[phpBB Debug] PHP Warning: in file [ROOT]/phpbb/session.php on line 594: sizeof(): Parameter must be an array or an object that implements Countable
[phpBB Debug] PHP Warning: in file [ROOT]/phpbb/session.php on line 650: sizeof(): Parameter must be an array or an object that implements Countable
[phpBB Debug] PHP Warning: in file [ROOT]/phpbb/session.php on line 1072: Cannot modify header information - headers already sent by (output started at [ROOT]/includes/functions.php:3899)
[phpBB Debug] PHP Warning: in file [ROOT]/phpbb/session.php on line 1072: Cannot modify header information - headers already sent by (output started at [ROOT]/includes/functions.php:3899)
[phpBB Debug] PHP Warning: in file [ROOT]/phpbb/session.php on line 1072: Cannot modify header information - headers already sent by (output started at [ROOT]/includes/functions.php:3899)
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 494: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 370: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 370: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 370: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/includes/bbcode.php on line 370: preg_replace(): The /e modifier is no longer supported, use preg_replace_callback instead
[phpBB Debug] PHP Warning: in file [ROOT]/feed.php on line 181: Cannot modify header information - headers already sent by (output started at [ROOT]/includes/functions.php:3899)
[phpBB Debug] PHP Warning: in file [ROOT]/feed.php on line 182: Cannot modify header information - headers already sent by (output started at [ROOT]/includes/functions.php:3899)
jazztalk.net A forum for jazz... 2019-02-24T20:01:30-08:00 https://jazztalk.net/feed.php?f=35 2019-02-24T20:01:30-08:00 2019-02-24T20:01:30-08:00 https://jazztalk.net/viewtopic.php?t=1320&p=15445#p15445 <![CDATA[Record Reviews • Re: Jeff Goldblum & The Mildred Snitzer Orchestra]]> Thanks, Michael.

Statistics: Posted by Ron Thorne — February 24th, 2019, 8:01 pm


]]>
2019-01-13T11:31:23-08:00 2019-01-13T11:31:23-08:00 https://jazztalk.net/viewtopic.php?t=1320&p=15443#p15443 <![CDATA[Record Reviews • Jeff Goldblum & The Mildred Snitzer Orchestra]]>
Here's a fun one for everyone. Jeff Goldblum's new release is both fun and displays great chops throughout. There are also a number of great YouTube videos of his band performing live. Here's a review from Ben Kaye...

We love Jeff Goldblum for his iconic roles in things like Jurassic Park and Thor: Ragnarok, but there’s more to the man than halting line delivery and quirky characters. An accomplished pianist, he’s been performing at jazz clubs around Los Angeles and New York City with his band, The Mildred Snitzer Orchestra, since the ’90s. Now, he’s finally ready to share his debut album, The Capitol Studios Sessions, on November 9th.

As revealed back in May, Goldblum and The Mildred Snitzer Orchestra signed to Universal’s classic label Decca for the release. Produced by Larry Klein (Joni Mitchell, Herbie Hancock), The Capitol Studios Sessions sought to capture the playful atmosphere of the group’s weekly variety show at LA’s Rockwell Table and Stage by turning Capitol’s Studio A and B into an intimate dinner club. In front of a live audience, Goldblum and his fellow musicians delivered jazz standards while he riffed on his favorite performers and improvisational comedy.

“I love improvising and that feeling of communication and interplay,” Goldblum explained in a press release. “It’s one of the cornerstones of my acting technique. I see my music in the same way.”

Joining in for this unique recording experience were singers like Irish superstar Imelda May (“Straighten Up & Fly Right)” and former American Idol standout Haley Reinhart (“My Baby Just Cares for Me”). Comedian Sarah Silverman also features on the 1920 classic “Me and My Shadow”, while Grammy-winning trumpetest Till Brönner appears throughout.

