Branford Marsalis Quartet - Upward Spiral (2016)

Label:

Source: Allaboutjazz

Genre: Jazz Vocals

GAB's Rating: ★★★★☆

To one extent or another, jazz has always maintained a discriminatory dividing line between vocalists and instrumentalists. Instead of being viewed as equals—artists on par with all the rest, possessing the same good sense, skill, and stake in an artistic outcome—vocalists have often been unfairly stigmatized and interned in a separate category. But all of that has slowly been changing, due in no small part to a large and continually growing crop of vocalists who are consistently raising the bar.

For the past two decades, the one and only Kurt Elling has been a central figure in that category. He's both world-wise and street smart in his moves, able to touch on highbrow topics and base emotions with equal success. There's been a hint of vanity in some of his fine art, but it's never there without just cause. The man acknowledges his influences but remains a school of one, a force of nature who's capable of covering more ground than almost anybody. There's simply nobody else who's better suited to enter into an artistic agreement with one of jazz's most outspoken personalities—saxophonist Branford Marsalis.

Whether on or off the bandstand, Marsalis doesn't mince words or ideas. Due to that fact, few vocalists are really up to the challenge of entering his orbit and thriving in such a climate. In Elling, however, Marsalis has found one who's every bit his match. The saxophonist and his quartet mates are able to telescope focus toward Elling's warm, strong, and pliant voice, and Elling is able to accentuate the inherently melodic and lyrical qualities in this group's work. The beauty in Marsalis' music isn't cited often enough, as many tend to focus exclusively on the edgier side of his sound. This project rectifies that problem.

This playlist is as eclectic as one might expect given the architects at the drawing board. Everybody from saxophonist Sonny Rollins to vocalist Elis Regina and pianist Fred Hersch to poet Calvin Forbes is referenced in one way or another, and the music is suffused with graciousness, beauty, and, on occasion, heartbreak. Elling dons the face of Mr. Charisma on "There's A Boat Dat's Leavin' Soon For New York," maintains his status as the heir to Mark Murphy's throne of hip on "Doxy," delves into modern jazz Americana on Hersch's "West Virginia Rose," and plays it cool as the breeze on "Só Tinha De Ser Com Você." Through every one of those turns, Marsalis and company are right there with him, exploring every little and large event with the utmost respect for the music and the contributions of one another.

Understatement serves as a source of strength in much of this music, and fragility is as strong a lure as any of the aforementioned qualities. Case in point is Sting's "Practical Arrangement," a song that elicits an incredibly strong emotional response. That number alone is worth the price of admission, and it's not the only tearjerker. The Marsalis-Elling duo take on "I'm A Fool To Want You," while delivered with more poise and less vulnerability, belongs in the same category.

While there are far more ambitious outings in the respective discographies of both of these marquee names, there's nothing more arresting in either man's portfolio. Beauty becomes these musicians. They carry the torch of grace to the heavens in their own inimitable upward spiral.  Dan Bilawsky

01 There's a Boat Dat's Leavin' Soon for New York 
02 Blue Gardenia 
03 From One Island to Another
04 Practical Arrangement
05 Doxy
06 I'm a Fool to Want You
07 West Virginia Rose
08 Só Tinha de Ser Com Você 
09 Momma Said
10 Cassandra Song 
11 Blue Velvet 
12The Return (Upward Spiral)
13 Long as You're Living 

Branford Marsalis, Saxophones
Joey Calderazzo, Piano
Eric Revis , Bass
Justin Faulkner, Drums
Kurt Elling, Voice

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Bill Evans - Rise Above (2016)

Source:

Label: Vansman Records

Genre: Soulgrass / Jam-band

GAB's Rating: ★★★☆☆

After 10 years of touring and breaking new ground with Bill Evans Soulgrass,  Bill introduced the“Bill Evans Band” in the Fall of 2015 , a hard hitting montage of Jazz, Rock, instrumental and vocals. The “Bill Evans Band” is the next step for Bill. The evolution. Evans conducts the band and drives it with his saxophone as well as singing the lead vocals. With Dave Anderson on Bass and Bryan Baker on Guitar/Vocals, the “Bill Evans Band” is a seamless blend of Jazz, Rock and Groove. “People really relate to this band. We take people on a musical journey of Jazz, Funk, and Rock and Roll. For me, that’s the definition of Jazz- Improvisation and Exploration that people can really FEEL!”  “Bryan Baker on guitar and vocals is a "phenom!," says Evans. “He is the most intense and lyrical guitar player I’ve ever played with. " This combination of musicians is handpicked by Evans who has played with the best musicians in the world throughout his entire career. Put your seat belt on!

