Francisco Fattoruso - Khronos (2016)

Label: Self Released

Source: Francisco Fattoruso

Genre: Fusion

GAB's Rating: ★★★★★

Francisco Fattoruso, multi-instrumentista y uno de los más virtuosos y exquisitos bajistas del Río de la Plata refleja siempre en sus trabajos fielmente su identidad y creatividad permanente por el amor a la música innovadora.

Francisco nació en Las Vegas en 1979. Pasó la mayor parte de su vida entre Brasil, Uruguay, Argentina y EEUU.

Hijo del prodigio virtuoso Hugo Fattoruso y la cantante María de Fátima, y ahijado de Milton Nascimento. 

 A muy temprana edad comenzó a tocar piano, guitarra y bajo. En 1999 comenzó a ser parte del "Trío Fattoruso", junto a Hugo en teclados y su tío Osvaldo en batería. El mismo año se integró a la banda "Illya Kuryaki & The Valderramas" hasta finales de 2014. Con ambas formaciones giró por decenas de ciudades del Sur y Norte América, Europa y Japón.

Durante su radicación en Estados Unidos aprovecho para intercambiar con otros músicos y retroalimentarse del black music, continuando con diferentes bandas de Gospel preferentemente y otros géneros.

También se encuentra muy enfocado en la producción y co-producción musical.

1.Shifting Reality
2.The Galaxy
3.Nuevos Tiempos
4.Three Views of a Secret
5.Universal Music Theory
6.Sol, Luna y Agua
7.Light Hacker

Francisco Fattoruso - Bass
Nicolas Ibarburu -Guitars
Hugo Fattoruso - Piano
Pablo Gonzalez -Drums
Juan Pablo di Leone -Flute
Manuel Contrera -Keys
Ramiro Flores -Sax
Alvaro Torres -Keys
Gonzalo Levin - Sax
Federico Blois - Percussion 

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Carla Bley Andy Sheppard Steve Swallow - Andando El Tiempo (2016)

Label:

Source: Allaboutjazz - Karl Ackermann

 Genre: Modern Creative Jazz

GAB's Rating: ★★★★★

There are few figures in modern music that are truly more iconic than Carla Bley. Her list of accomplishments are impossible to chronicle in this limited space, but suffice to say that her influence traverses genres, styles and generations, in a way that perhaps no other artist has approached. Her early crowning jewel—the jazz opera Escalator Over The Hill (JCOA Records, 1971)—featured a who's-who of music including Jack Bruce, Linda Ronstadt, Don Cherry, Don Preston, Charlie Haden, Michael Mantler, Karen Mantler, Roswell Rudd, Gato Barbieri, Karl Berger, Leroy Jenkins, John McLaughlin, Paul Motian and Enrico Rava. Though it was clearly a joint effort, it helped establish Bley as a creative force to be reckoned with and she has never looked back.

Bley, once the spouse of the late Paul Bley, has had her compositions recorded by an equally impressive list of artists including her former husband. Phil Woods, Jaco Pastorius, Arturo O'Farrill, Eberhard Weber, Jan Garbarek, George Russell, Jimmy Guiffre and Tony Williams just scratch the surface of those who've recorded Bley compositions. Bley and Charlie Haden broke new ground with the Liberation Music Orchestra who recorded four unusually provocative albums from 1969 through 2005. From their self-titled debut, the group featured politically-charged music including pieces inspired by Che Guevara and the 1968 Democratic National Convention. The final LMO album, Not In Our Name (Verve, 2005) was a direct anti-war response to U.S. policies in the Middle East.

With almost two-dozen recordings as a leader and more dozens as a collaborator, Bley has taken on almost every conceivable formation, even tackling a couple of vocals on her I Hate to Sing (WATT, 1984) while playing a keyboard assortment of organ, glockenspiel and piano. Always considered a stellar band leader, Bley's skills as a pianist were often underrated and her preference for larger ensembles hasn't shone a spotlight on her solo work. Still her WATT/ECM duo albums with Steve Swallow, Duets (1988), Go Together (1993) and Are We There Yet? (1999), displayed a gifted—if less than flamboyant—pianist. Those more intimate setting tend to be the exceptions for Bley, but with her ECM debut Trios (2013) and now, with Andando el Tiempo we are again treated to her more personal and familiar approach as she reunites with Swallow and saxophonist Andy Sheppard.

