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February 2016
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RAN BLAKE- Chabrol Noir
(Impulse Records) Ran Blake (Piano) Ricky Ford (Tenor) Dominique Eade (vocals) Born in Springfield (MA) in 1935 Ran Blake is a niche artist, but has dedicated followers all over the world. He was a major part of the so called third stream revolution in the late nineteen fifties and has over forty albums to his credit. Although his output has been diverse he is best known for his interpretations of French art house film scores. Ricky Ford first came to prominence in 1974 on the first ever recording of Mercer Ellington's revival of his father's band. Highly influenced by Sonny Rollins and Dexter Gordon he has been a major player on the US scene for many years and best known for his time with Mingus, and later the Mingus Dynasty bands. Dominique Eade , who appears on one track, hails from the New England Conservatory and has a fine contralto voice. This is a highly compelling album is based on the scores used by film director Claude Chabrol. There are seventeen tracks, mostly under three minutes long, over half are in a minimalist solo piano mode where time and space are used to the full to produce an absorbing and thought provoking listening experience. Ricky Ford provides the perfect match for the piano with his strong tenor style adding emphasis and atmosphere on six of the themes. There is an extended duo performance on "Love Lament" which along with the introduction of vocalist Dominique Eade on "I'm Going To See My Son" are among the highlights before the mood changes for a final offering, Michael Legrands "Watch What Happens" from The Umbrellas Of Cherbourg. The music here is of the highest caliber, and in some ways mirrors Miles recording of Louis Malle's "LiftTo The Scaffold". It will make a valuable addition to any serious collection of contemporary jazz. Reviewed by Jim Burlong |
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CLIFFORD BROWN MAX ROACH ALL STARS Best Coast Jazz
(Fresh Sound Records FSR - CD868)
Clifford Brown (tpt) Herb Geller (alt) Joe Maini (alt) Walter Benton (tnr) Kenny Drew (pno) Curtis Counce (bs) Max Roach (drs)
This is a re-issue of the 1954 Hollywood sessions originally released on the EmArcy label as "Best Coast Jazz" MG36039 and "Clifford Brown All Stars" MG36102. The album offers four extended takes averaging over eighteen minutes each plus one small bonus in a digitally remastered format. Both sessions find "Brownie" in top form during the year that he was awarded first place in the Downbeat awards in The Best Newcomer category. In his four short years of musical activity he featured on no less than twenty three albums as leader or co-leader, plus a good number as a sideman before his tragic death at the age of 25 in 1956.
This recording is certainly a welcome addition to his output, the music being more East than West coast due to the inclusion of the two Parker influenced alto saxophonists. The opener, a little known piece "Coronado" by Johnny Coles precedes the three great standards and is a muscular workout for the whole of the sextet with the leader demonstrating his speed of thought and accurate note placement at high tempo, along with good ensemble work by the reeds and a compelling drum solo to finish. One of the disc's highlights is Kenny Drew's opening extended solo on "You Go To My Head", is fragmented in some parts and almost Tatumish in others. Herb Geller keeps things at the highest level, holding the theme but soaring like only a few can, before the seldom recorded tenor man, previously with the likes of Quincy Jones and Gerald Wilson, Walter Benton adds an understated contribution until things pick up with a considered and oblique six minute interlude from the leader, full of rhythmic changes before the final re-statement of the theme.
Juan Tizol's "Caravan" is a tune that requires the high level of atmosphere intended by the composer to deliver it's full impact. This is more than achieved during the opening sequence led by the drums against the reed ensemble choir. However the trumpet solo taken at high tempo, on this occasion is a phenomenal exhibition of technique but totally negates the mood the composer envisaged. The drums return in solo mode before the final re-statement of the theme. Vernon Duke's "Autumn In New York" turns out to be the ideal vehicle for a wonderful lengthy opening exploration of the theme from all angels by the leader, holding the listeners attention throughout and underlining why he is placed among the jazz trumpet's greatest exponents. Kenny Drew and the saxophones take over, holding the mood well before the bass of Curtis Counce in conversation with the piano brings things to a close. The album closes with a brief bonus track, a reprise of the trumpet solo from "Caravan".
There are enough highlights on this recording to justify it's addition to any collection not containing the original EmArcy 12 inch vinyl releases.
Reviewed by Jim Burlong
(Fresh Sound Records FSR - CD868)
Clifford Brown (tpt) Herb Geller (alt) Joe Maini (alt) Walter Benton (tnr) Kenny Drew (pno) Curtis Counce (bs) Max Roach (drs)
This is a re-issue of the 1954 Hollywood sessions originally released on the EmArcy label as "Best Coast Jazz" MG36039 and "Clifford Brown All Stars" MG36102. The album offers four extended takes averaging over eighteen minutes each plus one small bonus in a digitally remastered format. Both sessions find "Brownie" in top form during the year that he was awarded first place in the Downbeat awards in The Best Newcomer category. In his four short years of musical activity he featured on no less than twenty three albums as leader or co-leader, plus a good number as a sideman before his tragic death at the age of 25 in 1956.
This recording is certainly a welcome addition to his output, the music being more East than West coast due to the inclusion of the two Parker influenced alto saxophonists. The opener, a little known piece "Coronado" by Johnny Coles precedes the three great standards and is a muscular workout for the whole of the sextet with the leader demonstrating his speed of thought and accurate note placement at high tempo, along with good ensemble work by the reeds and a compelling drum solo to finish. One of the disc's highlights is Kenny Drew's opening extended solo on "You Go To My Head", is fragmented in some parts and almost Tatumish in others. Herb Geller keeps things at the highest level, holding the theme but soaring like only a few can, before the seldom recorded tenor man, previously with the likes of Quincy Jones and Gerald Wilson, Walter Benton adds an understated contribution until things pick up with a considered and oblique six minute interlude from the leader, full of rhythmic changes before the final re-statement of the theme.
Juan Tizol's "Caravan" is a tune that requires the high level of atmosphere intended by the composer to deliver it's full impact. This is more than achieved during the opening sequence led by the drums against the reed ensemble choir. However the trumpet solo taken at high tempo, on this occasion is a phenomenal exhibition of technique but totally negates the mood the composer envisaged. The drums return in solo mode before the final re-statement of the theme. Vernon Duke's "Autumn In New York" turns out to be the ideal vehicle for a wonderful lengthy opening exploration of the theme from all angels by the leader, holding the listeners attention throughout and underlining why he is placed among the jazz trumpet's greatest exponents. Kenny Drew and the saxophones take over, holding the mood well before the bass of Curtis Counce in conversation with the piano brings things to a close. The album closes with a brief bonus track, a reprise of the trumpet solo from "Caravan".
There are enough highlights on this recording to justify it's addition to any collection not containing the original EmArcy 12 inch vinyl releases.
