JANUARY 2015
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FAST TRACKS... More reviews in brief
JOE HAKIM - Imprints
This is a trio album involving two players, Hakim over-dubbing himself on piano and bass, Matt Slocum completing the line-up on drums. For me, there's no substitute for the excitement that can be generated from the spontaneous interplay of three musicians at the top of their game - you only have to look to the Bill Evans and Keith Jarrett trios to prove this point. Hakim does some nice things on bass in this collection of ten originals that fuses folksy Americana with European Romanticism.
Reviewed by Geoff Eales
This is a trio album involving two players, Hakim over-dubbing himself on piano and bass, Matt Slocum completing the line-up on drums. For me, there's no substitute for the excitement that can be generated from the spontaneous interplay of three musicians at the top of their game - you only have to look to the Bill Evans and Keith Jarrett trios to prove this point. Hakim does some nice things on bass in this collection of ten originals that fuses folksy Americana with European Romanticism.
Reviewed by Geoff Eales
PABLO HELD - The Trio Meets John Scofield The Trio Meets John Scofield (Pirouet Records)
Various pundits are tipping Pablo Held as the next big piano star which is a big claim considering that the artistic firmament is radiant with similarly talented contenders. Not all of them get the opportunity to play in concert with one of the leading figures of contemporary jazz and for that reason one might have hoped that a little more could have been made of the occasion.
The piano trio element is largely elegiac and bloodlessly introspective with none of the mainly through composed pieces having much form, being diffuse and unfocused. Scofield drifts in and out and often sounds detached from the proceedings and though he breaks free of the rather stultifying atmosphere on a couple of occasions he never sounds as edgy and urgent as when playing in more robust company.The audience seemed to like it, though how they stayed awake throughout the entire set must have been a feat in its self. Perhaps it is one of those recordings that only reveal its virtues after many playings but I have to say that on the basis of a couple of spins, it just doesn’t work for me.
Reviewed by Euan Dixon
Various pundits are tipping Pablo Held as the next big piano star which is a big claim considering that the artistic firmament is radiant with similarly talented contenders. Not all of them get the opportunity to play in concert with one of the leading figures of contemporary jazz and for that reason one might have hoped that a little more could have been made of the occasion.
The piano trio element is largely elegiac and bloodlessly introspective with none of the mainly through composed pieces having much form, being diffuse and unfocused. Scofield drifts in and out and often sounds detached from the proceedings and though he breaks free of the rather stultifying atmosphere on a couple of occasions he never sounds as edgy and urgent as when playing in more robust company.The audience seemed to like it, though how they stayed awake throughout the entire set must have been a feat in its self. Perhaps it is one of those recordings that only reveal its virtues after many playings but I have to say that on the basis of a couple of spins, it just doesn’t work for me.
Reviewed by Euan Dixon
ROBIN WILLIAMSON – Trusting In The Rising Light (ECM)
This is Williamson’s fourth album for ECM and the first to feature all his original compositions and poetry, having previously explored the works of poets including Dylan Thomas, Henry Vaughan and William Blake amongst others. Williamson’s words, for this listener, far outstrip his abilities as a singer, and it is fair to say a little goes a long way. ‘These Hands’ works well as a ‘sung’ composition, but the titles such as ‘Night Comes Quickly In LA’ and most notably ‘Just West of Monmouth’ where the words are spoken are perhaps the highlight of the set.
Making up the instrumental trio with Williamson’s Celtic harp, guitar and Hardanger fiddle we have improvising viola player Mat Maneri and drummer/percussionist, Ches Smith, and it is the work of these two fine musicians that provide the interest in this otherwise fairly bland set.
Reviewed by Nick Lea
This is Williamson’s fourth album for ECM and the first to feature all his original compositions and poetry, having previously explored the works of poets including Dylan Thomas, Henry Vaughan and William Blake amongst others. Williamson’s words, for this listener, far outstrip his abilities as a singer, and it is fair to say a little goes a long way. ‘These Hands’ works well as a ‘sung’ composition, but the titles such as ‘Night Comes Quickly In LA’ and most notably ‘Just West of Monmouth’ where the words are spoken are perhaps the highlight of the set.
Making up the instrumental trio with Williamson’s Celtic harp, guitar and Hardanger fiddle we have improvising viola player Mat Maneri and drummer/percussionist, Ches Smith, and it is the work of these two fine musicians that provide the interest in this otherwise fairly bland set.
Reviewed by Nick Lea
ROBERTO ZANETTI TRIO featuring PIETRO TONOLO - Minor Time
Though this album is led by pianist Roberto Zanetti, the most impressive soloist is actually his guest. Tonollo has a lovely sound on both soprano and tenor saxophone and his ideas flow beautifully. The stand-out track is "Guadalupe" which begins with an extended sax/drums passage, Tonollo turning up the heat in this Latin-infused number. It reminds me very much of Sonny Rollins in piano-less trio mode. All the compositions are by Zanetti which for the most part plough a Horace Silverish hardbop furrow, the final track, "Big Apple", with its amen call and response section redolent of Miles' "So What".
Reviewed by Geoff Eales
Though this album is led by pianist Roberto Zanetti, the most impressive soloist is actually his guest. Tonollo has a lovely sound on both soprano and tenor saxophone and his ideas flow beautifully. The stand-out track is "Guadalupe" which begins with an extended sax/drums passage, Tonollo turning up the heat in this Latin-infused number. It reminds me very much of Sonny Rollins in piano-less trio mode. All the compositions are by Zanetti which for the most part plough a Horace Silverish hardbop furrow, the final track, "Big Apple", with its amen call and response section redolent of Miles' "So What".
Reviewed by Geoff Eales
