martes, 17 de noviembre de 2015


Label: Alea

Le jazzman « pur jus » a coutume de faire des standards de tout un chacun SES standards, en y inscrivant sa marque. Pierre de Bethmann fait mieux que cela, il désigne comme tels des thèmes qui n'avaient pas forcément été classés de la sorte, et par ce geste d'appropriation (ou de reconnaissance mutuelle entre le thème et le musicien) nous ouvre de nouveaux horizons, inespérés. Voici près de trois ans le pianiste, qui s'était orienté vers des formations plus étoffées, se voit proposer un concert en trio. C'est une formule qu'il connaît, et qu'il a longtemps pratiquée avec « Prysm ». Il profite de l'occasion pour convier des musiciens que, de son propre aveu « il admire depuis de nombreuses années ». Ainsi naît, à la faveur d'une proposition très ponctuelle, un trio régulier. Il faut dire que l'un comme l'autre (Sylvain Romano et Tony Rabeson) sont des orfèvres dans l'art de la réactivité, de l'échange, et de l'engagement inconditionnel au service d'une musique. C'est ainsi que, d'un thème signé Herbie Hancock (Promise of the Sun, album « The Prisoner », 1969) jusqu'au Pull Marine de Gainsbourg/Adjani, en passant par le Chant des Marais (hymne européen de la déportation) ou la Sicilienne de Fauré, Pierre de Bethmann fait siennes toutes les mélodies qui lui parlent, et auxquelles il fait dire bien d'autres choses encore. Ainsi Indifférence, valse-jazz de Tony Murena, glisse du vertige nostalgique vers un phrasé cursif de jazz moderne, sans perdre une once de son charme. Et la pulsation riche, autonome et stimulante du tandem basse-batterie lui donne une nouvelle jeunesse. La Mer de Trenet voit ses intervalles modifiés, sa trame harmonique enrichie avec audace, et pourtant la magie originelle demeure. On dira que c'est le propre des vrais jazzmen que de faire d'aussi fécondes transformations, et l'on aura raison. Cela se confirme avec les plages qui accueillent des standards avérés (Beautiful Love, For Heaven's Sake, Without a Song) : la liberté d'interprétation et de personnalisation va encore prévaloir, en parfaite osmose entre les trois compères, pour donner un disque de trio très intense, et totalement réussi. Le jazz en quelque sorte, dans sa vérité première ! Xavier Prévost

01 Promise of the Sun (Herbie Hancock)
02 Sicilienne (Gabriel Fauré)
03 Indifférence (Antonio Murena)
04 Beautiful Love (Victor Young)
05 For Heaven's Sake (Don Meyer)
06 La Mer (Charles Trénet)
07 Chant des Marais (Rudi Goguel)
08 Without a Song (Vincent Youmans)
09 Pull Marine (Serge Gainsbourg)

Pierre de Bethmann - piano
Sylvain Romano - bass
Tony Rabeson - drums


Nathan Peck - TOP DEAD CENTER (2015)

Source: Cdbaby
Label: High Rev Records

Bassist and composer Nathan Peck is based in New York City and has performed with a wide range of artists such as Bonnie Tyler, Sting, Vernon Reid, Alex Skolnick, Maynard Ferguson, Wynton Marsalis, Mark Murphy, and has performed in over 30 countries. Raised in a musical family, Nathan had an immense amount of support which fostered his musical growth. He began playing electric bass at age 14 and acoustic bass at age 15. By age 16 he had already won awards and was performing regularly with his family and other professional jazz musicians. His debut album 'Top Dead Center' is an electric jazz excursion featuring 27 top musicians from New York City featuring an eclectic sampling of textures and elements of dub, hip hop, soul jazz, mixed-meter funk, jazz-rock, fusion and world music. This album features a cover of the classic theme from Sesame Street's 'Pinball Number Count' by Walt Kraemer which originally featured the Pointer Sisters and a slew of top session musicians. Nathan is an endorsing artist for Audio Technica, Aguilar Amplification, D'Addario & Co., Sadowsky Guitars, Kala UBass, Seymour Duncan, Focusrite Novation.