Reviewed by Jim Burlong
ELIF CAGLER - Misfit
(Nu-Dc Records nuDC0003)
Elif Cagler (vcl) Aaron Parks (pno) Harish Raghavan (bs) Eric Harland (drs) Ilhan Ersahin (saxes) Imer Demirer (tpt) Cenk Erogan (e bow & fretless gtr)
Elif Cagler is a Turkish singer based in Istanbul, this is the third album of her five year recording career. Very much a vocalist within the contemporary genre, with a minimalist approach she has produced here an album of ten songs where the lyrics, music and arrangements are all by herself. The choice of musicians is excellent, Blue Note pianist Aaron Parks is very much a man on the rise with seven albums under his own name and twenty five as a sideman with the likes of Terence Blanchard, Ambrose Akinmusire and Joshua Redman. Eric Harland is well established on the world stage and the first call drummer for McCoy Tyner and Charles Lloyd. Making up the core trio is Harish Rahavan who initially grew up in Chicago and is now one of the most prominent bass players on the New York scene. The other excellent Turkish musicians make only fleeting appearances as the album progresses.
This recording is very profound, underlined by the singers mission statement within the liner notes : " Dedicated to all dreamers who do not fit this system that perceives running after what we believe as sassiness and tries to mold our unique souls into one shape. How great it is to know that you've always existed". The style and subject matter of the lyric writing is very much from the "Leonard Cohen" school with topics such as solitude, god, weakness, feeling shallow, fairy tales, comfort, loved ones and running from reality etc. The leaders voice, although very much her own, does at times remind the listener of Christine Tobin both in accent and delivery.
Everything about this release is of very high quality, from the vocals, to the high standard and empathy of the musicians, all the way down to the packaging and lyric sheets provided. It is one of those very fine recordings that gives more with each listen.
Reviewed by Jim Burlong
(Nu-Dc Records nuDC0003)
Elif Cagler (vcl) Aaron Parks (pno) Harish Raghavan (bs) Eric Harland (drs) Ilhan Ersahin (saxes) Imer Demirer (tpt) Cenk Erogan (e bow & fretless gtr)
Elif Cagler is a Turkish singer based in Istanbul, this is the third album of her five year recording career. Very much a vocalist within the contemporary genre, with a minimalist approach she has produced here an album of ten songs where the lyrics, music and arrangements are all by herself. The choice of musicians is excellent, Blue Note pianist Aaron Parks is very much a man on the rise with seven albums under his own name and twenty five as a sideman with the likes of Terence Blanchard, Ambrose Akinmusire and Joshua Redman. Eric Harland is well established on the world stage and the first call drummer for McCoy Tyner and Charles Lloyd. Making up the core trio is Harish Rahavan who initially grew up in Chicago and is now one of the most prominent bass players on the New York scene. The other excellent Turkish musicians make only fleeting appearances as the album progresses.
This recording is very profound, underlined by the singers mission statement within the liner notes : " Dedicated to all dreamers who do not fit this system that perceives running after what we believe as sassiness and tries to mold our unique souls into one shape. How great it is to know that you've always existed". The style and subject matter of the lyric writing is very much from the "Leonard Cohen" school with topics such as solitude, god, weakness, feeling shallow, fairy tales, comfort, loved ones and running from reality etc. The leaders voice, although very much her own, does at times remind the listener of Christine Tobin both in accent and delivery.
Everything about this release is of very high quality, from the vocals, to the high standard and empathy of the musicians, all the way down to the packaging and lyric sheets provided. It is one of those very fine recordings that gives more with each listen.
Reviewed by Jim Burlong
LINDA CALISE - La Vie My Life
www.lindacalise.com
Collective Personnel: Linda Calise ( vocals )with
Joe Carrier ( pno / kybd ) Vinny Pagano ( drs ) Greg Loughman ( acoustic bass ) Booby Cord ( gtr ) Pat Cardeiro ( gtr ) Lee Dynes ( gtr ) Alex Krepkikh ( gtr ) Ben Powell ( violin soloist ) Eric Bloom ( tpt soloist ) Trevoe Kellum ( sax soloist ) Ben Albert ( pno / vocals ) Joe Calise ( bass ) Pete Levesque ( sax solo ) Garrett Levesque ( violin ) Mauro Colangelo ( drs / bass / kyb ) Plus String Section & Horn Section
Recorded USA, 2015
Linda Calise studied voice at at the McClosky institute for voice in Boston, she has appeared at a number of jazz clubs including the prestigious Scullers Jazz Club.
This is a difficult album to categorise with it’s mixture of styles and material, it is definitely not an all out jazz album. The is one track, “La Vie En Rose” repeat of the same number but classed as a re-mix Which isnot something you expect to see on a jazz album. There are also tracks which have multitasking which is hardly conducive to a jazz performance.
Having said all that Miss Calise a strong and listenable voice and uses it to good effect particularly on numbers such as “I Wish You Love” which also has some multi tracing in places.Two tracks “Sunday Kind Of Love” and “Since I Fell For You” could have come direct from a Dinah Washington album but Linda Calise does have the vocal equipment to carry it off and the backing group combine to make these two successful performances.
The Scottish folk song “The Water Is Wide”is a completely change of style and approach but is just as successful and the violin solo adds to the atmosphere.
Another complete change of style for Miss Calise is the Phoebe Snow composition “Poetry Man” which is different again as anything else on the album.
On paper this is a release I would dismissed at first glance but putting aside my personal prejudices I rather enjoyed listening to the album.If you fancy something with a variety of styles you may enjoy this album as I did.
Reviewed by Roy Booth
www.lindacalise.com
Collective Personnel: Linda Calise ( vocals )with
Joe Carrier ( pno / kybd ) Vinny Pagano ( drs ) Greg Loughman ( acoustic bass ) Booby Cord ( gtr ) Pat Cardeiro ( gtr ) Lee Dynes ( gtr ) Alex Krepkikh ( gtr ) Ben Powell ( violin soloist ) Eric Bloom ( tpt soloist ) Trevoe Kellum ( sax soloist ) Ben Albert ( pno / vocals ) Joe Calise ( bass ) Pete Levesque ( sax solo ) Garrett Levesque ( violin ) Mauro Colangelo ( drs / bass / kyb ) Plus String Section & Horn Section
Recorded USA, 2015
Linda Calise studied voice at at the McClosky institute for voice in Boston, she has appeared at a number of jazz clubs including the prestigious Scullers Jazz Club.
This is a difficult album to categorise with it’s mixture of styles and material, it is definitely not an all out jazz album. The is one track, “La Vie En Rose” repeat of the same number but classed as a re-mix Which isnot something you expect to see on a jazz album. There are also tracks which have multitasking which is hardly conducive to a jazz performance.