The melodic, but curiously off-kilter, "Sin Fin" features the gentle serpentine web of Sheppard's tenor working around Bley's understated melody. Swallow supplies a beautiful solo on the mesmerizing "Potación De Guaya" where Sheppard seems to float in and out of the body of the piece. The bassist provides a supple lead on the Latin flavored "Camino Al Volver"; Sheppard and Bley coming along later to fill in with light but sophisticated content. "Saints Alive!"—despite the excitable title—is a low key work with the soprano and bass dialog being prominent. "Naked Bridges/Diving Brides," written for Sheppard's wedding, is influenced by German composer Felix Mendelssohn and poet Paul Haines (of Escalator... fame). This, the closing piece of the five lengthy compositions, has strong impressionistic qualities that are both ceremonial and idyllic.

Because Bley works under so many different musical umbrellas, it's difficult (and perhaps, meaningless) to generate some hierarchy of quality in individual projects. But as the release of Andando el Tiempo coincides with her eightieth birthday, it seems appropriate to place the recording in the scheme of Bley's long and impressive career. To that end, the collection is as fine a small-group recording as Bley has produced in her career. While she has mastered all characteristics of musical narrative, here she has minimized the levity and occasional excesses in favor of warmth and class. It is a beautiful album. 

Sin Fin
Potación De Guaya
Camino Al Volver
Saints Alive!
Naked Bridges / Diving Brides

Carla Bley: piano
Andy Sheppard: tenor/soprano saxophones
Steve Swallow: bass 

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Doug Johns - Vodka in the Woodpile (2016)

Label: Self Released

Source: Doug Johns

Genre: Jazz-funk

Musician Doug Johns knows it’s all about the rhythm. After four solo recordings (Doug Johns, Pocket Fulla Nasty, Stank, and Blomp!), Doug is ready to invite listeners inside for his most autobiographical work to date, Vodka in the Woodpile.
Released on April 15, 2016, Vodka in the Woodpile reveals an unexpected new sound for the Cleveland bassist as he shares a sense of his life’s influences beyond the funk-bass standard. Doug kicks off the recording with a banjo in his hands on “Old Woman Creek,” salutes Rock and Roll in an energetic tribute to “Free Ride,” and still doesn’t miss a beat with his classic, full band funky sound in tracks like “Tricerafunk.”
Vodka in the Woodpile features performances with many of Doug Johns’ now-signature artists, including Jordan Simmons on Drums, Kenny Anderson and Joe Miller on Horns, and Oz Noy on Guitar. A special appearance from drummer icon Dennis Chambers and assistant production by Denali are Vodka highlights not to be missed.
Doug Johns has long been known for his deep groove and his open, sharing approach to music and life. Bass Player Magazine on Johns: “One of the most credit–deserving bass virtuosos in America…it’s his inventiveness that’s consistently compelling.”

1. Old Woman Creek
2. Tricerafunk
3. Free Ride
4. Happy Family
5. Make the Music Feel Good
6. Nemo 1934
7. Fairwood Blvd
8. Vodka in the Woodpile
9. Ode to the River
10. Berlin
11. Dominicana

Doug Johns
Jordan Simmons
Kenny Anderson
George McSears
Joe Miller
Rafael Guzman Jr.
Bri Bryant
Utah Witherspoon
Dennis Chambers
Steve Herrman
Oz Noy

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Yiorgos Fakanas - Acrobat (2016)