Dwiki Dharmawan - So Far So Close (2015)

Label & Source: Moonjune Records

On his debut for MoonJune Records, the Indonesian iconic keyboardist, composer and producer, Dwiki Dharmawan, treats listeners to an exotic musical mélange of the highest order. Featuring fusion and progressive rock luminaries, Chad Wackerman, Jimmy Haslip, (and fellow MoonJune artists and Indonesian giants) Dewa Budjana and Tohpati, and as well the legendary violinist, Jerry Goodman. "So Far, So Close" features adventurous compositions, arrangements and performances.
Lovers of fusion's "golden era" (mid-'70's through the mid-'80's) will find plenty to keep them enthralled throughout this sizzling session, as Dwiki and company never let off the gas while scaling high-altitude sonic terrain in effortless fashion. Recorded in L.A., by Jeff Lorber, and mixed and mastered by the renowned producer, Robert Feist, Dharmawan has covered all the bases and spared no expense in producing this "coming out party," of sorts.
Despite a long, storied musical career which has been marked by large-scale successes and critical acclaim, worldwide, Dwiki remains constantly in search of new musical ground. His initial effort for MoonJune reflects that mentality, and is quite ambitious, and achieving, in its aims. "So Far, So Close" is an engaging and immediately essential progressive fusion album.
1. Arafura (feat. Jerry Goodman) (7:07)
2. Bromo (5:28)
3. So Far So Close (4:26)
4. Whale Dance (5:22)
5. The Dark Of The Light (3:41)
6. Jembrana's Fantasy (9:19)
7. NYC 2050 (4:58)
8. The Return Of The Lamafa (5:36)
DWIKI DHARMAWAN - keyboards, piano, vocals
JIMMY HASLIP - bass guitar
DEW A BUDJANA - guitar (tracks 1, 2, 6, 7, 8)
TOHPATI - guitar (tracks 3, 4, 5)
JERRY GOODMAN - violin (track 1)  

Jon Irabagon - Behind the Sky (2015)

Source: Allaboutjazz
Label: Irabbagast

The grieving process is a personal journey and an act of discovery, allowing individuals to truly appreciate what was, while awakening to the reality of what is. And while no two people mourn in the exact same fashion, mourning itself, no matter the method, is almost always a cathartic experience. In the case of saxophonist Jon Irabagon, that emotional outpouring, connected to the loss of several loved ones and mentors, was channeled into Behind The Sky.

Irabagon—winner of the 2008 Thelonious Monk Saxophone Competition, button-pusher in the controversial and (occasionally) irreverent Mostly Other People Do The Killing, and a key ingredient in the bands of trumpeter Dave Douglas, guitarist Mary Halvorson, and several other creative leading lights—doesn't usually keep to the jazz straight and narrow. More often than not he's made his mark in "outside" endeavors, but here, in paying respect to the departed and channeling his emotions, he takes a more direct approach with his compositions and execution: tuneful expression, stability, displays of empathy, and cohesion are the norm.

While a record reflecting the grieving process might logically be filled with somber songs and downcast displays, Irabagon doesn't buy into that line of thinking. Instead, he delivers charged numbers like "The Cost Of Modern Living" and "Sprites," reflective-turned-uplifting pieces like "One Wish," and sly songs like "Mr. Dazzler." There are moving pieces to be found here, like "100 Summers," and there are occasional moments of introspection, as displayed when Irabagon's soprano and Luis Perdomo's piano meet up on the adrift and efflorescent "Lost Ship At The Edge Of The Sea." But sorrowful this music isn't. Irabagon, with some help from his longtime rhythm section and guest trumpeter Tom Harrell, manages to purge his emotions without allowing pathos to weigh the music down. 

The Cost Of Modern Living
Music Box Song (For When We're Apart)
Still Water
Lost Ship At The Edge Of The Sea
Mr. Dazzler
Eternal Springs
100 Summers
Behind The Sky (Hawks And Sparrows)


Tom Harrell: trumpet, flugelhorn (4, 5, 9)
Jon Irabagon: tenor saxophone, soprano saxophone
Luis Perdomo: piano
Yasushi Nakamura: bass
Rudy Royston: drums 



Josh Kemp - Rare Groove (2015)

Source: Cdbaby
Label: Fulltone Music

‘Truly exceptional playing ****’
‘Wonderfully rich toned with a nuanced and original sound' Time Out
Sounding equally impressive playing within the jazz standards tradition and also presenting his own original compositions, Saxophonist and Composer Josh Kemp has completed major UK tours in 2014 and in 2015, gaining many plaudits along the way for his fluid improvising and attractive compositions.
With a playing style combining melodic inventiveness, a rich tone and a lyrical style of improvisation, Josh is a regular performer at Jazz Clubs and Festivals across the UK, with recent performances including Ronnie Scott's and the London Jazz Festival.