Having said all that Miss Calise a strong and listenable voice and uses it to good effect particularly on numbers such as “I Wish You Love” which also has some multi tracing in places.Two tracks “Sunday Kind Of Love” and “Since I Fell For You” could have come direct from a Dinah Washington album but Linda Calise does have the vocal equipment to carry it off and the backing group combine to make these two successful performances.
The Scottish folk song “The Water Is Wide”is a completely change of style and approach but is just as successful and the violin solo adds to the atmosphere.
Another complete change of style for Miss Calise is the Phoebe Snow composition “Poetry Man” which is different again as anything else on the album.
On paper this is a release I would dismissed at first glance but putting aside my personal prejudices I rather enjoyed listening to the album.If you fancy something with a variety of styles you may enjoy this album as I did.
Reviewed by Roy Booth
SAM COOMBES TRIO - Pace Of Change
(Pol-e-Math Recordings SCPR01)
Sam Coombes - alto and soprano saxes; Yoni Zelnick - bass; Julien Charlet -Drums
Sam Coombes is as much a figure on the continental scene as in his native UK, and this album unites him with two fine French rhythm players for a set of originals exploring a range of non-standard time signatures. ‘Perpetual E-motion” sets out the stall - over a shifting funk ostinato Coombes blows some highly spirited choruses showcasing his rhythmic facility, sweet centered tone and fleet-fingered melodicism.
Zelnick and Charlet negotiate the tricky time signature changes with ease and considerable swagger. Despite the austere trio format and rather artificial insistence on constantly changing meter, the leader’s melodic sense ensures that the results are consistently listenable. Over the course of the album, however, the emotional intent of the music becomes increasingly hard to determine, making this seem like an intellectual experiment rather than a heartfelt outpouring of sentiment. For fans of musical ingenuity and assured, tasteful playing there’s much here to enjoy, and the sympathetic recording captures the attractively minimalist sound of the trio very well. It’s a shame the dowdy packaging lets down the visual appeal.
Reviewed by Eddie Myer
(Pol-e-Math Recordings SCPR01)
Sam Coombes - alto and soprano saxes; Yoni Zelnick - bass; Julien Charlet -Drums
Sam Coombes is as much a figure on the continental scene as in his native UK, and this album unites him with two fine French rhythm players for a set of originals exploring a range of non-standard time signatures. ‘Perpetual E-motion” sets out the stall - over a shifting funk ostinato Coombes blows some highly spirited choruses showcasing his rhythmic facility, sweet centered tone and fleet-fingered melodicism.
Zelnick and Charlet negotiate the tricky time signature changes with ease and considerable swagger. Despite the austere trio format and rather artificial insistence on constantly changing meter, the leader’s melodic sense ensures that the results are consistently listenable. Over the course of the album, however, the emotional intent of the music becomes increasingly hard to determine, making this seem like an intellectual experiment rather than a heartfelt outpouring of sentiment. For fans of musical ingenuity and assured, tasteful playing there’s much here to enjoy, and the sympathetic recording captures the attractively minimalist sound of the trio very well. It’s a shame the dowdy packaging lets down the visual appeal.
Reviewed by Eddie Myer
PETER EHWALD - Double Trouble Live
(Jazzwerkstatt jw164)
Peter Ehwald - tenor & soprano sax; Robert Landfermann - bass; Andreas Lang - bass; Jonas Burgwinkel - drums
Bursting out of the ever-burgeoning Berlin jazz scene comes this high-energy project from Ehwald, best known in the UK as co-leader of the Anglo-German band Paragon. The album documents a series of live gigs around Germany with his unique twin-bass line-up. The shows must have been fairly intense affairs judging from these recordings. Ehwald operates in an area that’s rooted in composition, but ventures intriguingly close to the edges of free territory - “In The Zone” is powered by Burgwinkel’s twitchy funk drumming, as Ehwald and his bass team skirt around the tonal centre, neither committing fully nor completely abandoning it.
“Mimouna” is closer to total freedom until Burgwinkel anchors another restless, propulsive beat and leads the song to a composed conclusion. The slower paced “Double `Trouble” gives the two bassists a chance to really bounce off each other - a clear stereo mix enhances the effect, and Ehwald demonstrates an attractively breathy tone on this melodic composition. Landfermann and Lang generally manage to stay out of each other’s way - one or the other swaps to arco on the faster “Mr Soju”, which also features Ehwald’s impressive command of multiphonics and other extended techniques. “Dreamband” has a melodic, almost pastoral feel, with the rhythm section simmering nicely away underneath.
All the players match each other in their command of their instruments, and in their similarly unfettered imaginations. There’s a finely tuned balance of free improv and tight composition on display throughout - another example of Berlin’s emergence as a major centre for forward-looking jazz.
Reviewed by Eddie Myer
(Jazzwerkstatt jw164)
Peter Ehwald - tenor & soprano sax; Robert Landfermann - bass; Andreas Lang - bass; Jonas Burgwinkel - drums
Bursting out of the ever-burgeoning Berlin jazz scene comes this high-energy project from Ehwald, best known in the UK as co-leader of the Anglo-German band Paragon. The album documents a series of live gigs around Germany with his unique twin-bass line-up. The shows must have been fairly intense affairs judging from these recordings. Ehwald operates in an area that’s rooted in composition, but ventures intriguingly close to the edges of free territory - “In The Zone” is powered by Burgwinkel’s twitchy funk drumming, as Ehwald and his bass team skirt around the tonal centre, neither committing fully nor completely abandoning it.
“Mimouna” is closer to total freedom until Burgwinkel anchors another restless, propulsive beat and leads the song to a composed conclusion. The slower paced “Double `Trouble” gives the two bassists a chance to really bounce off each other - a clear stereo mix enhances the effect, and Ehwald demonstrates an attractively breathy tone on this melodic composition. Landfermann and Lang generally manage to stay out of each other’s way - one or the other swaps to arco on the faster “Mr Soju”, which also features Ehwald’s impressive command of multiphonics and other extended techniques. “Dreamband” has a melodic, almost pastoral feel, with the rhythm section simmering nicely away underneath.
All the players match each other in their command of their instruments, and in their similarly unfettered imaginations. There’s a finely tuned balance of free improv and tight composition on display throughout - another example of Berlin’s emergence as a major centre for forward-looking jazz.
Reviewed by Eddie Myer
GRENCSÓ OPEN COLLECTIVE - Derengés/Dawn - Compositions of György Szabados
(SLAM Records – SLAMCD 565 – 2CDs)
István Grencsó: reeds; Máté Pozsár: piano; Róbert Benkö: bass; Szilveszter Miklós: pen.
Guests: - Szilárd Mezei: viola; Ádám Meggtes: trumpet, pipe; Ábel Fazekas: clarinet, pipe; Gergö Kovás: baritone saxophone, pipe.