In April 2016 the “Bill Evans Band “ toured Europe in support of his latest release “Rise Above.” The band played to sold out venues across Europe.

“Rise Above” is scheduled for release May 26th, 2016 on Vansman Records.

“Rise Above” is Bill’s most accessible release to date (2016). On this, his 24th solo offering, Evans explores rich and haunting vocals from special guest singers, including legend Gregg Allman, Warren Haynes, JJ Grey, Anders Osborne, Murali Coryell, and Josh Dion. “This recording has been an epic journey. My vision from the beginning was to record and write with some of my favorite singers and record a different song with each one of them. The goal was to still make a cohesive and solid performance out of all this music. It went far beyond my expectations. Sheer pleasure start to finish,” says Evans.

“Rise Above” is tied together with Evans' pedigree and love of soulful melodies and hard-hitting grooves, as it has been from the very beginning.  In addition to his powerhouse guest vocalists, this recording also features among others: Jake Cinninger ( Umphreys Mcgee), Mike Stern on guitar, as well as, a who’s who among Jazz and Jam Band musicians.

Evans is a world-class saxophonist and producer who made his debut on the international music scene in the 1980s originally with Miles Davis, (at the age of 21 years old- and recorded 6 records with Davis) which led to playing and recording with the likes of John McLaughlin, Herbie Hancock, Mick Jagger, Willie Nelson and many others. With 24 solo albums, Grammy nods, and countless collaborations and tours, Evans has continued to explore a dazzling variety of adventurous musical settings as a pioneering bandleader, consistently winning fans in the worldwide arena. RECENT HIGHLIGHTS include: TOURING AND OR PERFORMING with his own band, the “Bill Evans Band,” Warren Haynes, Robben Ford (Bill Evans Soulgrass meets Blues), Phil Lesh and friends, Stern/Evans Band, Medeski Martin Wood and countless sit- ins with The Allman Brothers band, Umphreys Mcgee, Moe, Blues Traveler, Galactic and many more.

1. Right Lady (feat. JJ Grey, Scott Metzger, Marco Benevento, Joe Russo & Vaneese Thomas)
2. Rise Above (feat. Warren Haynes, Danny Louis, Vaneese Thomas, Josh Dion, Dave Anderson & Mitch Stein)
3. Love Game (feat. Murali Coryell, Mike Stern & Ryan Cavanaugh)
4. Love Is Working Overtime (feat. Gregg Allman, Joe Russo, Scott Metzger, Tim Carbone & Nick Piccininni)
5. Everybody's Lookin' (For Somethin' They're Missing) [feat. Murali Coryell, Etienne Mbappe, Rob Aries & Mitch Stein]
6. Slow Rollin Ride (feat. Anders Osborne, Joe Russo, Marco Benevento & Roger Squitero)
7. Tales of a Shiny Devil (feat. Jake Cinninger, Josh Dion, Ryan Cavanaugh & Tim Carbone)
8. Strange Neighbors (feat. Josh Dion, Mtich Stein, Dave Anderson & Ryan Cavanaugh)
9. Them Changes (feat. Josh Dion, Danny Louis & Mitch Stein)
10. Every Once in a While (Things Got to Give) [feat. Nick Piccininni, Tim Carbone, Josh Dion, Mitch Stein, Murali Coryell, Dave Anderson & Ryan Cavanaugh]

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Scott Jeppesen - El Guapo (2016)

Label: 

Source: Allaboutjazz - Carlo Wolff

Genre: Contemporary Jazz

GAB's Rating: ★★★★★

"Guapo" is Spanish for "sharp-dressed man" (or woman), and the title—and launch—track of Scott Jeppesen's exceptional solo debut sure conjures such an image. El Guapo is stylish, diverse and expert; released on Oct. 1, 2013, it is one of the best albums of that year.

