common center, with Johnson the perfect counterpoint to Anschell's playful treatment of the melody. Johnson never falls prey to the theme's signature bass line as one might hear in standard versions, including the piano trio interpretation from Bud Powell, with Curly Russell's bass line providing a definitive foundation for Powell's meanderings from the original theme.
While Anschell clearly leads the way, his playing is like a musical delta to where the musical waters flow through and beyond into the tidal wash of sound provided by Johnson and Lewis. The compositional variance piece-to-piece on Shifting Standards keeps the listener engaged in classic melodies that can serve as a harmonic anchor in one's conception of the music, all the while creating more and more slack in the creative line before it is once again taut and firmly in place.
Irving Berlin's "Cheek I. Pagodes - W.A. Mozart*, Claude Debussy, Franz Schubert, Bela Bartok*, Ernst Gröschel - Ernst Grös Cheek" is a case D.
C. LaRue* - Ca-The-Drals point. While some of the other tunes on the record may score higher on the hip meter, the trio swings this piece into submission, with Lewis providing a bounce that accentuates this joyful romp. Lewis bears artistic resemblance to the great Roy Haynes here, his playing shifting between artful restraint, and hard swinging liberation.
Leonard Bernstein's "Some Other Time" is certainly one of the most beautiful melodies ever written, so beautiful in fact, that much like Coltrane's "Naima," interpretation can be a delicate matter.
The exquisitely graceful melody and harmony ebbs and flows like the tide, providing brief moments to embellish perfection. Much like pianist Bill Evans on his classic recordings of the Bernstein classic over the course of his career, Anschell soulfully sways back and forth within the harmony to state just enough of the melody in his soloing to create a reharmonization that is stunningly beautiful.
The listener is helplessly submerged in a whirlpool of sentimentality that is insatiable. It feels like a casual, yet deep conversation between friends that have achieved a comfort level in terms of truth, honesty, and loving respect.
Johnson accentuates his passages with an elegant vibrato that is yet another aspect of his musical persona that is distinctive. Anschell's compositional prowess is clearly heard here through his approach to interpretation. He has a unique ability to connect the dots harmonically in such a way that draws a very thin line between the intuitive art of improvisation, and the artful craft of composition.
The stylish Lewis is reactive to his mates, yet shedding light on the musical path before them, a wonderful give and take that has evolved over a decade of bonding with this perfect trio.
Jazz music has Ela É Carioca - Tom Jobim* - Millennium - 20 Músicas Do Século XX in many ways, like classical music in the modern age. It is largely taught in institutions, its standards given treatment much like the symphonic music of the 18th and 19th century masters. This record is more about the oral tradition, a social music without charted territory, a place where musician and listener can go to a peaceful place where human emotion can thrive, reflect, hold something close, and then let it fly away in the autumnal breezes of time.
Guido Manusardi Trio Metamorphosis By AmazonMusic Loose Wig - Randy Weston African Rhythms* - Saga think that the title of this disc is perfectly congenial - Metamorphosis stands for profound transformation in form and structure.