Statistics: Posted by Mebobo — January 13th, 2019, 11:31 am


]]>
2017-11-23T12:21:15-08:00 2017-11-23T12:21:15-08:00 https://jazztalk.net/viewtopic.php?t=1295&p=15260#p15260 <![CDATA[Record Reviews • The Milk - Favourite Worry (2015)]]>


Excerpt from :

Rating: Highly Recommended

Without an ounce of pretense or artifice, The Milk howls, screams, cries, and yells in voices ragged with pain and a lived life. In the begging of “save me, save me” on “No Interruptions,” you hear they know something about the blues. They also know how to make something sound clean and beautiful, especially in harmony as with shimmering aural walls of “Wanderlust” or the melancholic doubling on “Loneliness Has Eyes.” They haven’t forgotten that ‘60s soul includes the frayed belts of Janis Joplin and the soulful California harmonies of the Mamas & The Papas and The Beach Boys too; not everything honest came out of Memphis and Detroit. They aren’t all loose and undisciplined in their displays of vulnerability, as the vocal precision of lead vocalist Rick Nunn’s phrasing illustrates on “Darling What’s Wrong.” Nunn does so in a voice quivering with emotion, but always in the pocket and coloring with skill. Nunn (who also plays keys and guitar), along with drummer and keyboardist Mitch Ayling and lead guitarist Dan Legresley, have a special blues rock vocal blend as spotlighted on “Deliver Me,” a mid-tempo groove that approaches balladry and is as smooth as it is haunting. Bass guitarist Luke Ayling doesn’t sing, but his contribution is ever-present in its weight, and is irreducible...

Yes, there seems to be a million retro soul outfits these days, coming from such far away places as Italy and Japan, even New Zealand, but they aren’t the UK’s The Milk. In these four musicians’ efforts at being great students of an era that has been heavily mined, and is increasingly becoming a musical parody through clichéd and cheap imitation, they have managed to remember the most vital lessons from the albums of their Black American Music forbearers: no matter how influenced you are by the greats, to still be yourself too; to sing your truth and write your lyrical blues as honestly and starkly as you can; and, to leave everything you have to give as an artist, to leave all of it on the stage or the studio floor. On Favourite Worry, The Milk has earned nothing but exemplary marks on this report card.

Full review: https://www.soultracks.com/album-review ... rite-worry

Statistics: Posted by jtx — November 23rd, 2017, 12:21 pm


]]>
2016-03-19T17:44:09-08:00 2016-03-19T17:44:09-08:00 https://jazztalk.net/viewtopic.php?t=1163&p=14330#p14330 <![CDATA[Record Reviews • Gerard Presencer & Danish Radio Big Band - Groove Travels]]>


Something of a child prodigy Gerard Presencer became a member of Britain's acclaimed National Youth Jazz Orchestra in 1983 at a mere eleven years of age and NYJO's youngest trumpeter. Along with other young talented UK musicians such as Courtney Pine and Tommy Smith, Presencer was part of a new wave of British jazz. He's played in bands led by Stan Tracey and Charlie Watts but perhaps his most well-known role occurred at age 18 when US3 commissioned him to play a trumpet solo on a re-working of Cantaloupe Island ("Cantaloop Flip-Fantasia") on the band's huge-selling Blue Note album Hand On The Torch. He's also a noted academic, formerly Head of Jazz studies at the Royal Academy of Music in London from 1999 to 2010 and currently Head of the Brass Department at Berlin's Jazz Institute. He lives in Copenhagen and is trumpet soloist with the world famous Danish Radio Big Band, hence the recording of Groove Travels with the DRBB, but interestingly this is only the fourth album under his own name.

The seductively silky opener "Another Weirdo" reminds the listener of the sumptuousness of Joe Zawinul's elegant "74 Miles Away" and, in common with the five other tracks on the album penned by Presencer, demonstrates that this virtuoso trumpeter -his magnificently soaring flugelhorn solo punctuates the skilful arrangement -also has great compositional skills too. Presencer's flugelhorn cadenza introduces the multi-paced and intricately constructed "Blues For Des." Karl-Martin Almqvist solos here on tenor saxophone in addition to more interspersed blues-infused flugelhorn soloing.

