martes, 22 de diciembre de 2015

Pierrick Pédron - And The (2016)


Source: Fnac
Label: Jazz Village


Enregistré à Bruxelles et Paris, le nouvel album de Pierrick Pédron est un jeu de pistes époustouflant entre bop, funk, jazz rock, pop psyché et afro. Une matière sonore sculptée dans les règles de l’art (énergie du direct, jam sessions, surgissement de thèmes, improvisations et constructions) en compagnie de quelques fidèles complices, avec le groove comme ligne directrice. Figure centrale du meilleur jazz made in France, le saxophoniste virtuose prouve qu’il est plus qu’un compositeur inventif : un innovateur sonore, catalyseur des musiques de son temps. 


1. Monk Ponk Train
2. Clock Road
3. Val 2    
4. Elise
5. Tootoota
6. Procession
7. Val 1    
8. Pp Song Tree
9. Ethiop


Line-up : 
Pierrick Pédron : alto sax
other musicians unknown until now


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Nicolas Genest Yvan Robilliard - A Long Lone Way (2015)



Label: Cristal Records


Deux instrumentistes de haut niveau qui sont aussi deux musiciens de grand talent. Leurs parcours sont assez différents : plus académique pour le pianiste, plus ancré dans la pratique précoce du jazz sur scène pour le trompettiste. Mais ils ont aussi une ribambelle de points communs, le goût très enraciné du jazz, et le fait d'avoir eu l'un et l'autre, parmi une foule de formateurs (et non des moindres !), Wynton Marsalis. Cela ne prédétermine nullement leurs options esthétiques, mais révèle simplement la passion conjointe de l'excellence et du jazz. Ils ont participé à de multiples groupes (Henri Texier, Julien Lourau, Antoine Hervé, Andy Emler, Laurent Cugny... pour Nicolas Genest ; Ibrahim Maalouf, Médéric Collignon, et d'autres, pour Yvan Robilliard, plus jeune, et entré plus tard dans la carrière). Ils ont aussi élaboré leurs propres groupes, et joué des musiques conçues par leurs soins. Et le duo rassemble ces expériences aussi plurielles que singulières. Dans un ample mouvement de partis pris mélodiques et de développement modal, leur disque fait la part belle, et presque exclusive, à des compositions originales de l'un et de l'autre, parfaitement en phase avec la teneur du duo. Un seul standard, mais quel : My Funny Valentine, joué dans l'intensité du recueillement, très librement, sans se laisser intimider par l'ombre d'un double commandeur qui aurait nom Miles Baker ou Chet Davis. Lyrique, intense et subtile, leur version vaudrait à elle seule l'acquisition de ce disque. Mais le reste mérite les mêmes éloges, qu'il s'agisse d'atmosphères diaphanes (A Long Lone Way, Le Saut de l'Ange....), de lyrisme retenu à l'extrême (Chandra), d'expressivité jungle (Spiritual ), ou de rythmes savamment syncopés (Matrice, Dombolo). Au travers d'influences musicales où se croisent la musique classique du vingtième siècle et les musiques de tous les mondes lointains, c'est tout un univers qui se déploie, rêveur, incisif parfois, intimement musical toujours.  Xavier Prévost


1 A Long Lone Way
2 Matrice
3 Totems
4 My Funny Valentine
5 Dreamer
6 Le saut de l'ange
7 Dombolo
8 For My Love
9 Spiritual
10 Chandra  


Nicolas Genest (trompette, bugle, voix)
Yvan Robilliard (piano, piano électrique, orgue)



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Mattia Cigalini, Enrico Zanisi - Right Now (2015)



Source & Label : Cam Jazz


By now it is clear that Mattia Cigalini loves to catch his listeners off-guard. "Beyond" had increased the level of fusion between jazz and pop by bringing into play songs by Katy Perry, Rihanna, Shakira, Jennifer Lopez and Lady Gaga, reinterpreted in a definitely original way. On “Right Now”, recorded with Enrico Zanisi, a step backwards only appears to have been taken. Actually, this record is a return to classical jazz and the traditional saxophone/piano duo. However, Cigalini and Zanisi have found a language of their own, moving along a path that unfolds through eight original tunes. The record layout also seems to comply with a well-defined approach. If we think of it as a traditional LP on vinyl, we might say that side A is the domain of Cigalini, while side B of Zanisi, apart from the two jointly-written opening tracks. A 45-minute dialogue, with the saxophonist asking questions and the pianist seeking answers. On the opening track, “The Painter”, the two musicians explore a wide range of colours. Three tracks by Cigalini, “Lost Steps”, “Herr Mann” and “Too Buth”, follow closely: time drawn out and quiet moods predominate, with moments of striking empathy between the two instruments and spaces in which improvisation by the two young talents prevails. “When I Disappear” is the latter jointly-written track that opens the alleged side B of “Right Now”, with peaceful, nocturnal sounds flowing into powerful solos. “Anthem”, “Elisir” and “Singe” are three tracks by Zanisi in which still no frenzy, but rather a search for sounds, voices and an interlocking of instruments can be perceived. There is nothing of the vehemence that two young lions of Italian jazz are supposed to convey, but a pursuit of elegance which is peculiar to more mature composers. If this is the start of two musical careers, there is reason to believe all will go exceptionally well.  Brian Morton