Label: Ana Music

Source: Rock 'n' Roll Monuments

«Το έργο αυτό είναι γεμάτο Φως, έτσι θέλω να πιστεύω, αφού άλλωστε οι λέξεις Όραμα και Ελπίδα ήταν πάντοτε αυτές που καθοδηγούσαν τη Ζωή μου» δηλώνει ο δημιουργός Γιώργος Φακανάς. Και συνεχίζει εξηγώντας τον γενικό τίτλο της παρουσιαζόμενης, νέας κυκλοφορίας του ως εξής: «η μουσική που γράφουμε εμείς, για εδώ που ζούμε, στην Ελλάδα, ήταν, είναι και θα είναι πάντοτε δυστυχώς μια διαρκής ακροβασία. Είναι η ακροβασία που συμβαίνει σε κάθε δημιουργό ο οποίος σκεπτόμενος το επόμενό του βήμα, ακροβατεί με τα συναισθήματά του, ακροβατεί με τις ιδέες του μα και με αυτό καθαυτό το τελικό αποτέλεσμα…».

Με το φετινό του διεθνές κύημα ο αστείρευτος, χειμαρρώδης Φακανάς συνεχίζει το δύσβατο μοναχικό του μονοπάτι που τον θέλει να οδηγεί της jazz fusion στη χώρα μας, έχοντας για άλλη μια φορά δίπλα του επώνυμους ήρωές μας που συμπληρώνουν, ως επίτιμοι καλεσμένοι, τη σύναξη γιγάντων της ντόπιας σκηνής όπως οι Κοντραφούρης, Πατερέλης, Lynch, Ανδρέου, Marlieri. Και είναι γλυκόπικρη εδώ η παρουσία του αείμνηστου Lew Soloff στην τρομπέτα, αφού αποτελεί το τελευταίο δισκογράφημα του… Ο Dennis Chambers για άλλη μια φορά εντυπωσιάζει ακόμη και τους πιο υποψιασμένους από εμάς, πραγματοποιώντας μια από τις πιο περιπετειώδεις συμμετοχές του ever, διεκπεραιώνοντας παρτιτούρες σαν κι αυτές του Γιώργου για τις οποίες ο Stern δηλώνει: «η μουσικές του Γιώργου ανέκαθεν ήταν για μένα μια κλωτσιά στον κώλο, μια νέα πρόκληση που με θέλει να εξωθώ τα όριά μου και μέσα από αυτό, να περνάω πανέμορφα! Και αυτό που με εντυπωσιάζει εδώ όπως πάντα άλλωστε, είναι το χάρισμα του αυτοδίδακτου Dennis που δεν ξέρει να διαβάζει παρτιτούρες, και όμως για άλλη μια φορά με αποσβολώνει παίζοντας τις κάλτσες του!»…

Οι οκτώ πρωτότυπες συνθέσεις του δημιουργού έχουν γεννηθεί την τελευταία δεκαετία και συμπληρώνονται εδώ με τη σουίτα “No Princes, No Island, No God” που αποτελείται από τέσσερα μέρη και κλείνει φαντασμαγορικά την αυλαία του Acrobat, όπως και μια ευφάνταστη διασκευή του “Chameleon” που ανήκει στον Herbie Hancock. Η παραγωγή τέλος κρίνεται έως και υποδειγματική, τοποθετώντας το εν λόγω εγχείρημα δικαιωματικά και ολοκληρωτικά στην αρένα της παγκόσμιας σκηνής του fusion.

1. Acrobat
2. Notos
3. Senza
4. The World of Fun
5. Breath
6. Chameleon
7. Avalon
8. Breath, Pt. 2
9. Oratios
10. No Princess, No Island, No God, Pt. 1
11. No Princess, No Island, No God, Pt. 2
12. No Princess, No Island, No God, Pt. 3
13. No Princess, No Island, No God, Pt. 4

Yiorgos Fakanas

Mike Stern

Dennis Chambers

Lew Soloff

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Brian Bromberg - Full Circle (2016)

Label: Mack Avenue

Source: The Urban Music Scene

World-renowned acoustic and electric bassist Brian Bromberg hasn’t released an album in the U.S. since 2012, a fact that might not have been cause for concern if you know that at one point he released three albums in one year. Every man deserves a break. However, once you realize that this chameleon with over 20 projects in his catalog recently had reason to believe that he might never play music again, you understand the gravity of his latest acoustic jazz project, Full Circle – one he says may well be “the most important record of my career.”