Recorded April 2015
Throughout this double album there are resonances of the essence of the music of Bartók and Kodaly, and that too of Coltrane and Shepp, Keith Jarrett and Cecil Taylor. The music will move you, too, as it sweeps between moments of unobtrusive tautness and passages of outrageous pandemonium, often linked via diffident, melodic flotsam and jetsam, evocative of burgeoning uncertainty.
Hear too striking harmonies and gorgeous arrangements especially of piano sections and all transported with dramatic tenor, suggestive of fervour of entreaty. There is occasional gloominess too, but all is recovered when the dazzling trumpet and virtuoso viola ease onto the scene and equilibrium is restored, the balance unadulterated and the music free.
Free music? Free jazz? This is a great collaboration by SLAM.
Reviewed by Ken Cheetham
(SLAM Records – SLAMCD 565 – 2CDs)
István Grencsó: reeds; Máté Pozsár: piano; Róbert Benkö: bass; Szilveszter Miklós: pen.
Guests: - Szilárd Mezei: viola; Ádám Meggtes: trumpet, pipe; Ábel Fazekas: clarinet, pipe; Gergö Kovás: baritone saxophone, pipe.
Recorded April 2015
Throughout this double album there are resonances of the essence of the music of Bartók and Kodaly, and that too of Coltrane and Shepp, Keith Jarrett and Cecil Taylor. The music will move you, too, as it sweeps between moments of unobtrusive tautness and passages of outrageous pandemonium, often linked via diffident, melodic flotsam and jetsam, evocative of burgeoning uncertainty.
Hear too striking harmonies and gorgeous arrangements especially of piano sections and all transported with dramatic tenor, suggestive of fervour of entreaty. There is occasional gloominess too, but all is recovered when the dazzling trumpet and virtuoso viola ease onto the scene and equilibrium is restored, the balance unadulterated and the music free.
Free music? Free jazz? This is a great collaboration by SLAM.
Reviewed by Ken Cheetham
NABATOV/DRESSER/MAHNIG TRIO - Equal Poise
(Leo Records CD LR 745)
Simon Nabatov, piano; Mark Dresser, double bass; Dominik Mahnig, drums
Recorded live at The Loft, Cologne, May 31st, 2014
This album demonstrates how Nabatov and Dresser in unison can be so masterfully inventive at extemporaneous composition, although, I think, they have not previously played together in a settled group. Drummer Mahnig has collaborated beforehand with Nabatov and this is fairly obvious from the opening track, ‘Full Circles’, in which he exhibits considerable self-assurance and poise.
Each musician displays both ability and willingness to assiduously heed his partners and their work and it is fascinating to hear the drums responding to the variety of inputs from piano and bass with an inspiring battery of tapping and drumming originals. In turn, piano and bass answer back with spontaneous approaches to the percussive elements of their instruments.
The trio has an original sound, a long way from the conventional yet with audible roots, though delivered with freedom of interpretation. The trio and their album offer a phantasmagoria of dispositions and tempers that veer between instants of calculated dissonances, animated variations, potency, talent, caring trade-offs and passageways of melodious exquisiteness. There aren’t too many trios around that sound this good.
Reviewed by Ken Cheetham
(Leo Records CD LR 745)
Simon Nabatov, piano; Mark Dresser, double bass; Dominik Mahnig, drums
Recorded live at The Loft, Cologne, May 31st, 2014
This album demonstrates how Nabatov and Dresser in unison can be so masterfully inventive at extemporaneous composition, although, I think, they have not previously played together in a settled group. Drummer Mahnig has collaborated beforehand with Nabatov and this is fairly obvious from the opening track, ‘Full Circles’, in which he exhibits considerable self-assurance and poise.
Each musician displays both ability and willingness to assiduously heed his partners and their work and it is fascinating to hear the drums responding to the variety of inputs from piano and bass with an inspiring battery of tapping and drumming originals. In turn, piano and bass answer back with spontaneous approaches to the percussive elements of their instruments.
The trio has an original sound, a long way from the conventional yet with audible roots, though delivered with freedom of interpretation. The trio and their album offer a phantasmagoria of dispositions and tempers that veer between instants of calculated dissonances, animated variations, potency, talent, caring trade-offs and passageways of melodious exquisiteness. There aren’t too many trios around that sound this good.
Reviewed by Ken Cheetham
NILS ØKLAND BAND - Kjøvatn
(ECM 377 0508)
Nils Økland (viola d'amore, Hardanger fiddle, violin); Rolf-Erik Nystrøm (alto & baritone saxophones); Sigbjørn Apeland (harmonium); Mats Eilertsen ( double bass); Håkon Mørch Stene (percussion, vibraphone)
Recorded June 2012
Woefully overdue for review, and this is something that I must take full responsibility for as this superb album seems to have a been a permanent fixture in my car CD player and listened to on numerous occasions purely for pleasure, without due consideration being given to the fact that I was supposed to be writing some wise and constructive words about the music. For this I sincerely apologise, both to the artist and the prospective listener to this fine recording, as by not having reviewed this CD sooner it has missed my Album of the Year selection when in fact it has probably been one of my favourite releases of 2015.
Nils Økland is no stranger to ECM with two previous albums under his own name, Monograph and Lysøen, and the collaborative Lumen Drones with guitarist Per Steiner Lie and Øjan Haarland on drums in a powerhouse set. By contrast, Kjøvatn is an all acoustic affair that bathes in the sounds produced by the five musicians.
Økland use of the instrumental range available is quite remarkable, and indeed many of the arrangements are credited to all five participants indicating perhaps that much of this music has found its form through performances, and over time. The resulting music music is tightly focussed yet broad in scope, with a well balanced set that explores the sounds available but only ever to suit the demands of the compositions which are all penned by the leader.
Økland's writing moves between the the exploration of gentle lyricism to the textures within the ensemble from the dense opening sounds of the first track 'Mali' and the varying dynamics of 'Fivreld' and 'Start', and the drone-based 'Blå Harding' that brings to mind the Celtic tradition a little nearer home. The melodic side of Nil's musical vision are heard 'Undergrun' (with some fine alto playing from Nystrøm), the beautiful 'Skugge' and exquisite and delicate 'Amstel'.
Quite how the group produce such beautiful and diverse music is somewhat of a mystery. The harmonium in many hands can be anything other than harmonious, and New music maestro Rolf-Erik Nystrøm rarely plays either alto or baritone saxophone is a readily identifiable mannner, but rather brings extended techniques to enhance the textural element of the music as opposed to the melodic line. The Hardanger fiddle is an instrument not frequently heard in European jazz and the violin is not always a favourite of mine (although Økland and a few others of late are making me review this line of thought), yet the music on this set is totally bewitching.
In closing, mention must be made of the contribution of double bassist, Mats Eilertsen, who may have the most traditional role in the ensemble but whose superb tone and melodic phrases give the music a further resonating positive.