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Henri Texier Sextet - Sky Dancers (2016)


Source & Label: Label Bleu



A l’image de sa contrebasse, Henri Texier est un pilier, un repère planté au milieu du jazz européen. Après un début de carrière fulgurant, à la fin des années 1960, aux côtés des géants américains du be bop comme Bud Powell, Donald Byrd, Dexter Gordon ou Kenny Clarke (alors qu’il n’a pas vingt ans !), et une série d’Unit plus inventifs les uns que les autres dans les deux décennies qui suivirent (avec François Jeanneau, Daniel Humair, Michel Portal, Aldo Romano, Louis Sclavis, Bernard Lubat, Didier Lockwood, etc.), Henri Texier a prêté dans les années 1990 sa sonorité chaude et son talent de mélodiste aux jeunes mousquetaires de l’improvisation, bien décidés à croiser le fer.
Avec lui, les Bojan Z, Tony Rabeson, Julien Lourau, Noël Akchoté ou Sébastien Texier peuvent s’en donner à cœur joie, la basse toujours profonde et juste du maître assure les arrières.


Mic Mac
Dakota Mab
Clouds Warriors
He Was Just Shining
Mapuche
Hopi
Navajo Dream
Comanche
Paco Atao


 Henri Texier (b)
Sébastien Texier (as, cl)
François Corneloup (bs)
Armel Dupas (p)
Nguyên Lê (elg)
François Moutin (dm)


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Claudio Filippini - Squaring The Circle (2015)


Source & Label : Cam Jazz


Claudio Filippini is back with his latest studio-recorded album, as a celebration of the 10-year artistic partnership with his trio including Luca Bulgarelli on double bass and Marcello Di Leonardo on drums. Here, more than ever, one can say “nomen omen”: a record that squares the circle in the career of this pianist from Abruzzo and shows that he has artistically matured into one of the most sophisticated performers on the Italian jazz scene. Filippini explains: “Nearly all the languages of the world use the verb “to play” to mean both engaging in recreation and performing music. It seems to me that both meanings have perfectly blended into this album and its spontaneously born reinterpretations of standards from the American songbook.” Indeed, “Squaring The Circle” unfolds out of a revisitation of a number of standards that were chosen and performed from a different point of view. After just a three-day recording session of 50 tunes picked at random out of that huge treasure chest of the US jazz repertory, Filippini’s trio decided to make an album out of those tracks that could serve as fertile ground for plotting each trio member’s improvisations and, above all, reveal the trio’s way of playing with notes. This resulted in an album rich in nuances and charm, revealing a powerful empathy among the trio-mates, who show an undisputable command of their own instruments as well as that playful, easy mood rather uncommon in recordings of this kind. If at times Filippini delights in upsetting harmony and altering pieces radically (as is the case with Impressions), at other times compositions remain unchanged, though striking in the impulsive urgency of their performance (Autumn Leaves, Jitterbug Waltz). There are tracks with a more classical flavour here (I Didn’t Know What Time It Was) alternating with those enhanced through a skilful, moderate use of electronics (‘Round Midnight, Stolen Moments). Filippini’s fine arrangements and unique touch in refined piano-playing make this all-standards album a timeless, ever-elegant nugget. He carries out a two-fold job, straddling tradition and innovation: on the one hand he draws on standards, on the other hand he includes hints at electronic and psychedelic music. An exquisite work, meticulously thought out, though with a directness and freshness that are fully conveyed by the excellent interplay of the three musicians.


    1 Impressions
    2 Autumn Leaves
    3 'Round Midnight
    4 I Didn't Know What Tim It Was
    5 Moon River
    6 Stolen Moments
    7 Jitterbug Waltz
    8 A Night In Tunisia
    9 What a Wonderful world


Claudio Filippini - piano
Luca Bulgarelli - bass
Marcello Di Leonardo - drums

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https://itunes.apple.com/us/album/squaring-the-circle/id1046418411

 

Nat Birchall - Invocations (2015)



The music of Nat Birchall joins with a long-flowing conversation in jazz. His chosen tongue is that of the spiritualised musical discourse whose vital source can be found in the sacred testaments of John Coltrane, and which was channelled most directly by his fellow travellers Albert Ayler, Pharoah Sanders, and his wife Alice. Many others followed where Coltrane led, giving voice in music to the esoteric renewal of the soul and mind that lent spiritual strength to the black counterculture, and complemented the political radicalism of the late 1960s and 1970s. This rich vein of spirit music has rarely been tapped by British jazz musicians, and Birchall is one of the few to have been drawn to it with the conviction of heart that it demands. For these are the sonic and spiritual spaces where the colossi of an earlier age declaimed and confessed with sacrificial passion, from within the flames of revolution.