"Ballad or Tango of the Misunderstood" is aptly-titled since it simultaneously combines the characteristics of a ballad and a tango. An engaging Fender Rhodes solo by Henrik Gunde precedes Presencer soloing on flugelhorn and Pelle Friddell on soprano sax, whose solo, somewhat curiously fades out at the conclusion of the track. "The Devil's Larder" has an instantly gripping melody line played by Presencer and then taken-up by the whole ensemble which here is multi-tracked giving the effect of a dynamic double big band.

Full review: http://www.allaboutjazz.com/groove-trav ... farbey.php

Statistics: Posted by jtx — March 19th, 2016, 5:44 pm


]]>
2016-01-13T15:32:53-08:00 2016-01-13T15:32:53-08:00 https://jazztalk.net/viewtopic.php?t=1091&p=14131#p14131 <![CDATA[Record Reviews • Re: Brad Mehldau - new boxed set: 10 Years Solo Live]]> His liner notes are too!

I'm a big fan of Mehldau and he does not disappoint on this one.

Statistics: Posted by peterdubya — January 13th, 2016, 3:32 pm


]]>
2015-11-04T17:27:57-08:00 2015-11-04T17:27:57-08:00 https://jazztalk.net/viewtopic.php?t=1091&p=13910#p13910 <![CDATA[Record Reviews • Brad Mehldau - new boxed set: 10 Years Solo Live]]>
Brad Mehldau Evolves in ‘10 Years Solo Live,’ a New Boxed Set

By NATE CHINEN
OCT. 21, 2015



The pianist Brad Mehldau. Credit Michael Wilson


Somewhere around the midpoint of “10 Years Solo Live,” his elegant, imposing new boxed set, the pianist Brad Mehldau settles into a song as if it were a vintage leather club chair. The track is “Holland,” by the indie troubadour Sufjan Stevens, and its drifting waltz tempo and bittersweet air feel perfectly in tune with Mr. Mehldau’s signature style, maybe even to a fault.

After five minutes of tasteful luxuriating, the song begins to take new dimensions: a darkening tone, a growing fixation on one tendril of melody from its medieval-sounding end refrain. We’re off and away by then, following a mind awhirl in creative reverie. Mr. Mehldau — tracing connections, making digressions, but never quite forsaking the original framework — sounds both grounded and almost boundless.

That performance, in its gradual unfolding and dramatic, expressive payoff, is roughly par for the course on “10 Years Solo Live” (Nonesuch), a compendium of eight LPs that Mr. Mehldau assembled from a decade’s worth of European concert recordings. (It will be offered digitally and as a four-CD set on Nov. 13.)

The music adds up to an ambitious self-portrait, finding rich possibility in a simple formula: “Short, small songs that get stretched out into bigger vehicles with grand expressive gestures,” as Mr. Mehldau writes in a thoughtfully didactic liner-note essay.

Mr. Mehldau, 45, has entered a mature and reflective phase of his art, which isn’t to imply that maturity and reflection were ever far from its core. Since “Introducing Brad Mehldau” appeared on Warner Bros. 20 years ago, he has arguably been the most widely influential pianist in jazz: You’ll find traces of his approach among a remarkably diverse coalition of younger players, from Fabian Almazan to Glenn Zaleski. (Sometimes you’ll find more than traces.)

Mr. Mehldau’s main vehicle has been a sleek acoustic trio with Larry Grenadier on bass and Jeff Ballard (previously, Jorge Rossy) on drums. But he has also branched out with collaborators like the heavy-groove drummer Mark Guiliana, the beyond-bluegrass mandolinist Chris Thile, the pop-literate soprano Renée Fleming and the literate-pop producer Jon Brion. With Pat Metheny, a guitarist and composer of similarly far-reaching aesthetics, Mr. Mehldau formed an intergenerational alliance that yielded two albums and a major tour.