01. Shrift  6:07
 02. Spin  6:06
 03. Turn On the Dark  6:20
 04. More I See You  7:57
 05. Stirred Not Shaken  4:10
 06. Air On a G String  4:43
 07. Take It or Leave It 6:56
 08. Angel of the North  6:56
 09. Me Time  6:29
 10. So Nice to Come Home To  7:29
 11. Easy to Remember  5:34

Josh Kemp – Tenor Sax
Steve Fishwick – Trumpet
Ross Stanley - Hammond B3 Organ
Jezer Franks - Guitar
Chris Higginbottom / Drums



David Gilmore - Energies of Change (2015)

Label: Evolutionary Music
Source: Cdbaby

Guitarist/Composer David Gilmore to release new recording “Energies of Change” on November 3rd, 2015.
All-star lineup includes Marcus Strickland, Luis Perdomo, Ben Williams, Antonio Sanchez, and Kofo Wanda.

David Gilmore often chooses the titles of his albums before he’s even recorded a note, and Energies of Change, the guitarist, composer and bandleader’s new release (Evolutionary Music, October 27, 2015), is no exception. Yet one listen is all it takes to realize that Gilmore must have been channeling a very special energy indeed when that title came to him—it’s the perfect fit!
“Energies of Change basically refers to that movement, on both a personal and universal level (which in essence is inseparable and one and the same), toward being more conscious and aware of one’s own true nature,” he says. “There is a substrate to all of what we perceive as the material world, and an awareness that permeates all existence, yet its true nature appears to be hidden from many, perhaps most of us.”
The exhilarating set of seven original compositions and two interpretations—classic pieces written by Wayne Shorter and the late pianist Kenny Kirkland—“is an offering to the movement toward seeing beyond what we too quickly assume is real and fixed, when in fact we live in a universe where the only thing constant is change,” says Gilmore. “The most important question that humanity can ask itself is, ‘What is it that never changes and is always present?’”
For Gilmore, change is the very essence not just of jazz, but of something much greater. “I like to think that an art form that is a reflection of what life is—unpredictable, spontaneous, open, communicative—must in some way bring more awareness into humanity, and hopefully raise the level of consciousness on the planet to bring about change in a more positive direction,” he says. “Musical improvisation, when it’s sincere, open and honest, is a powerful transformative energy that permeates through to all who are open to listening to it, perhaps even to those who initially aren’t open to listening to it.”
Apropos to the constant evolution that characterizes a true artist, Gilmore’s composing process varies from project to project, and even from song to song. “My previous CD, Numerology, was a suite of music that centered on the esoteric study of numbers,” he says. “Energies of Change is more of a collection of songs that I feel reflect the meaning behind the title of the CD. Most of the originals I wrote before having a title or theme in mind. The musical ideas usually come first, and then I compile a collection of songs and later choose the ones that fit in with the overall theme of the CD.”  Read more...

1. Energies of Change
2. Rajas Guna
3. Dance of Duality
4. The Seeker
5. Sacred Pause
6. Over Shadow Hill Way
7. Awakening
8. Revelations
9. Trick of I

David Gilmore - Guitar
Antonio Sanchez - Drums
Luis Perdomo - Piano
Marcus Strickland - Alto, Tenor, Soprano Saxophones & Bass Clarinet
Ben Williams - Bass


Kazuki Yamanaka - Songs Unconscious-minded (2015)

source: allaboutjazz

Alto and soprano saxophonist Kazuki Yamanaka has brought together an impressive array of talent to join him in producing Songs Unconscious-minded. The album's title is a reference to how the seven original tunes bubbled up from Yamanaka's unconscious and presented themselves.