Reviewed by Nick Lea
(ECM 377 0508)
Nils Økland (viola d'amore, Hardanger fiddle, violin); Rolf-Erik Nystrøm (alto & baritone saxophones); Sigbjørn Apeland (harmonium); Mats Eilertsen ( double bass); Håkon Mørch Stene (percussion, vibraphone)
Recorded June 2012
Woefully overdue for review, and this is something that I must take full responsibility for as this superb album seems to have a been a permanent fixture in my car CD player and listened to on numerous occasions purely for pleasure, without due consideration being given to the fact that I was supposed to be writing some wise and constructive words about the music. For this I sincerely apologise, both to the artist and the prospective listener to this fine recording, as by not having reviewed this CD sooner it has missed my Album of the Year selection when in fact it has probably been one of my favourite releases of 2015.
Nils Økland is no stranger to ECM with two previous albums under his own name, Monograph and Lysøen, and the collaborative Lumen Drones with guitarist Per Steiner Lie and Øjan Haarland on drums in a powerhouse set. By contrast, Kjøvatn is an all acoustic affair that bathes in the sounds produced by the five musicians.
Økland use of the instrumental range available is quite remarkable, and indeed many of the arrangements are credited to all five participants indicating perhaps that much of this music has found its form through performances, and over time. The resulting music music is tightly focussed yet broad in scope, with a well balanced set that explores the sounds available but only ever to suit the demands of the compositions which are all penned by the leader.
Økland's writing moves between the the exploration of gentle lyricism to the textures within the ensemble from the dense opening sounds of the first track 'Mali' and the varying dynamics of 'Fivreld' and 'Start', and the drone-based 'Blå Harding' that brings to mind the Celtic tradition a little nearer home. The melodic side of Nil's musical vision are heard 'Undergrun' (with some fine alto playing from Nystrøm), the beautiful 'Skugge' and exquisite and delicate 'Amstel'.
Quite how the group produce such beautiful and diverse music is somewhat of a mystery. The harmonium in many hands can be anything other than harmonious, and New music maestro Rolf-Erik Nystrøm rarely plays either alto or baritone saxophone is a readily identifiable mannner, but rather brings extended techniques to enhance the textural element of the music as opposed to the melodic line. The Hardanger fiddle is an instrument not frequently heard in European jazz and the violin is not always a favourite of mine (although Økland and a few others of late are making me review this line of thought), yet the music on this set is totally bewitching.
In closing, mention must be made of the contribution of double bassist, Mats Eilertsen, who may have the most traditional role in the ensemble but whose superb tone and melodic phrases give the music a further resonating positive.
Reviewed by Nick Lea
IVO PERELMAN
The Egyptian Bennu bird was adapted by the Greeks as the Phoenix, which bathed in a well each dawn when the Greek sun-god Apollo would stop his chariot to listen to the bird’s song. These collective pieces of mythology arise in my mind each time a new album issues from the lips of this extraordinary artist and his collaborators, and here are three more from 2015, but the Phoenix has not burned and there are no ashes to scatter.
The Egyptian Bennu bird was adapted by the Greeks as the Phoenix, which bathed in a well each dawn when the Greek sun-god Apollo would stop his chariot to listen to the bird’s song. These collective pieces of mythology arise in my mind each time a new album issues from the lips of this extraordinary artist and his collaborators, and here are three more from 2015, but the Phoenix has not burned and there are no ashes to scatter.
IVO PERELMAN/MATTHEW SHIPP – Complementary Colours
(Leo Records – CD LR744)
Ivo Perelman, Tenor Saxophone; Matthew Shipp, piano
Recorded at Parkwest Studios, Brooklyn, NY, April 2015
This is yet another set of improvised performances from this hugely fertile, telepathic and telekinetic partnership. There are ten tracks named after colours expressive of the disposition of each ‘tune’ (there aren’t any tunes, of course). The two play as though from a common cerebellum, perfectly attuned each to the other, and flawlessly synchronized so that the ostensible calm itself becomes an elaborate exercise in invention.
This is the duo’s second album of 2015 (the earlier Callas was reviewed here too). The originality andresourcefulness of their inventiveness leads to such deliberation and vigour in their performance that improvisation becomes second nature, voiced as fundamental freedom as though by right. Each initiative sanctions the Free impetus and endorses their place in that culture.
The music is intensely thoughtful and intelligent, earnest and entrancing and the dialogue is warm and enthralling.
Reviewed by Ken Cheetham
(Leo Records – CD LR744)
Ivo Perelman, Tenor Saxophone; Matthew Shipp, piano
Recorded at Parkwest Studios, Brooklyn, NY, April 2015
This is yet another set of improvised performances from this hugely fertile, telepathic and telekinetic partnership. There are ten tracks named after colours expressive of the disposition of each ‘tune’ (there aren’t any tunes, of course). The two play as though from a common cerebellum, perfectly attuned each to the other, and flawlessly synchronized so that the ostensible calm itself becomes an elaborate exercise in invention.
This is the duo’s second album of 2015 (the earlier Callas was reviewed here too). The originality andresourcefulness of their inventiveness leads to such deliberation and vigour in their performance that improvisation becomes second nature, voiced as fundamental freedom as though by right. Each initiative sanctions the Free impetus and endorses their place in that culture.
The music is intensely thoughtful and intelligent, earnest and entrancing and the dialogue is warm and enthralling.
Reviewed by Ken Cheetham
IVO PERELMAN/MAT MANERI/TANYA KALMANOVITCH – Villa Lobos Suite
(Leo Records – CD LR742)
Ivo Perelman, Tenor Saxophone; Mat Maneri, Viola; Tanya Kalmanovitch, Viola
Recorded at Parkwest Studios, Brooklyn, NY, May 2015
No, this is not a collection of Villa Lobos tunes, but is merely intended as a tribute to Ivo’s fellow Brazilian composer and more or less by accident. What is not unintended is the pairing of the two violas. The free improv of the previous year’s encounter between Perelman and Maneri proved so endearing that the saxophonist was bold enough to consider that a second viola could only lead to better things. Part of this reasoning stemmed from his wish to experiment with musical schemes arising out of string sections.
The two violas interrelate beautifully, often sounding as just one, their compassionate understanding being so sophisticated that with Perelman’s sax straining to become a third string, there is a distinct frisson of a classical mode which maybe gave rise to the echo of Villa-Lobos, but without the sense of his compositional structures. Listening particularly to the second track, Kalmanovitch is revealed as an immensely intellectual performer when she is heard without Maneri’s exchanges. One can perceive her direction before she sets out on it, so strung is she to the notions of improvisation.
It is understood that each of these artists is well known and well established in the world of the contemporary avant-garde, so it is not really surprising that they could come together in such a bold encounter without resistance one to the other. Their initiatives arise from such ingenuity and innovation that each is free to negotiate with influence the enactment of their particular presentation. This in turn leads to considerable empathy, such that free improvisation becomes their norm and gives us some of the most profuse free music available today.