Through every chapter, solo piano remains a constant, the format in which Mr. Mehldau best excels at converging his interests in classical Romanticism, modern jazz and anguished but melodic indie rock. He’ll bring this trademark mix to a solo recital on Thursday at Zankel Hall; the program will include selections from Bach’s “Well-Tempered Clavier,” as well as “Three Pieces After Bach,” a new commissioned work.

But there’s no way the concert could exceed the bar set by the new collection, which contains some of the most impressive pianism Mr. Mehldau has captured on record. Because he took seriously the project of selecting his material, choosing a different theme for each LP — “Dark/Light,” “The Concert,” “Intermezzo/Rückblick” and “E Minor/E Major” — this set also reveals something about Mr. Mehldau’s evolving process as an artist.

Anyway, it’s a deep dive. And in its baronial sprawl, “10 Years Solo Live” more closely resembles a deluxe archival package than the work of an improviser at midcareer; one of its few precursors in that regard is Keith Jarrett’s “Sun Bear Concerts,” a 10-LP collection recorded in Japan and released on ECM in 1978. And yes, let’s acknowledge that Mr. Mehldau’s new release probably won’t mollify anyone who likes to grouse about a perception of grandiose interiority in his music, let alone the cerebral quality often filed under pretentiousness.

Mr. Mehldau became a working musician at a time when jazz was engulfed by historicism, and he spent a lot of youthful energy swatting away one presumptive legacy or another. This could be one reason that his solo work deals sparingly with the jazz repertory. The “jazziest” track in the new collection is a welcome extrapolation of “This Here,” by Bobby Timmons. Two tunes by Thelonious Monk run a close second. (Mr. Mehldau will be a featured guest in a Monk-themed concert by the Jazz at Lincoln Center Orchestra on Friday and Saturday at Town Hall.)

Elsewhere, song form serves as a springboard rather than a road map. “I am no longer relying on the structure of the song for my improvisation, in the classic jazz manner of theme and variations,” Mr. Mehldau writes, “but instead am using pieces of the melody as motific jumping-off points, and then allowing the harmony to follow in a freer manner.” He does this no less probingly with John Coltrane’s “Countdown” than with Nirvana’s “Smells Like Teen Spirit.”

The inclusion of Nirvana brings up another trademark of Mr. Mehldau’s solo output. “A lot of the music in this collection is Gen-X music,” he explains, unabashed. “That music spoke to the way we all felt lost and untethered in the world.”

Whatever you think of this assessment, Mr. Mehldau evidently finds something personal and usable in these songs, by bands like Massive Attack, the Verve, Stone Temple Pilots and especially Radiohead. It’s surely no coincidence that “Holland,” that Sufjan Stevens song, evokes the whispery specter of the singer-songwriter Elliott Smith, with whom Mr. Mehldau had some meaningful interaction via Mr. Brion.

Working with music from his own era has been a good way for Mr. Mehldau to stand apart from the lineage of other solo piano improvisers, including living paragons like Mr. Jarrett and Fred Hersch. But “10 Years Solo Live” also confirms that his pristine technique and prismatic elaboration are distinctive traits unto themselves. The set’s closing track is “God Only Knows,” the Beach Boys aria, and Mr. Mehldau gives it the full rhapsodic treatment: shimmery, inquisitive and grave. From the first pale tremolo to the last seismic rumble, the performance is unmistakably Mr. Mehldau’s handiwork, and an astonishment even by his lofty standards.


Statistics: Posted by Ron Thorne — November 4th, 2015, 5:27 pm


]]>
2015-11-02T19:10:34-08:00 2015-11-02T19:10:34-08:00 https://jazztalk.net/viewtopic.php?t=1034&p=13905#p13905 <![CDATA[Record Reviews • Re: Benny Green, Live in Santa Cruz! + Bill Charlap Trio concert]]> Statistics: Posted by makpjazz57 — November 2nd, 2015, 7:10 pm