The supporting personnel is grouped differently on the various tracks: pianist Fabian Almazan, bassist Linda Oh and drummer E.J. Strickland are together on tracks 1 ("Let Go") and 8 ("HAMABE-NO-UTA -Song Of Seashore"); track 3 ("TA-KE-YA-BU") finds Oh together with pianist Dana Malseptic and drummer Aaron Seeber; track 4 ("Do I Have A Blues") groups Malseptic with bassist Dean Torrey and Seeber; track 6 ("Lexington At 50th Street") has Almazan, Torrey and Strickland while track 7 ("Vertigo") has Malseptic (on Fender Rhodes), Torrey and Seeber; tracks 2 ("Portrait Of Midnight") and 5 ("Prayer (Remembering March 11th)") are duets (the latter on soprano sax) with Malseptic. Guitarists Gilad Hekselman (tracks 1, 3 and 8) and Daisuke Abe (track 4) also lend a hand.

Yamanaka, on either instrument, uses very little vibrato with a slightly thin and acidic timbre, which produces music and lines that feel a bit distant and reserved. These sonics fit very well with his compositional style which is firmly in the post-bop modern abstract mainstream. Read more...

Let Go
Portrait Of Midnight
Do I Have A Blues?
Prayer (Remembering March 11th)
Lexington At 50th Street
HAMABE- NO-UTA - Song Of Seashore

Kazuki Yamanaka: alto saxophone, soprano saxophone (tracks 5,8)
Gilad Hekselman: guitar (tracks 1,3,8)
Daisuke Abe: guitar (track 4)
Fabian Almazan: piano (tracks 1,6,8)
Dana Malseptic: piano (tracks 2,3,4,5)
Fender Rhodes (track 7)
Linda Oh: bass (tracks 1,3,8)
Dean Torrey: bass (tracks 4,6,7)
E.J. Strickland: drums (tracks 1,6,8)
Aaron Seeber: drums (tracks 3,4,7)



Alejandro Cimadoro Quintet - The Princess and the Moonlight (2004)

Boston's Berklee College of Music has no lack of accomplished graduates. Every year a sizeable stack of new albums spanning all genres of music reaffirms the school's enviable reputation and the collective talent of its alumni.

Alejandro Cimadoro's The Princess and the Moonlight , the bassist's first album as bandleader, composer and arranger, maintains the high standard associated with his alma mater without veering too far from the familiar trad jazz and bop vocabularies. He and his quintet occasionally spice up the proceedings with a dash of sabor latino —this is in keeping with Cimadoro's own long career as a proponent of Argentine tango and jazz—but there is no significant quality about this disc that would incline a record store clerk to file it under any Latin or world music category.

"Reflection" is one of the group's most inspired and enjoyable efforts. Saxophonist George Garzone and trombonist Joel Yennor are responsible first for leading in individually with yawns, moans and sighs and then establishing the dramatic build with unified staccato bursts and short melodic phrases; they separate again and solo. Segueing between the two solos, Garzone shrieks and squeals as if he's about to swoon. Cimadoro, who has been striding alongside, steps in and wends his way back to the head with his own swift but murmured solo.

"Happy Hour" is straight-ahead material with a bit of punch, most of it emanating from Garzone's tenor sax solo. Pat Metheny band member and fellow Berklee alum Antonio Sanchez propels this opening track with his light, skittish timekeeping. His drumwork (or brushwork, as the case may be) is equally deft on "Autumn in New England" and "Waltz for Y.D." In fact, much of the appeal of The Princess and the Moonlight can be traced to Sanchez's presence.

Cimadoro plays all-out on the expressive solo chart "Sleepless Warrior" and again on the closer "One for Mr. McBee." His style is far from ornate, though he does enjoy successions of scat-like runs, digging deep and ricocheting as he climbs. Whether of his own volition or at Cimadoro's request, Garzone seems to be the perpetual odd man out in this quintet. His instrument often elbows its way to the forefront; he also delivers the bulk of the dissonant rusty hinge lines (he relishes the brief collapse into chaos on "Never Mind") and jagged free-form solos. Such a dominant personality certainly injects additional character into these songs, but it can also cross the line into the excessive. These infrequent moments notwithstanding, The Princess and the Moonlight is cohesive and substantial and deserving of a listen.

Alejandro Cimadoro: Arranger, Composer, Double Bass, Primary Artist
George Garzone: Sax(Soprano), Sax(Tenor)
Nando Michelin: Piano
Antonio Sanchez: Drums
Joel Yennior: Trombone

01. Happy Hour
02. Snow Fall
03. Autumn in New England
04. Reflection
05. Sleepless Warrior
06. Waltz for Y.D.
07. Upside Down
08. Eleven in the Evening
09. Never Mind
10. The Shadow
11. Is This Love?
12. One for Mr. McBee