Reviewed by Ken Cheetham
(Leo Records – CD LR742)
Ivo Perelman, Tenor Saxophone; Mat Maneri, Viola; Tanya Kalmanovitch, Viola
Recorded at Parkwest Studios, Brooklyn, NY, May 2015
No, this is not a collection of Villa Lobos tunes, but is merely intended as a tribute to Ivo’s fellow Brazilian composer and more or less by accident. What is not unintended is the pairing of the two violas. The free improv of the previous year’s encounter between Perelman and Maneri proved so endearing that the saxophonist was bold enough to consider that a second viola could only lead to better things. Part of this reasoning stemmed from his wish to experiment with musical schemes arising out of string sections.
The two violas interrelate beautifully, often sounding as just one, their compassionate understanding being so sophisticated that with Perelman’s sax straining to become a third string, there is a distinct frisson of a classical mode which maybe gave rise to the echo of Villa-Lobos, but without the sense of his compositional structures. Listening particularly to the second track, Kalmanovitch is revealed as an immensely intellectual performer when she is heard without Maneri’s exchanges. One can perceive her direction before she sets out on it, so strung is she to the notions of improvisation.
It is understood that each of these artists is well known and well established in the world of the contemporary avant-garde, so it is not really surprising that they could come together in such a bold encounter without resistance one to the other. Their initiatives arise from such ingenuity and innovation that each is free to negotiate with influence the enactment of their particular presentation. This in turn leads to considerable empathy, such that free improvisation becomes their norm and gives us some of the most profuse free music available today.
Reviewed by Ken Cheetham
IVO PERELMAN/MATTHEW SHIPP/WHIT DICKEY – Butterfly Whispers
(Leo Records – CD LR740)
Ivo Perelman, Tenor Saxophone; Matthew Shipp, piano; Whit Dickey, drums
Recorded at Parkwest Studios, Brooklyn, NY, July 2015
Butterfly Whispers is an extraordinary performance that brings another new methodology to free improv. Drummer Whit Dickey joins with the duo and follows the shape of the saxophone while actually contributing to that shape. He is of course overtly familiar with Perelman although there would be no preconceptions about what music might evolve from this encounter – but the drummer knew what to do as each moment followed its predecessor. The addition of the drums changes the shape of the performances and this requires a change to their parsing. One might hope that this grammar is suggested by the track titles, but these were provided by the Brazilian poet Diva Galvao and were really intended for any listener to create their own narrative, no matter what it might be, from the atmosphere provided by those titles.
Part of my construed sense of narrative does not come from the titles of each piece, titles which I have ignored, but has simply been constructed from my impressions of the music. There is, I feel, a concentration of passion in the music which can be ascribed to Butterfly Whispers as a formidable piece, a masterpiece of elation.
Reviewed by Ken Cheetham
(Leo Records – CD LR740)
Ivo Perelman, Tenor Saxophone; Matthew Shipp, piano; Whit Dickey, drums
Recorded at Parkwest Studios, Brooklyn, NY, July 2015
Butterfly Whispers is an extraordinary performance that brings another new methodology to free improv. Drummer Whit Dickey joins with the duo and follows the shape of the saxophone while actually contributing to that shape. He is of course overtly familiar with Perelman although there would be no preconceptions about what music might evolve from this encounter – but the drummer knew what to do as each moment followed its predecessor. The addition of the drums changes the shape of the performances and this requires a change to their parsing. One might hope that this grammar is suggested by the track titles, but these were provided by the Brazilian poet Diva Galvao and were really intended for any listener to create their own narrative, no matter what it might be, from the atmosphere provided by those titles.
Part of my construed sense of narrative does not come from the titles of each piece, titles which I have ignored, but has simply been constructed from my impressions of the music. There is, I feel, a concentration of passion in the music which can be ascribed to Butterfly Whispers as a formidable piece, a masterpiece of elation.
Reviewed by Ken Cheetham
BUCKY PIZZARELLI - Renaissance
A Journey From Classical To Jazz
(Arbors ARCD 19448)
Bucky Pizzarelli ( gtr ) Ed Laub ( gtr ); Orchestra Director Dick Lieb
sarah Caswell ( violin ) Joyce Hammann ( violin ) Lois Martin ( viola ) Jesse Levy ( cello ) Ike Sturm
( bass ) Erik Holtje: ( bassoon ) Gerard Reuter ( oboe ) Christopher Grimes ( clt ) Allisin Kiger ( flute ) Larry DiBello ( fr horn )
Recorded New Jersey, January & February 2015
Apart from the many albums recorded under his own name Bucky Pizzarelli has recorded hundreds of albums on other musicians albums and at nearly ninety years old he is still recording prolifically and working gigs without any loss of the command of his instrument.
As well as his own contribution to the music he has produced two sons who make their own contribution to the music scene. John Pizzarelli is an outstanding guitarist and vocalist. Whilst his brother Martin Pizzarelli is a fine bass player. All three have recorded together for the Arbors label successfully.
This album is a little different to his usual recordings as the sub title says it is a journey from classical to jazz.
The album opens with a nearly twenty two minute concerto by Mario Castelnuovo-Tedisco which displays Bucky’s undoubted classical skills but Jazz Aficionados should not be put off by it’s inclusion has it contains some outstanding guitar on six string guitar rather than his usual seven .
The balance of the tracks are by a duo with Bucky joined by Ed Laub a former pupil of his and their empathy is uncanny and Bucky feels just as happy playing alongside him as he does with other major names he has played with over the years.
All the other numbers on the album are from the standard repertoire and display the two guitarists at the top of their form.
The first tune the Duo perform is a rhapsodic version of Stephen Sondheim’s “Send in the Clowns” with the two guitarists swapping phrases with ease and familiarity.
“Have You Met Miss Jones” is a much livelier affair with the Duo generating a great deal of swing which makes the most of Richard Rodger’ great melody.
The standard on all the other tracks are just as commendable and it is a joy to hear two such fine guitarist playing with such high regard to their fellow player.
Do not be put off by the inclusion of the long classical tracks as this is guitar playing of the highest standard.
Reviewed by Roy Booth
A Journey From Classical To Jazz
(Arbors ARCD 19448)
Bucky Pizzarelli ( gtr ) Ed Laub ( gtr ); Orchestra Director Dick Lieb
sarah Caswell ( violin ) Joyce Hammann ( violin ) Lois Martin ( viola ) Jesse Levy ( cello ) Ike Sturm
( bass ) Erik Holtje: ( bassoon ) Gerard Reuter ( oboe ) Christopher Grimes ( clt ) Allisin Kiger ( flute ) Larry DiBello ( fr horn )
Recorded New Jersey, January & February 2015
Apart from the many albums recorded under his own name Bucky Pizzarelli has recorded hundreds of albums on other musicians albums and at nearly ninety years old he is still recording prolifically and working gigs without any loss of the command of his instrument.