Like all of his work, Bromberg’s latest features a stellar cast that includes trumpeter Arturo Sandoval, saxophonists Bob Sheppard, Kirk Whalum and Doug Webb, pianists Randy Waldman, Mitch Forman and Otmaro Ruiz, and percussionist Alex Acuña. The project also finds ‘the man that refuses to sit still’ mixing styles from New Orleans funk and a legit jazz cover of Michael Jackson’s “Don’t Stop `Til You Get Enough” to Cubop – with a sizzling relentless swing throughout. But the aspects that make this project resonate deeper than anything Bromberg’s done prior boils down to a series of life changing events, career firsts and the magic of today’s technology meeting mediums of old.
A freak accident that Bromberg had at his home a couple years ago resulted in him breaking his back in two places with severe trauma. The fall nearly debilitated him requiring extensive rehabilitation to stand and walk, let alone cradle an upright bass properly or strap an electric bass on his back. Through sheer intestinal fortitude, exhaustive work, and the love and support of the woman in his life, Bromberg made an amazing recovery. When he did, a familial spirit guided him to make an album that returned him to his roots in acoustic jazz. That spirit is that of his father, Howard Bromberg, a once-busy drummer in Tucson, Arizona (where Bromberg was born) who inspired both his sons to play drums as well.
Full Circle opens and closes with the tunes “Jazz Me Blues” and “Washington & Lee Swing” that were originally recorded by the senior Bromberg with a band of friends onto a one off acetate. Spiritually moved by a desire to play with his late father – something he never got to do when he was alive due to a stroke he suffered just when Bromberg became proficient on bass – he copied the platter with a USB turntable, had the file cleaned up at Oasis Mastering then overdubbed himself in his home studio playing bass in his dad’s old quintet.
“A few really amazing things happened to me when I was recording those tracks with my father; those tracks originally were recorded before I was born, so it was such a trip playing with my Dad before I was even on this planet! When I was playing with him I realized at that moment where I got my time feel and swing from, it was effortless to play with him, mind blowing actually. I guess the experience that inspired the whole concept of this album was feeling his time feel and swing inspired me to start playing drums again, because it felt so good.”
That sentimental journey inspired Full Circle. Bromberg seamlessly laid down rhythm tracks for bass, drums and “guitar” (the latter facilitated by playing melodies and solos on the higher pitched piccolo bass) on every song. As a bassist, Bromberg playing the piccolo bass with his fingers affords him a unique sound (much like guitarist Stanley Jordan ) from the majority of guitarists that play using picks.
“That’s where the ‘Full Circle’ concept came around. I didn’t know if I was ready to do it but, spiritually, I felt that my father wanted me to do it and to do it now.”

Photo Credit: Raj Naik
Breaking down his methodology, Bromberg shares, “When I wrote the tunes, I made demos with swinging drum samples that I programmed just to hold down time, and then I played reference piccolo bass parts and regular bass parts to make a musical foundation. Then I had the piano players come over and I’d play drums live with them for interaction. The point is, by the time I played drums to it, I had good swinging bass parts to lock my drum parts to or vice versa. I added all my piccolo bass (and the horn players’ solos) last. I’m proud that I don’t sound like ‘a good drummer for a bass player.’ It doesn’t sound overdubbed and the feel of the pocket is righteous. Because I don’t have the facility of a drummer that’s played for 45 years, there’s more space than a normal drummer would leave which gives it a unique sound.”
“This album is just a swinging, in your face traditional jazz album with simple tunes that are easy to sing along with and remember, but have a foundation in hardcore “real” jazz.” Bromberg concludes. “I hope people enjoy this album for what it is and what it means to me vs. judging it for what it’s not.”