Jeppesen is a protean saxophonist who also plays bass clarinet. A restless, inventive player, he delivers eight memorable originals, a resonant, intimate version of Richie Beirach's "Elm" and an effervescent take of Cole Porter's "Don't Fence Me In" that draws this fine album to a close.

The subtext here seems to be communication. Tracks four through seven bear titles referring to conversations, attitudes, and psychological deals. Take "Maybe Later," featuring Jeppesen on bass clarinet. The longest track on this worked, thoughtful disk, it starts ruminative and pretty, much like "Prayer for Sandy Hook" toward the end. But it evolves into something arch and witty as Jeppesen, the bass of Dave Robaire his underpinning, tosses the melody to John Daversa, a brassman—he's on flugelhorn here —of restraint and dramatically reluctant drive. Every solo purpose. Every solo, like Jeppesen's tone, is dry, too, even the ringing one by guitarist Larry Koonse.

Jeppesen switches to soprano sax for "No Drama," a tricky cut of slink and sass, a chamber-jazz bolero which showcases the rhumba talents of pianist Josh Nelson and sexy bass goading. Every tune has surprises; that's largely due to the startlingly crisp and detailed production of Jeppesen and Daversa.

The metrically demanding, funky "Overlapping Conversations," sparked by Dan Schnelle's elastic drumming, keeps the narrative going, building momentum and tension until Jeppesen and Koonse, whose doublings are one of the album's signature voicings, ties the bow.

And while each of the four tracks in this mini-suite within the album's broader framework stands by itself, they all seem to "talk" to each other. At the same time, while the album is sophisticated and Jeppesen's compositions refreshingly unpredictable, this cool dude of a disk never sacrifices accessibility on the altar of the abstract.

Jeppesen is a multi-instrumentalist at home in a variety of styles and settings. He's played with everyone from jazz artists Dave Koz to Maria Schneider, as well as the pop-rock guitarist Steve Millerand soul icon Stevie Wonder. While the pop and soul influences aren't prominent on "Guapo," the album always swings, and the musicianship is effortless no matter how mutable and challenging the track.

While "El Guapo" may not be the shape of jazz to come, it's jazz at its most shapely. Let's hope Jeppesen, his tone penetrating and spare, his improvisations compact and purposeful, his approach generous and intelligent, continues to deliver jazz of such exceptional quality.  

1. El Guapo 05:40
2. Elm 06:13
3. Great Odin's Raven 05:38
4. I Tend To Agree 07:04
5. Maybe Later 07:39
6. No Drama 03:49
7. Overlapping Conversations 05:46
8. Hidden 07:07
9. Prayer For Sandy Hook 06:14
10.Don't Fence Me In 04:59
    

Scott Jeppesen - Saxophones and Bass Clarinet
John Daversa - Trumpet and Flugelhorn (Tracks 3 and 5)
Larry Koonse - Guitar
Josh Nelson - Piano and Keyboard
Dave Robaire - Bass
Dan Schnelle - Drums 

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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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Max Ionata - Rewind (2016)

Source & Label:

Genre: Modern Jazz/Hammond

GAB's RATING: ★★★★☆

Italian saxophonist Max Ionata, among the leading players in the contemporary jazz scene and one of the most demanded worldwide, will be releasing his thirteenth album “rewind” in May; his fourth recording produced by Jando Music | Via Veneto Jazz.  

With “rewind” Max Ionata marks a turning point and repositions himself at the head of an entirely different formation: a Hammond trio. The group features an exceptional array of talents, comprised of master musicians of international stature with whom he established a remarkable synergy during the numerous concerts in the past few years; namely the organist Alberto Gurrisi and the premier Dutch drummer Frits Landesbergen - also considered one of the best vibraphonists in Europe.  