As well as his own contribution to the music he has produced two sons who make their own contribution to the music scene. John Pizzarelli is an outstanding guitarist and vocalist. Whilst his brother Martin Pizzarelli is a fine bass player. All three have recorded together for the Arbors label successfully.
This album is a little different to his usual recordings as the sub title says it is a journey from classical to jazz.
The album opens with a nearly twenty two minute concerto by Mario Castelnuovo-Tedisco which displays Bucky’s undoubted classical skills but Jazz Aficionados should not be put off by it’s inclusion has it contains some outstanding guitar on six string guitar rather than his usual seven .
The balance of the tracks are by a duo with Bucky joined by Ed Laub a former pupil of his and their empathy is uncanny and Bucky feels just as happy playing alongside him as he does with other major names he has played with over the years.
All the other numbers on the album are from the standard repertoire and display the two guitarists at the top of their form.
The first tune the Duo perform is a rhapsodic version of Stephen Sondheim’s “Send in the Clowns” with the two guitarists swapping phrases with ease and familiarity.
“Have You Met Miss Jones” is a much livelier affair with the Duo generating a great deal of swing which makes the most of Richard Rodger’ great melody.
The standard on all the other tracks are just as commendable and it is a joy to hear two such fine guitarist playing with such high regard to their fellow player.
Do not be put off by the inclusion of the long classical tracks as this is guitar playing of the highest standard.
Reviewed by Roy Booth
JOHN SCOFIELD - Past Present
(Impulse Records)
John Scofield - guitar; Joe Lovano - tenor; Larry Grenadier - bass; Bill Stewart - drums.
Some real heavyweight players here on this updating of Scofield’s epochal early 90s quartet, with Larry Grenadier a highly simpatico stand-in for Dennis Irwin. The original band recorded for Blue Note, and this year’s version is on the re-boot of that other seminal label, Impulse. The intervening years have brought their share of tragedies - the song titles here commemorate Scofield’s son Evan, who passed away in 2013 - but his talent and appetite for the music remain undimmed.
Opener ‘Slinky” is classic Scofield - a mutated low-slung blues-inflected groover. Genadier contributes a rootsy, big-toned chorus, showcasing his old-school, high-action, low-sustain approach that suits this music perfectly. ‘Past Present” recalls Aaron Copland as well as Oliver `Nelson’s ‘Hoe-Down’ in it’s wide-eyed enthusiasm, and Ornettes harmolodics in the melodically abstract solos . “Hangover” belies it’s title to reveal itself as a lyrical waltz, with a soft-toned solo from Lovano. The latter shows off his hard-swinging blowing chops on “Enjoy The Future” demonstrating the perfect command over the form that’s kept him at the top of the tenor saxophone rankings for over two decades.
Bill Stewart is the perfect partner for this venture - relaxed and loose but impeccably swinging, he cooks up a real storm on “Get Proud”, the sort of laid-back but on-the-money boogaloo groove that Scofield has made his own. With Stewart underpinning proceedings, the whole album emanates an effortless sincerity; it’s the sound of players thoroughly at home in the deepest roots of the tradition, so that they summon up the freewheeling spirit of the 60s Impulse post-bop era without ever sounding corny. Scofield balances his love of altered harmony with some accessible arrangements, and the quartet format gives everyone room to stretch out without descending into self-indulgence. The recording sounds warm and authentically ambient, making this a worthy addition to a classic catalogue.
Reviewed by Eddie Myer.
(Impulse Records)
John Scofield - guitar; Joe Lovano - tenor; Larry Grenadier - bass; Bill Stewart - drums.
Some real heavyweight players here on this updating of Scofield’s epochal early 90s quartet, with Larry Grenadier a highly simpatico stand-in for Dennis Irwin. The original band recorded for Blue Note, and this year’s version is on the re-boot of that other seminal label, Impulse. The intervening years have brought their share of tragedies - the song titles here commemorate Scofield’s son Evan, who passed away in 2013 - but his talent and appetite for the music remain undimmed.
Opener ‘Slinky” is classic Scofield - a mutated low-slung blues-inflected groover. Genadier contributes a rootsy, big-toned chorus, showcasing his old-school, high-action, low-sustain approach that suits this music perfectly. ‘Past Present” recalls Aaron Copland as well as Oliver `Nelson’s ‘Hoe-Down’ in it’s wide-eyed enthusiasm, and Ornettes harmolodics in the melodically abstract solos . “Hangover” belies it’s title to reveal itself as a lyrical waltz, with a soft-toned solo from Lovano. The latter shows off his hard-swinging blowing chops on “Enjoy The Future” demonstrating the perfect command over the form that’s kept him at the top of the tenor saxophone rankings for over two decades.
Bill Stewart is the perfect partner for this venture - relaxed and loose but impeccably swinging, he cooks up a real storm on “Get Proud”, the sort of laid-back but on-the-money boogaloo groove that Scofield has made his own. With Stewart underpinning proceedings, the whole album emanates an effortless sincerity; it’s the sound of players thoroughly at home in the deepest roots of the tradition, so that they summon up the freewheeling spirit of the 60s Impulse post-bop era without ever sounding corny. Scofield balances his love of altered harmony with some accessible arrangements, and the quartet format gives everyone room to stretch out without descending into self-indulgence. The recording sounds warm and authentically ambient, making this a worthy addition to a classic catalogue.
Reviewed by Eddie Myer.
DR LONNIE SMITH - Evolution
(Blue Note Records)
Dr Lonnie Smith (Hammond B-3 Organ) Jonathen Kreisberg (gtr) Jonathen Blake (drs) with on various tracks: Robert Glasper (pno) John Ellis (tnr, bs clt,flt)) Keyon Harrold (tpt) Joe Dyson (drs) Joe Lovano (tnr & sop) Maurice Brown tpt)
This is a most welcome return to the Blue Note Catalogue of Dr Lonnie Smith after forty five years. A pioneer of the Hammond B-3, he has assembled here a core trio, of up and coming New Yorker Jonathen Kreisberg on guitar, who had previously been with Joe Henderson and Michael Brecker, alongside one of the most sought after of today's drum men Jonathen Blake from Philadelphia, who is from the bands of Tom Harrell and Kenny Barron to name just two.
The leader contributes five of the seven compositions in this largely soul and funk based recording, demonstrating that he has lost none of his prowess on the instrument over the years. Robert Glasper plays a fine piano solo on the opener "Play It Back" whilst Joe Lavano suprises with the little heard G Mezzo Soprano on a tight arrangement of another original "Afrodesia", before showing why he is rated so highly on tenor with a trade mark solo on the ballad "For Heavens Sake". Monk's "Straight No Chaser" receives a unique reading, where the theme is much understated, but provides the perfect platform for Jonathen Kreisberg's guitar. A fiery trumpet interlude from Maurice Brown and collective vocals by the full group feature on "Talk About This" heralding a vast change of style and raise the bar considerably for the closing numbers.