Ultimately, it has been the sonic pathways offered by jazz that have provided Birchall with the clearest way to channel the resonances of the higher heights, wherefrom timeless musical messages might be revealed. 'It seems to me that's it's the most direct way of tuning in to this higher source. That music seems to me to display this connection to whatever this higher source, this higher energy, might be. It seems to connect to it the most, more than other music. You can hear it in other musics to a certain degree sometimes, but this seems to be almost purely of that nature. That's what really motivates me the most.'

All music is a spiritual communion - it is a talking in tongues, a present conversation with the past and the future, a dance with technology, a branch held out to a stranger. It speaks to the old and the young in a language that is beyond language, it expresses and elicits emotion and thought at once, it is both bodily and mental, noise and silence, intention and accident: it is the dissolution of opposites, the fleeting noise made eternal prayer, the transubstantiation of spirit into sound. Music is the expression of unity, in which difference is both accepted and resolved, and from which a mended world might be born. To make music is, as Roland Kirk observed, to talk with the spirits. We are lucky that the music of Nat Birchall allows us to hear the sounds of their world once more. Read more...


Nat Birchall: tenor saxophone, bells, shakers, voice ('To Be')
Adam Fairhall: piano
Tim Fairhall: bass
Johnny Hunter: drums
Christian Weaver: congas, bata drum, shekere, bells, shakers
John Ellis: voice ('To Be')

Song to the Divine Mother
Invocation
To Be
Njozi (Vision)
A Luta Continua


JAVI

Michael Janisch - Paradigm Shift (2015)


Some four years in gestation, the ambitious new double-disc project Paradigm Shift from London-based US bassist, composer and producer Michael Janisch sees the Whirlwind Recordings founder enter the spotlight with his multi-level approach to composition and performance. Janisch continues to garner enthusiastic press for his mastery of both double and electric bass, having released his solo album, Purpose Built in 2010 and co-led three further recordings to date - The TransAtlantic Collective's Traveling Song with Patrick Cornelius; the live quintet album Banned in London with pianist Aruan Ortiz; and First Meeting with the iconic Lee Konitz. Increasingly growing in stature as a creative artist, with this expansive new album he strengthens his already budding reputation as one of the preeminent bassist/bandleaders of his generation working in contemporary, improvised music.

On Paradigm Shift Janisch has taken as its basis a live quintet recording across two nights at Pizza Express Jazz Club, Soho (London), crafting and honing it into an absorbing 90-minute blend of live and post-processed electro-acoustic music. It's a particularly creative compositional vision which strongly reflects the bassist's personality, hewn from years of improvisational development and based on his own life-changing experiences, in particular the recent birth of his two daughters and sudden death of his older brother Joseph. The soundscapes he creates meld electronica, free improv, rock, punk and funk while retaining experimental and improvisational integrity throughout. And the conceptual and dialogical coalescence of all fourteen tracks here clearly comes from within, influenced by a vivid synaesthetic awareness - "It's been much more organic on a compositional level to just allow these new experiences to guide the wiriting process." - hence the fascinating, modulating moods and styles.

Predominantly a quintet album with engaging solo and duo interludes and segues, Janisch could hardly have selected a more cohesive and eclectic personnel to realise his artistic intentions: versatile British saxophonist and multi-instrumentalist (including didgeridoo) Paul Booth; leading US trumpeter Jason Palmer (from Janisch's 2010 solo debut, Purpose Built); free-spirited Argentinian piano/keyboard whizz Leonardo Genovese; and the sensitive precision of US drummer Colin Stranahan. Plus, the impulsive electronics of the London-based Alex Bonney feature on interludial tracks and post production effects (he performs with the band on tour to contribute these particularly effective manipulations).

Disc One houses Janisch's Paradigm Shift Suite - a live thirty-minute expedition without boundaries which, following an effects-laden electric bass and didgeridoo intro, burst into an effusing, almost raga-like "Paradigm Shift Dance Party", resounding to Jason Palmer's high trumpet; and "Celestial Dictator" hits an infectious, multi-metered Hammond groove, prompting the hard-edged tenor of Paul Booth (his solo an album highlight in itself). Dissonant, screeching horns characterize the breathless rage of "Movement III's Bailout", eventually quelled by the relative flute-becalmed "Spring" and "Inner Sanctum", while "Liza-Flo" reprises earlier themes with impudent percussion until the quietly confident, solo electric bass outro "Be Free" pictorializes Janisch's ethos of entitlement to liberty.