This album truly represents a “rewind” - a transition veering from his traditional path - where Ionata starts anew with an abundance of creativity and bold stylistic innovations.  An energetic swerve following an intense artistic career during which Max Ionata performed both as leader and as special guest at the world’s most important jazz festivals and clubs, collaborating with the greatest musicians in the world.  

The album contains two jazz standards, one song composed by Frits Landesbergen and arranged by Max Ionata, six original songs Ionata composed at the piano in August 2015, at his house in Abruzzo. A time during which he intensified his musical research, starting with his great passion for American jazz, particularly modern hard bop, unveiling new layers of that musical genius and intuitive melodic sense that distinguishes his music.  

Of the nine songs in the album, six are autobiographical: “Drum” is a tribute to the great Italian trumpeter Marco Tamburini, with whom Max shared key moments in his musical career; “Bob’s Mood” is inspired by Bob Mintzer and his unique style of composing; “Mr G.T.” is dedicated to his friend and colleague Gege’ Telesforo, who inspired Max with his unique way of experiencing the stage and with his passion for funk. “North Sea” is a ballad, played on the soprano sax, enthused by the coastal landscapes seen during their tour of Northern Europe; “Sunflower” stems from the effect of the intense colors of Van Gogh’s sunflowers, which had impressed Max during his visit to the Van Gogh Museum in Amsterdam.

The track list ends with Antonio Carlos Jobim’s pulsing and rhythmic “Chovendo Na Roseira” followed by George Coleman’s  “Amsterdam After Dark” and concludes with the loping swing of “At Vic's” written by Frits Landerbergen and dedicated to one of the greatest musicians in jazz, Victor Feldman.

01 At vic's (Frits Landesbergen)
02 Drum (Max Ionata) 
03 The black hole (Max Ionata)
04 North sea  (Max Ionata)
05 Sunflower (Max Ionata)
06 Bob's mood (Max Ionata)
07 Chovendo na roseira (Antonio Carlos Jobim)
08 Amsterdam after dark (George Coleman)
09 Mr G.T. (Max Ionata)

Max Ionata - saxophones
Frits Landesbergen - drums and vibraphone
Alberto Gurrisi - hammond organ 
Amedeo Ariano - drums (on #9)  

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Silvain Beuf - Plenitude (2015)

Label:

Source: Citizen Jazz

Plénitude, en effet, est le mot juste. Ce disque diffuse une belle ampleur, dans un souffle de ténor qui emporte tout le quartet. C’est le but, certes ; on ne l’atteint pas si souvent avec une telle tonicité. Ces amis là ne regimbent en rien, ni dans la fluidité du jeu, ni dans la cohérence du propos – les compositions étant toutes, sauf une, de Sylvain Beuf. Voilà qui aide à l’unité stylistique. Trois années de tournées ont donné de la consistance à l’aventure, parsemée de rock et de pop – et même de jazz, surtout de jazz évidemment, qui absorbe tout sur son passage, affaire de gènes. Il y a de l’électricité dans cet air-là, nourri d’un lointain « bulletin météo », ma foi bien frappé. (Irish Walk)
Manu Codjia fournit la couleur de ses touches toujours lumineuses. Philippe Bussonnet et Julien Charlet accrochent la rythmique à une solide charpente. Et voguent les lampions (Moon on the Sea, très punchy). Open Mind vire vers le rock, tandis que le soprano supplante le ténor d’une acidité discrète.
Soudain surgit le cinquième élément, Laurent Coulondre et son orgue, invités heureux dans ce Christmas Song tout en subtilité profonde.
Ce qu’on appelle un beau disque, encore un. Gérard Ponthieu

1. Mon ange
2. Matoubi 2. Matoubi
3. Clark and division 3. Clark and division
4. Christmas song 4. Christmas song
5. Moon on the sea 5. Moon on the sea
6. Open mind 6. Open mind
7. Irish walk 7. Irish walk
8. Enigmatic 8. Enigmatic
9. Lincoln park south 9. Lincoln park south

Sylvain Beuf (ts,ss)
Manu Codjia (el.g)
Julien Charlet (dm)
Philippe Bussonnet (el.b)
Laurent Coulondre (kb, org) 