1  Jazz Me Blues
2  Full Circle    
3  Sneaky Pete    
4  Saturday Night in the Village
5  Boomerang    
6  Havana Nights (aka Havana Nagila)
7  Bernie's Bop    
8  Don't Stop 'Til You Get Enough
9  Naw'lins!
10 Susumu's Blues
11 Washington and Lee Swing

Brian Brombergg: acoustic & electric bass, piccolo bass, drums
Arturo Sandoval: trumpet
Bob Sheppard, Kirk Whalum and Doug Webb: saxophone
Randy Waldman, Mitch Forman and Otmaro Ruiz: piano
Alex Acuña: percussions

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Fernando Huergo - Hashtag (2016)

Source & Label: Zoho

While the tango is the heartbeat of Argentina’s bustling capital city, Buenos Aires, 600 miles to the north in Santiago del Estero the characteristic rhythm is chacarera, a 6/8 folkloric rural counterpoint to the cosmopolitan tango. Between the two cultural centers lies Cordoba, hometown of bassist-composer Fernando Huergo. A longtime resident of Boston and currently a Professor at Berklee College of Music, Huergo grew up listening to Argentine tango and folklore, along with American jazz. He represents all of those seemingly disparate elements from his own musical makeup on Hashtag.

“It’s kind of a combination of who I am,” he says of his seventh recording as a leader and debut for ZOHO Music. “I’m from Argentina, I love the music from there, is in my blood. I love Astor Piazzolla and I love folklore music, but I also love Duke, Monk, Mingus and Benny Golson and all the jazz greats. So I tried to combine those things and create something hopefully interesting.”

What Huergo has created on Hashtag is a collection of powerfully compelling tunes that incorporate folkloric traditions, courtesy of Franco Pinna’s deep understanding of Argentinean musical styles and Yulia Musayelyan’s stellar flute work, along with modernist flourishes from Leo Genovese’s Fender Rhodes electric piano, Rick DiMuzio’s urgent blowing on tenor sax and the leader’s impeccable electric bass lines.

“I’m very lucky to be playing with these guys for a while now,” says Huergo of his bandmates. “They’re such heavy players. Yulia, who is from Moscow, is amazing. I love her sound. It’s the color of the folkloric music that was missing before when I just had a tenor in the band. Yulia is very deep into Latin music and she has a great talent for improvising melodies. Rick is just one of my favorite tenor players anywhere, beautiful sound and lines, a true Boston legend. Leo’s contribution is wonderful not only for his own harmonic world that he brings to the music but for his knowledge of the traditions and his fresh approach to them.” Huergo prominently features Musayelyan and DiMuzio on the intricate unison and harmony lines that characterize his writing throughout Hashtag, like on the surging title, which opens the collection with a bang.

“I love the sound of those two instruments together and those guys have such a blend. I really enjoy the intonation and the warm sound that they get.” Pinna’s crisp, rapid-fire, drum ‘n’ bass-inspired work on the kit fuels this bristling opener while Genovese supplies a crackling Rhodes solo. Huergo also exhibits tremendous facility, uncanny articulation and remarkable lyricism in his solo on this energized number. He cites Jaco Pastorius as a major influence on his approach to the electric bass guitar. “He’s like Trane, Bird, or Herbie,” says Fernando. “If you’re a modern player, you can’t avoid the guy. I think there are very few musicians who had an impact like Jaco did on the bass. He changed the whole spectrum.”

A folkloric aspect comes into play strongly on the driving Trunca which is underscored by Pinna’s infectious chacarera groove. “Franco is from Tucuman in the north of Argentina, an area very rich in folkloric traditions,” explains Huergo. “He has mastered all those rhythms and adapted them to the drum set in a very unique and personal way.” This dynamic offering also showcases Musayelyan’s brilliant flute playing and has DiMuzio stretching heroically on a robust tenor solo.

The beautiful ballad Cerca has Pinna switching to brushes and fellow Argentine Genovese playing gentle piano. “Cerca means ‘close,’ and it’s dedicated to my kids,” explains the composer. DiMuzio delivers a dusky tenor solo and Musayelyan follows with a luminous flute solo. Genovese’s delicate touch and sparse approach on his piano solo here is simply sublime.  Read more...

01. Hashtag
02. Trunca Beat
03. Cerca
04. Evidence
05. Troesma
06. Falling
07. Infant Eyes
08. Weather
09. Afternoon at the Gallery
10. Afro Blue
11. Astor
12. U.M.M.G.