"My Favoutite Thing's" has often been looked upon as a gift to jazz from Rogers and Hammerstein, gratefully received by John Coltrane. On this occasion it is given a masterful and fresh interpretation by the trio. The eleven minutes open as the theme is barely teased out by the Hammond B-3, underpinned by fine work on the bass drum before the performance is brought fully to life by the guitar as the tempo quickens and then becomes a tour de force for Dr Smith with numerous twists and turns before things gradually return to understatement as the theme is reprised and the track runs down giving a full sense of completion to a superb musical journey.
"African Suite", closes the album, introducing the flute of John Ellis over the jungle like drums of Joe Dyson and Jonathen Blake as guitar riffs and group chanting add a feeling of authenticity. The tempo rises and animal sounds are perceived as the organ comes into it's own before the tension increases even further, but is finally resolved as the flute leads the way to a controlled ending. Once more a highly satisfying, atmospheric and complete performance.
This is a fine album that will give more and more to most with repeated listening.
Reviewed by Jim Burlong
(Blue Note Records)
Dr Lonnie Smith (Hammond B-3 Organ) Jonathen Kreisberg (gtr) Jonathen Blake (drs) with on various tracks: Robert Glasper (pno) John Ellis (tnr, bs clt,flt)) Keyon Harrold (tpt) Joe Dyson (drs) Joe Lovano (tnr & sop) Maurice Brown tpt)
This is a most welcome return to the Blue Note Catalogue of Dr Lonnie Smith after forty five years. A pioneer of the Hammond B-3, he has assembled here a core trio, of up and coming New Yorker Jonathen Kreisberg on guitar, who had previously been with Joe Henderson and Michael Brecker, alongside one of the most sought after of today's drum men Jonathen Blake from Philadelphia, who is from the bands of Tom Harrell and Kenny Barron to name just two.
The leader contributes five of the seven compositions in this largely soul and funk based recording, demonstrating that he has lost none of his prowess on the instrument over the years. Robert Glasper plays a fine piano solo on the opener "Play It Back" whilst Joe Lavano suprises with the little heard G Mezzo Soprano on a tight arrangement of another original "Afrodesia", before showing why he is rated so highly on tenor with a trade mark solo on the ballad "For Heavens Sake". Monk's "Straight No Chaser" receives a unique reading, where the theme is much understated, but provides the perfect platform for Jonathen Kreisberg's guitar. A fiery trumpet interlude from Maurice Brown and collective vocals by the full group feature on "Talk About This" heralding a vast change of style and raise the bar considerably for the closing numbers.
"My Favoutite Thing's" has often been looked upon as a gift to jazz from Rogers and Hammerstein, gratefully received by John Coltrane. On this occasion it is given a masterful and fresh interpretation by the trio. The eleven minutes open as the theme is barely teased out by the Hammond B-3, underpinned by fine work on the bass drum before the performance is brought fully to life by the guitar as the tempo quickens and then becomes a tour de force for Dr Smith with numerous twists and turns before things gradually return to understatement as the theme is reprised and the track runs down giving a full sense of completion to a superb musical journey.
"African Suite", closes the album, introducing the flute of John Ellis over the jungle like drums of Joe Dyson and Jonathen Blake as guitar riffs and group chanting add a feeling of authenticity. The tempo rises and animal sounds are perceived as the organ comes into it's own before the tension increases even further, but is finally resolved as the flute leads the way to a controlled ending. Once more a highly satisfying, atmospheric and complete performance.
This is a fine album that will give more and more to most with repeated listening.
Reviewed by Jim Burlong
MATTHEW STEVENS - Woodwork
(Whirlwind WR4677)
Matthew Stevens -guitar; Gerald Clayton -piano; Vincente Archer - bass; Eric Doob -drums; Paula Stagnara - percussion.
NYC-based guitarist Matthew Stevens is still unknown in the UK, but his CV suggests that he deserves our attention, as he’s already come to the notice of artists as diverse as Christian Scott, Harvey Mason and Esperanza Spalding, with whom he’s touring. This is his debut for Whirlwind, and it displays both his impressive chops and his accomplished diversity as a composer. ‘Ashes’ is a duet for guitar and Afro-latin percussion. ‘Star LA’ offers a take on fusion, grounded by acoustic bass and given breadth and texture by washes of keyboard and guitar synth, before breaking down into Metheny-esque acoustic guitar and piano trades. Gerald Clayton impresses on piano.
The rhythm arrangements are tight and creative, the writing treads the line between jazz and the kind of acoustic fusion favoured by Scott. The crisp recording captures the sound of the band beautifully, especially on the extended moods of ‘Sunday’ and the slick funk of “Grown Ups”. “Brothers” establishes a brooding, minimal bluesey intensity. It’s an extremely accomplished debut, and the standard of playing can’t be faulted, but despite the best efforts of drum/percussion team Eric Doob and Paula Stagnara there’s an overall sheen of politeness that makes it rather easy to fade into the background over the course of the CD. “Gut Check” breaks the mould with another multi-layered drum/guitar duet that captures the attention midway through.
Reviewed by Eddie Myer
(Whirlwind WR4677)
Matthew Stevens -guitar; Gerald Clayton -piano; Vincente Archer - bass; Eric Doob -drums; Paula Stagnara - percussion.
NYC-based guitarist Matthew Stevens is still unknown in the UK, but his CV suggests that he deserves our attention, as he’s already come to the notice of artists as diverse as Christian Scott, Harvey Mason and Esperanza Spalding, with whom he’s touring. This is his debut for Whirlwind, and it displays both his impressive chops and his accomplished diversity as a composer. ‘Ashes’ is a duet for guitar and Afro-latin percussion. ‘Star LA’ offers a take on fusion, grounded by acoustic bass and given breadth and texture by washes of keyboard and guitar synth, before breaking down into Metheny-esque acoustic guitar and piano trades. Gerald Clayton impresses on piano.
The rhythm arrangements are tight and creative, the writing treads the line between jazz and the kind of acoustic fusion favoured by Scott. The crisp recording captures the sound of the band beautifully, especially on the extended moods of ‘Sunday’ and the slick funk of “Grown Ups”. “Brothers” establishes a brooding, minimal bluesey intensity. It’s an extremely accomplished debut, and the standard of playing can’t be faulted, but despite the best efforts of drum/percussion team Eric Doob and Paula Stagnara there’s an overall sheen of politeness that makes it rather easy to fade into the background over the course of the CD. “Gut Check” breaks the mould with another multi-layered drum/guitar duet that captures the attention midway through.
Reviewed by Eddie Myer