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Sylvain BEUF / Michel PEREZ / Diego IMBERT - Triple Entente (2016)

Label: Trebim Music

Source: Culture Jazz

Il existe comme ça des plats que l’on peut resservir à satiété. Jamais repu !!! Des façons de faire, en particulier en musique, qui fonctionnent depuis… depuis fort longtemps alors pourquoi s’en priver. Par exemple le contrafact ou le fait de créer une nouvelle mélodie sur une trame harmonique préexistante : en jazz les exemples fourmillent, Donna Lee de Miles Davis est le contrafact d’Indiana, Groovin’ High l’alter ego de Whispering, Evidence de Monk celui de Just You Just Me, j’en passe. Faut pas être bien sorcier pour deviner que le Corps et Ames du CD du trio Triple Entente qui nous intéresse ici est construit sur Body and Soul, Dream Team sur You Stepped out of a Dream, Last Moments sur All The Things You Are, encore plus évident Confirm est le calque de Confirmation, moins aisé à deviner Intérieur Bleu est dans la vie courante Out of Nowhere, nous ne ferons pas l’injure de demander d’où provient Tikos Tikos. Dauphin Bleu, Azul et Amarillo nous ont résisté, personne n’est parfait, mais certaines tourneries nous sont familières. Une seule reprise dans cet enregistrement : Lennie’s Pennies de Lennie Tristano, contrafact de Pennies for Heaven lui même déjà inspiré de I Can’t Give you Anything But Love. Il est d’ailleurs possible de trouver dans l’ensemble de l’album une forte parenté avec l’esthétique tristanienne dans la souplesse et la fluidité des lignes qui brisent les carrures. Alors quoi, est-ce tout, est-ce suffisant ? Non bien évidemment, rien de l’exercice gratuit ici. Ce disque en évite les clichés, il en est même le plus parfait contre-exemple et l’on saura apprécier les soli de nos trois amis sans quoi tout cela ne serait que babillages. Qui plus est, et ça n’est pas superflu par les temps qui courent, cet enregistrement à un rapport généreux avec le je-ne-sais-quoi du bonheur.

01. Confirm
02. Lennie’s Pennies
03. Intérieur bleu
04. Corps et âmes
05. Dream Team
06. Amarillo
07. Tiko Tikos
08. Le dauphin bleu
09. Azul
10. Last Moment (Beuf)

Sylvain Beuf : saxophones
Michel Perez : guitare
Diego Imbert : contrebasse 

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Shauli Einav Quartet - Beam Me Up (2016)

Label: Berthold Records

Source: Shauli Einav

Installé à Paris après un long séjour new-yorkais de sept ans, le saxophoniste a travaillé avec le compositeur Asaf Matityahu pour mieux faire ressortir les correspondances des thèmes de Prokofiev avec les siens, qui prennent ainsi une ampleur presque insolite, avant de glisser dans l'improvisation impétueuse, comme dans les deux premiers morceaux (1415 et Tao Main), directement inspirés de motifs extraits des Visions fugitives. Du jazz épanoui donc, avec deux solistes éblouissants, Shauli Einav au sax, ténor ou soprano, Paul Lay au piano, et une section rythmique impeccable, Florent Nisse à la contrebasse et Gauthier Garrigue à la batterie, très présents tous deux pour ajouter du volume et de la rondeur. Par exemple dans Assai, en écho à l'Assai moderato no 12 de Prokofiev, où le son lyrique du soprano est comme enluminé. Dans Dolce Gustav, le principe de variation, mélodique et rythmique, est assumé en profondeur et complexité par le saxophoniste, avant de céder la place à un piano songeur. Ten Weeks amplifie la gravité du ténor par des accords pesants. Le temps s'écoule de façon irréversible, en même temps qu'il nous fait évoluer dans nos vies comme une succession de solos qui jamais ne seront rejoués. Le morceau titre, Beam Me Up, change l'ambiance de l'album quand Paul Lay reprend l'amorce de la contrebasse au Rhodes Fender, de façon répétitive et hypnotique, pour d'abord entraîner le sax à s'emballer, avant de finir par s'y soumettre. Pour le final, la guitare de Pierre Durand tisse des arpèges scintillants à la méditation mélancolique du soprano, hommage à un ami disparu. Par contre, la résurgence d'un thème en quartet, non répertorié sur la pochette, quelques minutes après la fin du disque, me laisse comme toujours dubitatif. Pourquoi ne pas l'avoir inscrit comme tel sur le cédé, d'autant que le son en est très beau ? Un beau cédé très inspiré à découvrir en priorité. On peut écouter des extraits sur le site du saxophoniste. Alain Lambert