 

YULIA MUSAYELYAN flute
RICK DiMUZIO tenor sax
FERNANDO HUERGO electric bass
LEO GENOVESE piano, Fender Rhodes electric piano
FRANCO PINNA drums 

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Ismael Alcina - Bass Life (2016)

Label: Self Released

Source: Ismael Alcina

Genre: Electric Jazz/Fusion

Desde pequeño estuvo muy ligado al rico folclore comarcal participando de forma activa como guitarrista y vocalista de manera autodidacta. A los 16 años, comienza tocando el bajo eléctrico influenciado por músicas como el flamenco, y el pop. Más tarde, compagina sus estudios de Magisterio de Educación Musical con una afortunada e intensa actividad profesional, llegando a realizar numerosas giras y grabaciones con artistas relevantes de diversos estilos con los que recorre todo tipo de festivales, salas y recintos más importantes del panorama nacional. (EA!, Maita Vende Ca, Alba Molina, India Martínez, Lya, David de María, Lidia Guevara y Rojas, etc)

Realiza seminarios con bajistas como Paul Gill (NY) y Chris Higgins (Boston). Ya en 2010 se afinca en Barcelona donde finaliza el grado superior bajo eléctrico en Jazz & Música Moderna en la Escola Superior de Música de Catalunya (ESMUC) con profesores como Gary Willis, Mario Rossy, Joan Sanmartí, Ferran Conangla, Dani Pérez y Luis Vergés entre otros. Actualmente compagina su actividad como sideman, para diversos artistas y proyectos, con la realización de su propia música, su primer proyecto personal que muy pronto se verá reflejado en el que será su primer disco.

Ha colaborado con artistas como: David de Maria, Rojas, Lidia Guevara, Jimmy Malla, India Martinez, Lya, David Palomar, Rancapino, Mariana Cornejo, Joaquín de Sola, Jose Mercé, Hakim, EA!, Juan de Juan, Rycardo Moreno, Antonio Lizana, Radio Macandé, Maita Vende Ca, Manolo Carrasco, Sergio Monroy, Alba Molina, Fado Violado, José Carlos Gomez, Saurom, Fernando Lobo, The Gramophone Allstars Big Band, Pau Figueres, Xaluq…

BASS LIFE es el resultado de más de 10 años de experiencia profesional realizando giras con diversos artistas del panorama nacional. El proyecto ve la luz el pasado año en L´Auditori de Barcelona y evoluciona hasta convertirse en el primer álbum del músico gaditano.

Desde sus comienzos en su ciudad natal tocando flamenco y folclore, el bajista también ha gozado de una intensa actividad como músico de sesión para artistas de pop nacional. En Barcelona, profundiza en el estudio del jazz y la música moderna con profesores como Gary Willis y Mario Rossy, pudiendo colaborar con distintas formaciones de la ciudad condal. Actualmente, además de apostar por su propia música, está involucrado en varios proyectos y continua con su faceta como freelance.

1. Latin Day 06:29
2. Tú 05:00
3. Bipolar 04:11
4. Home 05:57
5. Solo 01:52
6. Introspección 06:24
7. WTF 04:15
8. Nana 08:20

Ismael Alcina - bajo eléctrico fretted, fretless, voz y palmas.
Adri Gonzalez - piano, rhodes, hammond y synth.
Enric Peinado - guitarra eléctrica y guitarra acústica.
Antonio Torres Vega - batería, percusiones y palmas (batería DW y platos Zildjian)

Cuarteto de cuerda (#4 y #8): Asier Suberbiola - violín, Ariadna Rodriguez Masafrets - violín, Nuria Garcia - viola y Carmen Enjamio - cello

Epi Pacheco - cajón (#3) Grabado en Studio TMA (Chiclana de la fra, Cádiz)
Jordi Bastida - guitarra eléctrica (#6)

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Steve Kuhn Trio - At This Time (2016)

Source & Label: Sunnyside Records

Any chance that one has to hear a master musician in his or her preferred setting is a gift. For all the one-offs and ensemble by committee type of gigs that spring up, it is the reunion with familiar collaborators for a stint of a few nights that really becomes integral for the best performances.