]]>
2015-09-06T22:14:37-08:00 2015-09-06T22:14:37-08:00 https://jazztalk.net/viewtopic.php?t=1056&p=13708#p13708 <![CDATA[Record Reviews • Todd Williams, Lift Up Your Heads]]>
I've been listening to "Lift Up Your Heads," a new release on CD Baby by saxophonist Todd Williams. Remember him? On tenor, soprano and clarinet, Williams was a mainstay of Wynton Marsalis's quintet, septet and the LCJO from 1988 to the early 90's. A devout Christian, he left the limelight to become musical director of his church, eventually releasing an album of instrumental religious music that, judging from online samples, is of greater interest to devotees of inspiring hymns than to jazz fans. His website reports that he is currently teaching and going for a doctorate at Indiana Wesleyan University.

Perhaps this new release indicates a desire to return from jazz obscurity to renewed prominence as a performer. I hope so. I purchased it as a download and haven't been able to find any information about it online except that it's a live date where Williams calls in a backing trio of illustrious Wyntonians: Marcus Roberts on piano, Reginald Veal on bass, Herlin Riley on drums. They deliver a robust program of melodious and exuberantly swinging music, with Roberts' confident and muscular tenor (soprano on one number) taking full advantage of the top-notch rhythm section.

There is nothing conceptually challenging here, and indeed the tunes seem designed to draw in the audience with clear and simple melodies and infectious swing. The approach is sincere and effective, and the playing is, to me, pure pleasure. Roberts has a fondness for the gospel feel, and the contrast between the heat that generates and his somewhat buttoned-up ivory-tickling expertise makes for an always interesting tension. Veal provides a strong, sure bottom; Herlin Riley’s drumming is irresistible, his mastery of the New Orleans drums tradition perhaps unsurpassed (note in particular a wonderful solo on the first track). The sum total is a CD that on a surface level is catchy and hummable, and deeper down offers deft and sophisticated ensemble virtuosity. More importantly, it’s joyful and communicative. You could do much worse.

Statistics: Posted by Tom Storer — September 6th, 2015, 10:14 pm


]]>
2015-08-17T15:35:23-08:00 2015-08-17T15:35:23-08:00 https://jazztalk.net/viewtopic.php?t=1034&p=13632#p13632 <![CDATA[Record Reviews • Re: Benny Green, Live in Santa Cruz! + Bill Charlap Trio concert]]> Statistics: Posted by Ron Thorne — August 17th, 2015, 3:35 pm


]]>
2015-08-10T08:30:45-08:00 2015-08-10T08:30:45-08:00 https://jazztalk.net/viewtopic.php?t=1034&p=13597#p13597 <![CDATA[Record Reviews • Benny Green, Live in Santa Cruz! + Bill Charlap Trio concert]]> Benny Green, piano; David Wong, bass; Kenny Washington, drums

Bill Charlap Trio at the Duc des Lombards, Paris, July 16, 2015
Bill Charlap, piano; Peter Washington, bass; Kenny Washington, drums

***

Benny Green is a keeper of the flame of the hard bop tradition. I've enjoyed his performances on several occasions over the years, from his beginnings in Betty Carter's trio through his time with Art Blakey and on to sideman responsibilities with various like-minded members of his generation. I've never seen him with his own trio, though, which is his main gig these days. Although Green's abilities are impressive, I've sometimes found him a little too orthodox. But I think his latest release, Live in Santa Cruz!, might be his definitive recording, at least so far. Comparing it to a recent performance by the Bill Charlap Trio is illuminating.

Green is accompanied on the CD by the excellent David Wong on bass and the superlative Kenny Washington on drums. Washington is also a member of Charlap's longstanding trio (with the unrelated Peter Washington on bass). In both contexts the drummer plays the purest bebop drums, crisp, snapping, and booting the rhythm propulsively forward with exquisite balance.

