viernes, 26 de septiembre de 2014

Jerome Sabbagh - The Turn (2014)


Source: sunnysidezone

Longevity is a word rarely associated with jazz ensembles these days. The difficulty in retaining a long lasting musical relationship with any one collaborator is hard enough, let alone trying to keep a quartet together.

An ensemble that has weathered the obstacles and remained a cohesive unit should be celebrated. Saxophonist/composer Jerome Sabbagh has led his tremendous quartet for ten years, a rare display of stability in jazz today. Over the years, the band has developed a unique sound, which stems in no small part from the high level of musicianship involved.

Together with guitarist Ben Monder, bassist Joe Martin and drummer Ted Poor, Sabbagh has recorded his third album as a leader, The Turn: a terrific reminder of the incredible results that can be achieved by a group of dedicated and talented musicians in complete rapport.

The Turn was recorded live to analog tape by the acclaimed engineer James Farber (Brad Mehldau, John Scofield and Joshua Redman) and mastered by the legendary Doug Sax (Pink Floyd, Diana Krall, Ray Charles and Sonny Rollins), yielding a sound that is clear, natural and warm, highlighting the band’s sonic signature.

As a saxophonist, Jerome Sabbagh is an heir to the jazz tradition along with being a part of the eclectic and vibrant New York jazz scene of today. His attachment to lyricism has helped him forge a distinctive identity as a tenor player.

The members of the quartet are equally versed and accomplished. An inspired soloist with a knack for creative harmonic textures, Ben Monder (himself a noteworthy bandleader, composer, and sideman with Maria Schneider, Paul Motian and Lee Konitz) shows once more why he is one of the great guitarists of our time. Joe Martin is a first-rate bassist with a facile ear and has worked with the likes of Mark Turner and Chris Potter. Drummer Ted Poor provides a steady groove that eschews unnecessary effects. He shapes the music with the creativity and with a sure-footedness that has earned him the trust of Kurt Rosenwinkel and Aaron Parks.


The compositions on the recording are all originals, except “Once Around the Park,” a tune written by the recently deceased master drummer and composer Paul Motian. Sabbagh was one of the last saxophonists hired by Motian and played in the drummer’s “New Trio” alongside Ben Monder at the Village Vanguard in New York in 2011. The band’s take on Motian’s piece is done in tribute to this extraordinary figure.

As a composer, the French saxophonist, a New Yorker since 1995, favors strong melodies and crafts compelling moods. The recording features a variety of songs, ranging from a pop/rock influence (“Electric Sun” and “Banshee”) to the more mysterious (“Cult” and “Ascent”). The cohesiveness is found in the improvising and the strength of the band’s sound.

The recording begins with “The Turn,” with its dirge like beginning eventually exploding with a bright, uptempo flair. “Long Gone” follows with Monder and Sabbagh’s lush tones floating on this tender ballad. The aggressive attitude of “Banshee” (featuring wicked solos from both the leader and the guitarist) is balanced by its polar opposite, “Ascent,” a calm, warm-hearted piece and palate cleanser.

The mildly twangy but completely swinging “The Rodeo” hearkens back to the simpatico between guitarist Jim Hall and saxophonist Sonny Rollins on their classic 1950s recordings. “Cult” is a dark and subtle piece with ominous shadings. Motian’s “Once Around The Park” follows with the composer’s lyrical singsong melody over a slightly jaunty rhythm section. The recording concludes with “Electric Sun,” with its backbeat driven, rock tune pulse and open Western sky optimism.

On his new recording The Turn, Jerome Sabbagh explores new material and reunites with the band that he first assembled upon arriving on the New York jazz scene, a band that has matured into a fantastically expressive working group.


Jerome Sabbagh - tenor sax
Ben Monder - guitar
Joe Martin - bass
Ted Poor - drums

1. The Turn 06:15
2. Long Gone 07:27
3. Banshee 06:18
4. Ascent 06:45
5. The Rodeo 07:13
6. Cult 11:14
7. Once Around The Park 04:56
8. Electric Sun 05:57

Released 16 September 2014

"Hearing is Everything" Peter Watkins


Domi

Pete Robbins - Pyramid (2014)


Pyamid represents a flourishing of my long-standing musical relationships with bassist Eivind Opsvik and drummer Tyshawn Sorey, as well as my long-hoped-for collaboration with MacArthur Fellow and pianist/composer extraordinaire Vijay Iyer. We recorded “Pyramid” in 2012 and I finally released it on my Hate Laugh Music label in January, 2014. The recording is a mixture of my original compositions and my reinterpretations of songs by such artists as Nirvana, Guns N’ Roses, Stevie Wonder, and Leonard Cohen, which influenced and affected me earlier in my life and in my musical development.