On his new recording, At This Time, pianist Steve Kuhn found himself just in the right time and place to record a trio record that feels timeless and truly inspired. The ensemble, which features legendary bassist Steve Swallow and drummer Joey Baron, was happy to find itself in an extended engagement at Birdland Jazz Club in New York in September 2015 and found time to get into the recording studio before heading to Europe on tour.

Of course, Kuhn has been one of jazz’s foremost pianists for over half a century. He has been fortunate to accompany some of the most important voices of his generation, including John Coltrane, Sheila Jordan and Kenny Dorham, but it is his work in the trio setting that has been where he has made his name.

Kuhn’s current trio features a contemporary, and an important innovator of a later generation. Steve Swallow has been at the forefront of contemporary music for decades. Whether performing alongside Jimmy Giuffre, Paul Bley or Carla Bley, Swallow has been one of the most important figures on both the acoustic and electric bass. Though twenty years younger than Kuhn and Swallow, drummer Joey Baron has cemented himself as one of the most well rounded musicians, at home in the most classic of jazz ensembles and in the most raucous of the avant-garde.

The material for the recording came from the recent set lists from Birdland. The songs comprise a good mix of standards and a couple of Kuhn penned originals.

The recording begins with an exuberant rendition of the Arlen and Mercer classic “My Shining Hour,” which is followed by Al Cohn’s “Ah Moore,” tastefully done by the trio. Quincy Jones’s “The Pawnbroker” is a perfect example of nuance in performance, as is Kuhn’s “All The Rest Is The Same,” which also accelerates in a mid tempo Latin bounce. The pianist’s “The Feeling Within” is a rich and brilliant solo piece.

The trio’s take on Duncan Lamont’s “Carousel” is leisurely paced and has a great solo feature for Swallow. Bernstein’s “Lonely Town” is subtle yet poignant, while the Weill chestnut “This Is New” is an upbeat swinger. The program closes with Gil Fuller’s “I Waited For You,” a lush and mellow ballad performed with great beauty.

Fortunately for the jazz world, Steve Kuhn and his fantastic assemblage found the time to record At This Time, a testament to the importance of dynamics within an ensemble and tasteful performance.

01．My Shining Hour   6:28
02．Ah Moore   9:19
03．The Pawnbroker   6:10
04．All The Rest Is The Same   7:33
05．The Feeling Within   5:47
06．Carousel   5:51
07．Lonely Town   5:46
08．This Is New   5:44
09．I Waited For You   6:07

STEVE KUHN (p)
 STEVE SWALLOW (b)
 JOEY BARON (ds)

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Janek Gwizdala - American Elm (2016)

Label: Self Released

Source: Janek Gwizdala

London born US based Bass player and record producer Janek Gwizdala has been on the international music scene for over a decade. He has been touring as a band leader and working as musical director or sideman with some of the most respected names in the industry. These include: Randy Brecker, Hiram Bullock, Mike Stern, John Mayer, Airto Moreira, Chuck Loeb, Peter Erskine, Flora Purim, Pat Metheny, Billy Cobham, Bob James, John Patitucci, Bob Mintzer, Marcus Miller, Jojo Mayer, Paul Shafer, Dennis Chambers, Gary Novak and Wayne Krantz. As a recording artist and band leader Janek has released 7 albums as a leader, as an author published two critically acclaimed books,  and toured the world extensively, while also touring as a lecturer and clinician at the world's leading educational establishments.

1. Poets Walk 04:14
2. Manhattan - Part 1 01:16
3. American Elm 10:47
4. Indian Lake 04:38
5. Manhattan - Part 2 01:30
6. West Village Walk 06:49
7. Mount Rushmore 06:48
8. Coming Home 07:20
9. God Rest Ye Merry Gentlemen 04:33
10.Day Tripper 06:01

Janek Gwizdala - Electric Bass & Loops 

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