"Live In Santa Cruz!" rocks and stomps joyfully. Green plays hard, communicating the force of his swing through his strong chords, chopped and bounced and dug in with athletic determination, and his single notes, drilled with hydraulic precision. He's not a Brubeckian--there's no bombast or pounding. He swings all the way, with the rhythm section surging underneath. In the hard bop manner, the tunes are all about the swinging arrangements. The piano solos are expert and exuberant, showing Green's great ease and familiarity with the jazz piano tradition. But they serve the swinging arrangements above all. That is no doubt part of what makes the performance so strong. It practically glows with a delightful, communicative warmth. Here Green and his trio seem not conventional but inhabited by great conviction.

In the Bill Charlap Trio's recent Paris performance, which I have heard in a format not commercially released (send me a private message if you want to know more), Charlap inhabits a similar space in the piano trio universe, but drawing more from Tommy Flanagan's elegant and inventive trio. Kenny Washington is just as great here as he is with Green, and Peter Washington's bass is given more pride of place than Wong. In general, the arrangements are more elaborate. Charlap himself occupies the spotlight as a virtuoso instrumentalist full of ideas. The interplay among the three is both worked out through long practice together and through the arrangements, and seemingly more spontaneous. Compared with Benny Green's CD, there is also more lyrical invention.

Taken together, Green and Charlap's trios are evidence for what I sense as a strengthening of the "swinging tradition" faction in today's jazz, as the rancor of the Wynton Wars fades to a (persistent) memory. A significant number of musicians, younger and older, continue to choose the historical mainstream and to shine, without polemics, influencing the up and coming generations. Long live the power of swing.

Statistics: Posted by Tom Storer — August 10th, 2015, 8:30 am


]]>
2015-08-03T13:39:07-08:00 2015-08-03T13:39:07-08:00 https://jazztalk.net/viewtopic.php?t=1016&p=13501#p13501 <![CDATA[Record Reviews • David Torn - only sky (ECM, 2015)]]>


Despite a career that now goes back over three decades, the relative infrequency of releases from guitarist and sound sculptor David Torn renders any new one, at the very least, a cause for speculation...if not enthusiastic anticipation. Beyond the soundtracks that have become one piece of the puzzle that defines who Torn is—and acting as engineer and/or producer for fellow unfettered explorers like saxophonist Tim Berne on albums including Shadow Man (ECM, 2013) as another—Torn was last heard on a curiously constructed improvised set with bassist Tony Levin (King Crimson, Peter Gabriel) and drummer Allan White (Yes) on the unassumingly titled Levin Torn White (Lazy Bones, 2007)....

...[On only sky,] Torn has chosen to go it alone and almost entirely in spontaneous real-time: just one man, one guitar, one electric oud and a bevy of effects—so much so that, in a Facebook conversation, Torn explained "what little bits which were not performed in the original real-time are so small as to be, 'should I really even mention this?' afterthoughts. I think there are three or four of these teensy itty-bits, and that's it."...

...only sky's nine original, real-time spontaneous compositions were created with, as the guitarist explains, "just my instrument and multiple looping devices, with some favorite fuzzboxes." Another important contribution to the sound of some of only sky's pieces is the sound of the room in which they were recorded: the Experimental Media and Performance Arts Center (EMPAC), in Troy, New York. Not unlike the Vigeland Mausoleum in Oslo, Norway—where artists like Arve Henriksen and Stian Westerhus have taken advantage of the room's marvelous 20-second delay characteristic—the EMPAC'S high ceiling and acoustics that are, in Torn's words, "pillowy but pithy at the same time," contribute another inspirational factor in the spontaneous compositional approach Torn employed for this record....

...For those who question Torn's harmonic sophistication, one listen to the closing "a goddamned specific unbalance" should resolve any doubts. Just as listening to the Frisell of Nashville (Nonesuch, 1987) provides little to suggest the more complex Frisell of, say, This Land (Nonesuch, 1994)—or, for that matter, his quarter century-plus trio with drummer Paul Motian and Joe Lovano—so, too, does trying to categorize Torn based on any one recording provide the guitarist the broad-scoped credibility that he deserves.

Still—and despite this being a solo record—only sky may come the closest to delivering the whole package when it comes to defining what David Torn is all about.