Disc Two invites extended compositional contributions from the band, with Leonardo Genovese's "Chacaraca" displaying South American hues; and "Mike's Mosey" finds the bassist's colleages responding to his scampering free double bass improvisation in a cascade of moodly electronic soundscapes and unpredictable twists and turns. Echoic, chordal bass in "The JJ I Knew" meditates through electronic colorwashes before hitting the fifteen-minute, playfully fast swing of Jason Palmer's "Crash". Leonardo Genovese's "One-Eyed Calf" has to be one of the most extraordinarily unpredictable keyboard interludes out there, leading to Paul Booth's epic "Awakening" which closes the set anthemically amidst a raft of deft soloing.


Michael Janisch - double and electric basses, percussion, live & post production electronics and effects
Paul Booth - tenor saxophone, flutes, bass clarinets, didgeridoo, percussion, hand claps 
Jason Palmer - trumpet
Leonardo Genovese - piano, keys/synths, effects
Colin Stranahan - drums
Alex Bonney - live & post production electronics and effects 

Recorded May 2011 live at Pizza Express

Disc One – The Paradigm Shift Suite

1. Fluid (Intro)
2. Movement I – Paradigm Shift Dance Party
3. Movement II – Celestial Dictator
4. Rage (Interlude)
5. Movement III – Bailout/Spring/Inner Sanctum
6. Movement IV – Liza-Flo
7. Be Free (Outro)


Disc Two – Mike’s Mosey

1. Terra Firma (Intro)
2. Chacaraca
3. Mike’s Mosey
4. The JJ I Knew (Intermission)
5. Crash
6. One-Eyed Calf (Intro To Awakening)
7. Awakening


Domi

Ant Law - Zero Sum World (2015)


Zero Sum World is the second solo release from guitarist and composer Ant Law and his first for Whirlwind Recordings. A resident in London since 2008, Law regularly performs with Tim Garland, Jason Rebello, Mica Paris, Gwilym Simcock, Leon Ware, Asaf Sirkis, Koby Israelite, Camille O’ Sullivan and is known as a pioneer in the ’Perfect Fourths’ tuning system for guitarists. He is a published author on the subject and his book 3rd Millenium Guitar is currently available from Mel Bay.

The music on his new release was recorded immediately after an extensive 29 date UK tour and a brief sojourn to Brazil where Law finished the writing in two parts. After returning to the UK he received support from the Jazz Services touring scheme and embarked on yet another large tour (this time 27-dates) around the UK and went straight into the studio​ to record​. His band features four guiding lights in British contemporary music: Ivo Neame (piano), James Maddren (drums), Michael Chillingworth (​multiple reeds​) and Tom Farmer (bass). Each musician turns out stellar performances on the record and are given ample room within Law’s compositions to shine.

Zero Sum World ​showcases an ​eclectic mish-mash of influences from musics around the world, but it's Law’s thematic writing and playing that binds its eleven tracks together into one uniform statement. No doubt the amount of touring the band has done over the last two years comes into play in the overall presentation and tightness of Ant’s often tricky and rhythmically shifting compositions. Both Neame and Chillingworth improvise with aplomb while Maddren’s considered touch flows like water through even the most complicated corners of Law’s tunes.

The title comes from the “Zero Sum Game” in mathematics (Law himself was a scholar in Physics at Edinburgh University): when the total number of points belonging to the winner added to that of the loser equals zero. As such in a zero sum world no one can profit without someone else's loss. The first track on the album shares this title and is followed by “Waltz” which explores more joyful territory. “Mishra Jathi” is a South-Indian rhythm etude given a western feel while two of the pieces “Leafcutter” and “Symbiosis 14:21:34” were compositionally derived from multiple rhythms coexisting, as with symbiosis in biology. The longest piece “Monument” is Law's tribute to the world renown guitarist Ben Monder with whom he has studied. “Triviophobia” is about taking things too seriously, in particular the arts, and especially music. The album closes out with a contemporary blues and some alternate tuning by Farmer (who turns out some spectacular bass work on the album). Every track features Law's guitar tuned in perfect 4ths which lends itself to unique harmony.


Ant Law - guitar
Michael Chillingworth - reeds
Ivo Neame - piano
Tom Farmer - double bass
James Maddren - drums

Recorded by Troy Miller at Sand House Studios
Mixed by Alex Bonney
Mastered by Peter Beckmann
Produced by Ant Law
Executive Producer - Michael Janisch

1. Zero Sum World
2. Prelude
3. Waltz
4. Mishra Jathi
5. Asymptotes
6. Parallel People
7. Triviophobia
8. Leafcutter
9. Symbiosis


Domi