present
BUY THIS ALBUM
Tuesday, July 5, 2016
Monday, July 4, 2016
Yelena Eckemoff Quartet - Leaving Everything Behind (2016)
Yelena Eckemoff returns to her roots for ‘Leaving Everything Behind’
Source: www.examiner.com
Everything Yelena Eckemoff does seems to be about her love of nature, its intrinsic beauty, and its own immortal life cycle that cannot be moved by man. Through a strong and prolific discography borrowing profusely from her classical heritage and her latent jazz interest, Eckemoff expresses an innate approval, even a reflection of her own conceptual, existential interest inherent in nature.
The Russian classical-jazz pianist and composer gives other prolific artists a run for their money. It seems she’s released a new recording every year, with Glass Song, A Touch Of Radiance, Lions, and Everblue.
She pairs up again with drummer Billy Hart on an often painful look back in the May 13, 2016 release, Leaving Everything Behind (L&H Production). She also works with bassist Ben Street and violinist Mark Feldman to complete the emotional process.
She revisits the compositions from her early period, before she knew much about modern jazz. In doing so, she puts an updated spin — with her new band — on compositions that go back to the 1980s and make stops along the way through Eckemoff’s early 20s and on through 2005 and 2008. What’s really amazing is as structured as Eckemoff’s charts are, and as thoroughly rehearsed as she and her band always have to be, she makes plenty of room for an improvisational feel on the 11 tracks.
When she speaks of leaving everything behind, Eckemoff isn’t kidding. In 1991, the classically trained pianist and her husband had to leave everything behind in the Soviet Union in order to make it to America. They left their three young children with her parents, in hopes that they could bring them to their new home after getting settled. They also arrived in the U.S. with virtually nothing other than some spare change.
“When my husband and I came to America it was a really difficult time,” she said in a DL Media press release. “We came to America with less than $20 in our pocket, didn't know the language, we were struggling to get established. Listening to music was not a priority, but I did a lot of composing and performing as a solo pianist.
“It was really impossible for us to leave Russia, so we had to leave our children with my parents for a year and two months just to come to America together. It was the most difficult thing we ever did. We didn't know if we'd have to go back or if they would be brought to us. It was indefinite — we didn't know how long we weren't going to see them.”
Like she did on her previous U.S. releases, Eckemoff contributed her artwork and poetry along with her original music — for a complete experience.
Working with Eckemoff isn’t a piece of cake. This is a bandleader with a keen eye for details and a definite vision. The musicians on board must do their homework, learn the charts inside and out, and be completely prepared. But they are richly rewarded with the enlightenment of her dense, intricate, and innovative music, a new modern jazz she has managed to create for herself.
Eckemoff explained her process in the press release. “Traditionally, jazz is about extensive improvising on what might even be a simple tune. What I'm doing is taking more charge of the outcome. I provide a comprehensive, carefully thought-through musical framework, based on the important melodic material, and share with performers my sentiments about what each piece is meant to express. At the same time I leave much space in this framework for the creative reading by each band member, as well as the band as a whole. When we start playing together, each band member brings a personal interpretation of the music material, and sometimes the outcome evolves away from what was initially intended. The improvisational parts, both structured and free, add a strong element of unpredictability, and also the interplay between band members often takes the music in a new direction.”
An advance media preview of Eckemoff’s “Love Train” — not the O’Jays pop single — shows a remarkable evolution in the enlightenment of jazz and classical, fused in short and long forms of modern details amidst the fragility and eternity of man’s nature. There are a million jazz-classical concerts dying to break out in the myriad cascading snippets aligned in Eckemoff’s tender, forceful piece.
BUY THIS ALBUM
Christian Weidner - Every Hour of the Light and Dark (2016) PIROUET RECORDS
present
An elastic push-pull between the melodic and the atonal, between pulse and space pervade, with Christian Weidner and friends exploring the shades and tones in Every Hour of the Light and Dark. There's a continuity to the compositions, as the musicians gaze inwards, sensitive, self-critical. With directness and depth, they uncover the miracle of the moment.