1 1415
2 Tao Main
3 Assai
4 Dolce Gustav
5 Ten Weeks
6 Beam Me Up
7 76 San Gabriel

Shauli Einav (ts, ss)
Paul Lay (p)
Florent Nisse (b)
Gautier Garrigue (dm)
Pierre Durand (g)

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James Hughes & Jimmy Smith Quintet - Ever Up & Onward (2015)

Label: Self Released

Source: Cdbaby

Audio Culture (J. Smith)
This is tune that I wrote a few years back. It was inspired by one of my biggest personal influences, the late, great Woody Shaw.

Dots (J. Hughes)
This song is like a sugar rush, bursts of color and playful energy.  I think we all need that from time to time.  When I wrote this, it reminded me of the sound and feeling of laughter when musicians get together.

Luca's Interlude (J. Hughes)
For Luca Iio, who caused us to reschedule our second recording session.  Welcome to the world baby Luca!

East Detroit (J. Smith)
East Detroit is a recent composition, inspired by the astonishing musical spirit of our drummer, Nate Winn. Detroit is incredibly fortunate to have so many world class musicians on the scene and Nate is among the very best. His unique vibe can only come from a true Detroiter.

There Is A Balm in Gilead (African-American Traditional/Arr. J. Hughes)
I grew up in the church, always sang in the choirs and played piano for them, even did a ten year stint as choir director.  This has long been one of my favorite spirituals.  It deals with our experiences, pains and hardships, to which we often shake our head and ask, “is there no remedy?”

Drum Intro
We though it would be appropriate to have Nate Winn set the energy for Viridian.

Viridian (J. Hughes)
It is not just the color green, but a philosophical movement.  I wrote this tune using monochromatic harmony and shifting harmonic meters.  Instead of a melody driving the piece, I emphasized harmony and harmonic rhythm which resulted in a tune that is reminiscent of an impressionistic painting.  Read More...

1. Audio Culture
2. Dots
3. Luca's Interlude
4. East Detroit
5. There Is a Balm in Gilead
6. Drum Intro
7. Viridian
8. Zebras, Penguins and Bunny Rabbits
9. Keepin' It Real
10. Transgender Fender Bender
11. I'll Remember April
12. I'll Close My Eyes

Jimmy Smith - trumpet
James Hughes - saxophones
Phil Kelly - piano
Takashi Iio - bass
Nate Winn - drums

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Konrad Wiszniewski & Euan Stevenson - New Focus (2011)

Source & Label: Whirlwind Recordings

Glasgow-based saxophonist Konrad Wiszniewski joins forces with fellow Scottish compatriot, pianist & arranger Euan Stevenson in launching their genre-bending adventure New Focus on Whirlwind Recordings. Featuring an amalgamation of classical string quartet meets jazz quartet plus harp, New Focus showcases a cinematic soundscape of through-composed melodies meeting cutting edge improvisation, drawing upon influences from across the musical spectrum.

This nine-piece ensemble features The Glasgow String Quartet (comprising some of the finest virtuosos from The Royal Scottish National Orchestra, and Scotland's leading string quartet), alongside Stevenson on piano fronting the first call drum and bass team of Alyn Cosker (drums) and Michael Janisch (bass), Wiszniewski at the helm on saxophones and Alina Bzhezhinska on harp.

Stevenson's tight knit arrangements offer concise, pleasing trajectories, preserving the original sentiment of each composition, enriching them with ever changing soundscapes of strings and harp. Wiszniewski's tone tells parables of Polish ancestry while the arranger's own crystalline piano laments for pit closures in a northern mining town. A powerhouse rhythm team provides a counterfoil, never allowing the music to become sentimental.