Solo recordings are always a dicey proposition; naked, with nobody to hide behind, the artist's work is laid bare for all to hear. But given that only sky is, according to Torn, "the closest to capturing what I do alone with a guitar at home," it most accurately approaches who Torn is when he's unbound by the constraints that most projects, if even inadvertently, impose. The result is a record that is his most idiomatic and individualized. Sonically it's an expansive record that's the antithesis of the traditional solo guitar record—not unlike label mate Eivind Aarset's similarly superb but far more considered Dream Logic (2012)—and for those looking to find clear form amidst the swirling clouds, elliptical phrases and chiming chordal passages, there will be plenty to challenge them. Still, everything from harsh angularity to unabashed beauty can be found on only sky, yet another album which suggests that it's those Torn makes for ECM that are invariably his best—and, in this case, his most personal, too.

Full review:

Statistics: Posted by jtx — August 3rd, 2015, 1:39 pm


]]>
2015-02-07T21:13:03-08:00 2015-02-07T21:13:03-08:00 https://jazztalk.net/viewtopic.php?t=809&p=12412#p12412 <![CDATA[Record Reviews • Re: Frank Kimbrough, Quartet + Michael Blake, Tiddy Boom]]>
Wish we could get Frank here doing the "ask musician" thread like he did at the old place

Statistics: Posted by jwaggs — February 7th, 2015, 9:13 pm


]]>
2014-12-10T18:27:29-08:00 2014-12-10T18:27:29-08:00 https://jazztalk.net/viewtopic.php?t=849&p=11795#p11795 <![CDATA[Record Reviews • Stefano Bollani | Joy In Spite Of Everything]]> Rifftides
Doug Ramsey on Jazz and other matters...

Monday Recommendation: Stefano Bollani

December 8, 2014 by Doug Ramsey



Stefano Bollani, Joy In Spite Of Everything (ECM Records)

The Italian pianist, his Danish rhythm section mates and two American stars emphasize the joy of the title, but Bollani’s album also has moments of thoughtful stateliness. Tenor saxophonist Mark Turner, guitarist Bill Frisell, bassist Jesper Bodilsen and drummer Morten Lund join Bollani in various combinations from duo to quintet. Bollani’s eight compositions reflect inspiration from the Caribbean, Africa, bebop and his fertile imagination. With its springboards of harmonic changes, the rhythmically intricate “No Pope No Party” opens up for inspired improvisation by Bollani, Turner and Frisell. In “Vale Teddy” (“Worthy Teddy”) the Teddy Wilson influence is apparent in Bollani’s exquisite keyboard touch. As for that stateliness, it illumines “Vale Teddy” and Las hortensias,” both with memorable choruses by Turner. The album is an ideal companion to his recent Lathe of Heaven. ECM’s Sound quality is superb.

Statistics: Posted by Ron Thorne — December 10th, 2014, 6:27 pm


]]>
2014-11-03T08:58:13-08:00 2014-11-03T08:58:13-08:00 https://jazztalk.net/viewtopic.php?t=809&p=11448#p11448 <![CDATA[Record Reviews • Re: Frank Kimbrough, Quartet + Michael Blake, Tiddy Boom]]>
I haven't picked up the Kimbrough release yet, thanks for the reminder.

Statistics: Posted by pig pen — November 3rd, 2014, 8:58 am


]]>
2014-11-03T06:41:25-08:00 2014-11-03T06:41:25-08:00 https://jazztalk.net/viewtopic.php?t=787&p=11447#p11447 <![CDATA[Record Reviews • Re: Mark Turner, Lathe of Heaven]]>
Turner also sounds great on Tom Harrell's recent "Trip," a piano-less quartet recording with Ugonna Okegwo and Adam Cruz. Those who are put off by Turner's cerebral aspects should give this a lesson, he plays more traditionally. He plays a fantastic bluesy solo on the opening piece, "Sunday," and blistering bebop-ish lines on a couple of other tunes.

Statistics: Posted by Tom Storer — November 3rd, 2014, 6:41 am


]]>