BUY THIS ALBUM
Sunday, July 3, 2016
Peter Ponzol & Abbey Rader - It's Time (2016)
Abbey and I have been playing together since the mid-60s, first in Miami, then NYC during the 70s and Europe in the 80s. We got together again in the 90s and this recording is a result of the very special communication we have always had. While a recording of just saxophone and percussion isn’t unusual, I know that there are no other two players who could deliver what is on this album. All pieces are first takes and are based on short themes that were mostly composed in the moment. So called “free or avant-garde jazz” often lacks the beauty and musical development heard here. Peter Ponzol
1. Hunger
2. Opposition
3. Dervish Dance
4. Many Mansions
5. Achievement
6. Ichowa
7. It's Time
8. I've Got Humor
9. Peace
10. Water Fall
11. Hear the Light
Peter Ponzol, sax
Abbey Rader, percussion
BUY THIS ALBUM
US4 - My Scandinavian Blues: A Tribute To Horace Parlan (2016) STUNT RECORDS / SUNDANCE MUSIC
PRESENT
Us Three
Heading South
Norma
In the Spur of the Moment
One for Wilton
Arrival
Broken Promises
Little Esther
Opus 16A
Wadin'
Party Time
Tomas Franck: tenor saxophone
Thomas Clausen: piano
Jimmi Roger Pedersen. bass
Adam Nussbaum: drums
Sinne Egg: vocal
BUY THIS ALBUM
Østergaard Art Quartet – More Stories from the Village (2016) BOOGIE POST RECORDINGS
present
One of the best-kept secrets of the vibrant Danish jazz scene is drummer Michala Østergaard-Nielsen. A unique musician that can shape the course or the mood of any musical texture with her unique, serene and economic touch. She can blend organically with the vocal jazz quartet David’s Angels, the art-rock trio Nuaia (both with Swedish vocalist Sofie Norling), or the electronics meets free-improvisation of the Swedish Midaricondo duo. Her second album with her own quartet, the Østergaard Art Quartet, follows the acclaimed debut Stories from the Village (BoogiePost Recordings, 2011), and highlights her other talents, that of being a leader of strong-minded musicians and a master improviser.
The quartet is a European supergroup, featuring Norwegian trumpeter and vocalist Per Jørgensen, known from his ongoing collaborations with percussionist Terje Isungset and the trio Jøkleba, Danish trumpeter Kasper Tranberg, known from his collaboration with Yusef Lateef, Adam Rudolph in the Universal Quartet, and French master guitarist Marc Ducret.
As on the Quartet's debut, the short pieces offer an imaginary narrative of life in a remote, rural community, where music plays an integral role in the daily life. This kind of approach to music was perfected by the Art Ensemble of Chicago, embracing black music from the past to future. Østergaard Art Quartet invents its own timeless culture, located in a mysterious destination, yet a very colorful and dramatic one. The album was recorded during the Quartet Nordic tour in 2014.
The musical pieces/improvisations are weaved patiently, offering a choir of sympathetic yet highly original voices, all are experienced storytellers who know how to build a dramatic tension and then to offer a comforting conclusion. This quartet can create an intense emotional atmosphere with no more than sparse and gentle touches, breaths and whispers, as on the fascinating “Storytime”; suggest an inspiring manner of extending each other voice as delivered on “Night fall”; stage an urgent, playful and nuanced mini-drama as on “Little tiger, Part II” or offer a spiritual, meditative universe with repeated, cyclical expressions as on “Beautiful Bells and Trumpet Trance”.
My only complaint about this most beautiful gem: why just 37 minutes, after we have waited so patiently for five long years? We, all, deserve more, and if possible, sometime soon.
In the village
Hunting
Story time
A roadtrip to an old mountain
Intermezzo
Playtime
Night fall
Little tiger, part II
The guitar player
Beautiful bells and trumpet trance
A gentle celebration
Marc Ducret (FR): guitar
Per Jørgensen (NO): trumpet, vocal and darabouka
Kasper Traberg (DK): trumpet and cornet
Michala Østergaard-Nielsen (DK): drums, percussion
Track 1, 2, 8, & 11 recorded live by Rune Børø at Nasjonal Jazzscene, Oslo, October 2014
All other tracks recorded live by Thomas Vang at The Village Recording, Vanløse, October 2014
Mixed by Thomas Vang (thevillage.dk)
Mastered by Brian Mørk Hansen
Produced by Michala Østergaard-Nielsen
Cover Design by Mai-Britt Amsler (maibrittamsler.dk)
Marc Ducret plays on Vendramini guitars.
Thanks to:
Kasper, Per and Marc, Boogiepost Recordings, Thomas Vang, Brian Mørk Hansen, Mai-Britt Amsler, Majken, Jama and family and friends for love and support.
A special thanks to Martin Nilsson
BUY THIS ALBUM
Saturday, July 2, 2016
Kenny Garrett - Do Your Dance! (2016)
Label:
Source: London Jazz News
Genre: Post-Bop
GAB's Rating: ★★★★★
Multi-instrumentalistKenny Garrett likes to make people dance, and on Do
Your Dance! he wants people to do whatever dance they like. He's produced a
record of largely optimistic, energetic music to help you along.
Two drummers help him out, Ronald Bruner on four tracks and McLenty Hunter on five, on four of which he's also joined by percussionist Rudy Bird. Vernell Brown plays piano and Corcoran Holt bass on all tracks bar one, Persian Steps, on which Garrett plays piano and flute. On most of the tunes Garrett plays alto sax, playing soprano only on one, Waltz (3 Sisters).
They are joined joined on Wheatgrass Shot (Straight to the Head) by rapper Mista Enz, son of co-producer Donald Brown. Over a opening piano rhythm, the rap feels integral to the music rather than something bolted on after the event. This is jazz, with spoken words. The jazz is good, too: it's not that the words are covering anything up.
