viernes, 10 de abril de 2015

Adam Harris Quintet - Live At The Jazz Station (2015)


Source: Allaboutjazz
Label: Self Released
Gab's Rating: ☆ ☆ ☆ ☆


Adam Harris is an Oregon-based jazz saxophonist, flutist, composer and teacher. At 28 years old, he is already establishing a reputation for himself as a powerful voice in the Pacific Northwest music scene.
In 2004, he moved from Oregon to Seattle, WA where he began studying at Cornish College of the Arts. While at Cornish, Adam had the privilege of working with many of the area's most well known jazz musicians, which included Julian Priester, Jovino Santos Neto, Jay Thomas, Jim Knapp and Denney Goodhew.
After graduating with a Bachelor's Degree in Music from Cornish, Adam attended the New England Conservatory in Boston, MA, where he earned his Master's of Music degree in December, 2011. While in Boston, he had the fortune of working with critically acclaimed musicians such as Dave Holland, Donny McCaslin, Miguel Zenon, Jerry Bergonzi, George Garzone, Billy Hart and Cecil Mcbee.
Adam currently resides in Eugene, Oregon, where he performs and teaches regularly. He recently recorded his first album as a leader, “The Adam Harris Quintet - Live at the Jazz Station”, which is expected to be released in March of 2015.


1. Hub Cap
2. Blues for My Brother
3. Lonely Wanderer
4. Gonzi Scheme
5. Around the Circuit
6. Good Old Days


Adam Harris - saxophone
George Colligan - piano
Jason Palmer - trumpet
Jon Lakey - bass
Tony Glausi - drums


"Master your instrument, master the music 
& then forget all that & just play."
 
 - Charlie Parker -
 
 

Cassandra Wilson - Coming Forth by Day (2015)



An otherworldly musical homage to legendary jazz vocalist Billie Holiday (born Eleanora Fagan on April 7, 1915) on the 100th anniversary of the singer's birth, Coming Forth By Day is Cassandra Wilson's moody, soulful new album showcase for contemporary yet timeless interpretations of standards associated with Lady Day. Coming Forth By Day was produced by Nick Launay, known as Nick Cave's producer for the last decade among many other adventurous credits.

Cassandra Wilson has drawn inspiration from Billie Holiday for her entire life and chose the title as a way to honor the iconic singer: "Coming Forth By Day" is an English translation of the title of the ancient Egyptian "Book of the Dead." The book, formally known as the "The Egyptian Book Of The Dead," is in actuality a Kemetic collection of scriptures more accurately titled, The Book Of Coming Forth By Day, prescriptions intended to assist both the living and deceased in their journey through life and the afterlife.

The album features 11 re-interpretations of standards associated with Lady Day plus an original penned by Cassandra Wilson the dream-like new "Last Song (For Lester)," imagined as a heartbreaking final message from Billie to her musical love, Lester Young. (Upon getting the news that Young had passed away, Billie flew straight from overseas to his funeral but was denied the opportunity to sing by Young's family and was distraught.)

Wilson recorded Coming Forth By Day in Los Angeles at Seedy Underbelly studios with an A-list musical team including producer Launay (Nick Cave, Yeah, Yeah, Yeahs, Arcade Fire), guitarists T Bone Burnett and Nick Zinner of the Yeah Yeah Yeahs, string arranger Van Dyke Parks and rhythm section The Bad Seeds (drummer Thomas Wydler and bassist Martyn P. Casey).

"A dream of mine is happening," said Cassandra Wilson, "I've been in love with Billie Holiday's voice since the moment I heard it, and she has inspired me throughout my career."

01. Don't Explain
02. Billie's Blues
03. Crazy He Calls Me
04. You Go to My Head
05. All of Me
06. The Way You Look Tonight
07. Good Morning Heartache
08. What a Little Moonlight Can Do
09. These Foolish Things
10. Strange Fruit
11. I'll Be Seeing You
12. Last Song (For Lester)

Cassandra Wilson, voice



Doug Webb - Tripl3 Play (2015)


Label: Posi-tone
Gab's Rating: ☆ ☆ ☆ ☆ ☆ 


As tempting as it is to simply consign a blowing session label to Triple Play, a three tenor saxophone plus rhythm date led by Doug Webb, there's ample evidence that something more disciplined and structured is afoot. For one thing, eight of the disc's eleven tracks are under six minutes—in other words, there's not a lot of room for indulgence, excess, or one-upmanship of any kind. The material, including striking originals by the leader, Walt Weiskopf, and Joel Frahm, as well as assorted standards such as "Avalon," "Giant Steps," and "I Concentrate On You," is often tendered by the horns like a reed section of a big band, carefully blended and precisely executed. Randy Aldcroft, who doesn't appear on the record, is credited with the arrangements of three selections.

Organist Brian Charette serves as the session's ballast, holding things in place with smart, pulsating work on the bass pedals, beautifully shaded and nuanced comping, as well as tweaking soloists with the occasional brash chord. Rudy Royston's drums and cymbals constitute the session's wild card. He offers a busy, sometimes manic commentary, moving in and out of the pocket at will, punching holes in the music with his bass and snare drums, playing stretches of comparatively straight time, as well as tapping out jumbles of strokes.

Webb, Weiskopf, and Frahm are middle-aged veterans of the struggles and triumphs of jazz performance, far too accomplished and certain of their abilities to participate in some sort of spurious tenor battle; thankfully, the record's end result is a wealth of inspired, highly focused improvisations. The three tenors—each in his own manner—play with a ruthless efficiency, making complete, rousing statements, usually in just a handful of choruses, on selections mostly taken at middling to up tempos.