Pete Robbins – Alto Saxophone, compositions
Vijay Iyer – Piano
Eivind Opsvik – Bass
Tyshawn Sorey – Drums

1. Sweet Child O' Mine
2. Hallelujah
3. Vorp
4. Wichita Lineman
5. Intravenous
6. Lithium
7. Equipoise
8. Too High
9. Pyramid

"Hearing is Everything" Peter Watkins


Domi

Miguel Ângelo - Branco (2013)


Source: Jazz.pt
Label: Porta-Jazz


Nos anos mais recentes tem-se acentuado a evidente tendência – que, contudo, vem muito de trás –, de a cidade do Porto ser pródiga em fornecer ao jazz nacional músicos e discos de valor. Uma parte substancial desse trabalho tem vindo a ser desenvolvido pela Orquestra Jazz de Matosinhos e pela Associação Porta-Jazz, e, no seio desta, pelo seu braço discográfico, a editora Carimbo Porta-Jazz, cujo catálogo continua a avolumar-se em quantidade e qualidade.
O exemplo mais recente é “Branco”, disco de estreia em nome próprio do contrabaixista e compositor Miguel Ângelo. Licenciado em Contrabaixo/Jazz pela Escola Superior de Música, Artes e Espetáculo (ESMAE) do Porto, Miguel Ângelo era já um músico conhecido na cena portuense, embora só agora – e em boa hora – o seu trabalho começa a conhecer visibilidade e reconhecimento mais alargados. Para além da valia técnica inquestionável enquanto instrumentista, expõe-se também na vertente composicional, assinando a totalidade do programa.
“Branco” compila peças que o contrabaixista compôs desde 2009 e que espelham todo um percurso anterior, académico e de colaboração com várias formações, cruzando influências diversas. A formação que acompanha o contrabaixista neste primeiro disco completa-se com João Guimarães no saxofone alto, Joaquim Rodrigues nos pianos acústico e elétrico e Marcos Cavaleiro na bateria.
O quarteto exibe-se em bom plano, valorizando uma escrita que potencia a criatividade individual como mecanismo essencial para o desenvolvimento do som global da formação. O saxofonista, com a sua sonoridade madura e o seu belo timbre, deixa uma marca indelével em todas as peças e reclama outros voos. Joaquim Rodrigues mostra-se competente quer a garantir consistente suporte harmónico quer no plano solista. Cavaleiro é um baterista cada vez mais completo, tão hábil a suprir dinamismo rítmico como a desenhar delicadas acentuações, desenvolvendo uma interação cúmplice, por vezes subliminar, com o contrabaixista.
Miguel Ângelo revela clara preferência pelos tempos médios de recorte sóbrio, melodicamente requintados e embebidos no rigor da linguagem do jazz, embora a marca do rock surja, aqui e ali, camuflada, mais no domínio conceptual do que na forma concreta assumida pelas composições.
Pressente-se, porém, em certos momentos, que a adição de alguma liberdade formal talvez pudesse ser benéfica e incrementasse a riqueza da pena, sobretudo pela exploração de contrastes mais pronunciados. O centro gravitacional do disco parece posicionar-se na peça que lhe dá título, com o seu início solene e um ondulante desenvolvimento melódico, avultando as linhas traçadas pelo saxofonista e a delicadeza do trabalho do baterista.
Interessante é também “Cem”, em que a dança entre piano e saxofone não deixa de trazer à memória a dupla Pinho Vargas/Nogueira. Em “TraMal” (uma alusão ao medicamento com o mesmo nome) Miguel Ângelo lembra o “contrabaixo cantor” de Eberhard Weber, suportando o pianismo fluido e gracioso de Rodrigues. Notas ainda para a luminoso “Maior” e para “Já Não Voltas”, balada de travo “vintage” adocicada pelo saxofone e com conseguida intervenção do contrabaixista.
“Branco” desvenda um músico de inegável talento, cujos passos importa continuar a acompanhar.










"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 








GAB


Bill Frisell - All We Are Saying (2011)

Cover

TRACKLIST:
01. Across the Universe
02. Revolution
03. Nowhere Man
04. Imagine
05. Please Please Me
06. You've Got Hide Your Love Away
07. Hold On
08. In My Life
09. Come Together
10. Julia
11. Woman
12. #9 Dream
13. Love
14. Beautiful Boy
15. Mother
16. Give Peace a Chance
17. Strawberry Fields


LINEUP
Bill Frisell Guitar
Jenny Scheinman Violin
Tony Scherr Bass
Greg Leisz Steel and Acoustic Guitars
Kenny Wollesen Drums



Consummate guitarist, composer and musical interpreter Bill Frisell has assembled a trusted ensemble consisting of Jenny Scheinman (violin), Tony Scherr (bass), Greg Leisz (guitars) and Kenny Wollesen (drums) to record his definitive take on the classic songs of John Lennon. Titled "ALL WE ARE SAYING," the project has long been in the works--one could go as far back as the first time he heard the Beatles at the age of 13. Fast forward a few decades and Frisell is asked to put together an impromptu set in honor of John Lennon as part of a special event in Paris. The preparation, performances and reception to these compositions was an inspiration nurtured to fruition with this project. Recorded at Fantasy Studios in Berkeley and produced by Lee Townsend, "ALL WE ARE SAYING" was released on Savoy Jazz on September 27.


RAZ

Blue Mitchell (feat. John Mayall) - Blue's Blues (1990)



At the time that this Mainstream LP was recorded, Blue Mitchell was the featured trumpeter with John Mayall's blues group. Mayall returned the favor for Blue's set, playing harmonica with an electric octet headed by Mitchell. Among the sidemen are Herman Riley (on tenor and flute), keyboardist Joe Sample and guitarist Freddy Robinson. The material (all obscure originals) is primarily blues-oriented, and the music overall is listenable and funky, but not particularly memorable. Just an average date from these fine musicians.





BUY THIS ALBUM!!!

JR