Two drummers help him out, Ronald Bruner on four tracks and McLenty Hunter on five, on four of which he's also joined by percussionist Rudy Bird. Vernell Brown plays piano and Corcoran Holt bass on all tracks bar one, Persian Steps, on which Garrett plays piano and flute. On most of the tunes Garrett plays alto sax, playing soprano only on one, Waltz (3 Sisters).
They are joined joined on Wheatgrass Shot (Straight to the Head) by rapper Mista Enz, son of co-producer Donald Brown. Over a opening piano rhythm, the rap feels integral to the music rather than something bolted on after the event. This is jazz, with spoken words. The jazz is good, too: it's not that the words are covering anything up.
Mista Enz has a few lines at the end of Do Your Dance!, too. Most of the
tune is a rocky riff with an appropriately fast beat over which Garrett lays
down a choppy solo. Then, a coda to the main tune, they slow down, Enz
entreating us to dance.
Garrett seems to invoke his influences throughout this album. The first track, Philly, starts with some sombre piano chords before tearing into a fast hard bop piece worthy of Blakey, with whom Garrett played early in his career. It is hard not hear Coltrane in Garrett's saxophone here, and Vernell Brown sounds uncannily like McCoy Tyner, who coincidentally came from Philadelphia.
The Coltrane influence is also present in Chasing the Wind, the closing track. This is a fast tune reminiscent of Giant Steps or Miles Davis' Seven Steps to Heaven, and Garrett plays it with speed and fluency, producing a dazzling cascade of notes. Bruner keeps his cymbals swinging, driving the rhythm forward; Vernell Brown lays down another exciting piano solo. A great hardbop finish! Patrick Hadfield
Garrett seems to invoke his influences throughout this album. The first track, Philly, starts with some sombre piano chords before tearing into a fast hard bop piece worthy of Blakey, with whom Garrett played early in his career. It is hard not hear Coltrane in Garrett's saxophone here, and Vernell Brown sounds uncannily like McCoy Tyner, who coincidentally came from Philadelphia.
The Coltrane influence is also present in Chasing the Wind, the closing track. This is a fast tune reminiscent of Giant Steps or Miles Davis' Seven Steps to Heaven, and Garrett plays it with speed and fluency, producing a dazzling cascade of notes. Bruner keeps his cymbals swinging, driving the rhythm forward; Vernell Brown lays down another exciting piano solo. A great hardbop finish! Patrick Hadfield
1. Philly
2. Backyard Groove
3. Wheatgrass Shot (Straight to the Head)
4. Bossa
5. Do Your Dance!
6. Calypso Chant
7. Waltz (3 Sisters)
8. Persian Steps
9. Chasing the Wind
2. Backyard Groove
3. Wheatgrass Shot (Straight to the Head)
4. Bossa
5. Do Your Dance!
6. Calypso Chant
7. Waltz (3 Sisters)
8. Persian Steps
9. Chasing the Wind
Kenny Garrett - alto sax, piano, flute
Ronald Bruner - drums
McLenty Hunter - drums
Rudy Bird - percussion
Vernell Brown - piano
Corcoran Holt - Bass
Ronald Bruner - drums
McLenty Hunter - drums
Rudy Bird - percussion
Vernell Brown - piano
Corcoran Holt - Bass
Mista Enz - rap
BUY IT @
Markowitz / Andersson / Mogensen - In Transit (2016)
Den blinde danske bassist Richard Andersson er blevet placeret mellem sine to læremestre, den amerikanske pianist Phil Markowitz, som lukkede Andersson ind på Manhattan School of Music i 2008 og den pæredanske trommeslager Anders Mogensen der lukkede Andersson ind på konservatoriet i Odense i 2003. Det er der kommet et medrivende trioalbum In Transit ud af. Pladen blev indspillet i december 2013 og har ligget og boblet siden da. Når man åbner musikken får man triojazz af den melodiske og ukomplicerede slags. Triojazz hvor der er plads til at alle tre får lov til at sige noget. Trioen har gennem de sidste 5 år turneret flere gange og kender tydeligvis hinanden godt.
Kompositionerne folder sig ud for musikerne, hvor de finder sammen og skaber øjeblikkets kunst. Richard Andersson har flere gode solopræstationer undervejs. Han efterlader et solidt og behageligt indtryk. Anders Mogensens trommespil befínder sig i en veltempereret og tilbagetrukket rolle, hvor hans bækkenspil skal fremhæves. Den 63 årige Phil Markowitz der både har spillet med Chet Baker og Dave Liebman serverer en masse lækkerier. Mit gamle triojazz hjerte er fornøjet og tilfredsstillet.
1. Paris
2. Off By One
3. Relieved
4. Dreamland part II
5. Lieb
6. Annemone
7. Black Dots
8. Wishes
9. Our Groove
10. Indian Summer
Phil Markowitz, piano
Richard Andersson, double bass
Anders Mogensen, drums
BUY THIS ALBUM
Subscribe to:
Posts (Atom)