Webb possesses an exemplary ability to navigate various tempos and find fresh perspectives on material that would induce a litany of clichés in a lesser player. Undaunted by the dizzying pace of "Avalon," his ideas cohere without a trace of athleticism or strain. A three-chorus turn on Lou Donaldson's soul-jazz tune "Alligator Boogaloo" includes relaxed, neatly sculpted phrases as well as the requisite blues and R & B effusions. Throughout "I Concentrate On You," amidst Charette's and Royston's firm support, he swings in a way that evinces a momentum of its own. During the first chorus of his composition "Jones," Webb makes an art of stopping short, that is cutting off ideas before an easily anticipated conclusion, and then offering something else, without any hint of disengagement or loss of continuity.

It's easy to become preoccupied with Weiskopf's tone, a dense, vibrating, all-encompassing, blues-fused concoction, at the expense of taking notice of the ways in which he organizes ideas in the service of sustaining momentum. On his composition "Three's A Crowd" and Webb's "Triple Play," he displays a flair for brief, dramatic entrances—such as slamming home one note and extending it, or making a handful of notes sound like a buzz saw, immediately following with an impassioned, metallic cry—and then rapidly getting down to the business of building a cogent, emotionally compelling improvisation. The second chorus on "The Way Things Are," another one of his compositions, includes some of Weiskopf's most stunning work on the record. His lines are taut, tightly connected, and for the most part etched into the hum and rumble of Charette's bass line. When he pauses, or briefly spins out a flurry of notes that fly against the beat before snapping back to attention, the effect is like an edifice being ripped apart and immediately—miraculously—put back into place.

Each of Frahm's solos is something of an adventure, as he manipulates his tone, juggles contrasting rhythms, intentionally rushes or drags time, changes temperament from cool to hot, and flashes a number of ideas in relatively short periods. His "Jones" improvisation gradually comes into focus. Frahm lays back for much of the first chorus, playing a little behind the beat and leaving some room between selected phrases. The last eight bars signal a change as his tone assumes a ragged edge. The second chorus begins with the insistent pecking of a number of staccato notes, which he rapidly wrestles into a nifty phrase. Eventually his sound thickens and he integrates squeaks, burr tones, and screams. During "Your Place Or Mine" Frahm evokes jazz of the swing era for about a half chorus in terms of vocabulary and rhythmic nuisances before metamorphosing to the present day. Throughout "Triple Play" he creates tension by playing slightly ahead of the beat, and sprinkles at least three song quotes into the solo's second chorus.

Not unlike Swing Shift, Webb's memorable 2012 release on Posi-Tone, Triple Play contains the present centered vibe of the last set of a club date, when the musicians are open to all possibilities, expressing themselves without inhibitions and, for an hour or so, the sounds are strong enough to keep the outside world at bay.  - David A. Orthmann -


01. Jones 4:47
02. Three's a Crowd 5:11
03. Giant Steps 4:01
04. The Way Things Are 4:58
05. Avalon 4:43 
06. Jazz Car 6:31
07. Your Place or Mine 4:59
08. I Concentrate on You 5:50
09. Pail Blues 7:31
10. Alligator Boogaloo 4:24
11. Triple Play 6:45

Doug Webb - tenor sax
Walt Weiskopf - tenor sax
Joel Frahm - tenor sax
Brian Charette - organ
Rudy Royston - drums



"Master your instrument, master the music 
& then forget all that & just play."
 
 - Charlie Parker -
 


Enrico Bracco - Quiet Man (2015)


Label: Auand 
Gab's Rating: ☆ ☆ ☆ ☆ ☆


Un’immagine nitida con la melodia in primo piano
 Sullo sfondo, il jazz newyorkese delle ultime generazioni. In primo piano, la melodia. La fotografia di “Quiet Man”, il nuovo lavoro del chitarrista Enrico Bracco appena uscito per Auand Records, è chiara e nitida. Eppure, come tutte le immagini d’autore, basta guardare un po’ più da vicino per ritrovare dettagli, colori e storie che, in questo caso, emergono ascolto dopo ascolto.
Influenzato dai lavori di Kurt Rosenwinkel, Brian Blade, Mike Moreno e soprattutto Logan Richardson, Bracco ha messo a punto uno stile compositivo che rende i suoi brani elegantemente stratificati: melodie orecchiabili e linee morbide (come in “L’esegeta” e “La Regola”) svelano percorsi impervi e spigolosi e si posano su arrangiamenti curati, tutti caratterizzati da un forte equilibrio che dà al disco una matrice molto personale, anche nei brani dalle atmosfere un po’ più scure (“Childhood Lost”). Il leader ha firmato le dieci composizioni originali (più una bonus track disponibile solo in digitale) che compongono il disco, ma l’omogeneità del suono è il frutto di un lavoro comune che coinvolge tutta la band che lo accompagna: Daniele Tittarelli (sax alto, flauto), Pietro Lussu (piano), Luca Fattorini (contrabbasso) e Enrico Morello (batteria).
Il percorso iniziato con il precedente “Unresolved”, con un nuovo approccio alla composizione, è ora ancora più definito. È lo stesso Bracco a descriverlo nelle note di copertina: “Facendo un parallelo con l’arte figurativa, penso ai disegni dell’artista austriaco Egon Schiele: un tratto che ha in sé la spigolosità e la morbidezza, i chiari e gli scuri; una linea che annulla la bidimensionalità, suggerendo piani e volumi”.
 
 
01 Play or rest
02 Lionel
03 Quiet man
04 Childhood lost
05 L'esegeta
06 La Regola
07 The bad guys band
08 Alis 3
09 Resonance
10 La Via DI Adamo
11 Brack's Tone


Daniele Tittarelli alto sax, flute
Enrico Bracco guitars
Pietro Lussu piano
Luca Fattorini double bass
Enrico Morello drums



"Master your instrument, master the music 
& then forget all that & just play."
 
 - Charlie Parker -