This is music at its resourceful best; borrowing the harmonies and sonorities of the classical world, the tone poetry of Scottish Folk, the directness of pop and all mixed with the bustling edginess of jazz rhythms and improvisation. Duke Ellington famously quipped that there were only two categories of music - good and bad. New Focus most definitely belongs to the former.

"Outstanding original compositions by Wiszniewski and Stevenson. Wiszniewski brings world-class fire and spontaneous creativity." 5 Stars, The Herald.

"The most memorable concert of the 2011 Edinburgh International Jazz Festival. A real triumph." Jazzwise

1. Nicola’s Piece
2. Intro
3. El Paraiso
4. For Ray
5. Interlude
6. Music for a Northern Mining Town
7. Illuminate
8. Dziadzio
9. Leonard’s Lament

Konrad Wiszniewski - saxophones & compositions
Euan Stevenson - piano, compositions & arrangements

The Glasgow String Quartet:
William Chandler - violin
Jacqueline Speirs - violin
Ian Budd - viola
Betsy Taylor - cello

Alina Bzhezhinska - harp
Michael Janisch - double bass

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Daniel Zamir - Forth and Back (2015)

Source & Label: Jazzhaus Records

One must quickly admit that our knowledge of the rich Jazz scene in Israel is still in the beginning stages. Names like Avishai Cohen or Gilad Atzmon have been instilled in the minds of listeners for years in this country, yet behind these internationally celebrated artists lurk new discoveries. Just how many is not known at the moment. The 35-year-old saxophonist and composer, Daniel Zamir, has left behind this realm of the unknown. Over the past decade, he has become one of the most important virtuosos in Israel. With his 11^th CD release, yet his first with a German label, comes the opportunity to get to know the man from Petah Tikva, one of the most amazing representatives of Jewish Jazz.

After completing his studies at the prestigious Thelma Yellin-School of Arts, Daniel Zamir headed off to New York for his coming-of-age years. While there he graduated from the New School in 2002. In this foreign land, he developed an increased interest for Jewish Hasidic traditions and the sounds from the Balkans. Here he is discovered by John Zorn, the “enfant terrible” of the New Yorker Jewish scene, and records with his band 3-studio and 1-live CD (2000-2007) for his label Tzadik. The most outstanding amongst these released works, is Children of Israel, arrangements about Israeli traditions in Jazz vocabulary, and on which not only Zorn cooperated, but also prominent guests such as Ned Rothenburg, Greg Cohen and Uri Caine.

In 2004 Daniel Zamir decided to return to Israel. It is here that he begins to collaborate with luminaries such as the bassist Omer Avital, drummer Daniel Friedman and pianist Omri Mor. The prelude to this new phase of his career, characterized by Jewish-Orthodox spirituality, is the 2006 production of Amen. This album advanced to the best-selling Jazz album of all time in Israel. His alliances crossed the boundaries of Jazz: Zamir’s stage and studio partners are also from the Rock and Pop sector. His collaboration with the Reggae star Matisyahu, who was also his guide on his spiritual journey, counts as one of his most prominent links, along with his participation in Sting’s Israel tour in 2006. Zamir, whose name appropriately means “song-maker”, continues to take an unusual path: and so in 2010 he records Israel’s National Anthem, Hatikva. In 2010 he is presented with the Prime Minister Award.  Never before has an artist of his age won this renowned prize. At the end of 2014 he goes on stage in Jerusalem and Tel Aviv, with the greats from Israel’s Pop scene like Eviatar Banai and Berri Sakharoff, to record his second live album. Today Daniel Zamir is the director and founder of the Mizmor Music School. It is the first academy on Israeli soil since 2000, with its main focus strictly towards Jewish music.

Being well versed from trios to large big-band collaborations, Daniel Zamir decided for his album, Forth and Back, to focus on making music in the form of a quartett. With his long-time companion Omri Mor on piano and colleagues Daniel Dor (dr) and Gilad Abro (b) the saxophonist is able to reach an intense level of abstraction, that centers on the music without any programmatic contributions getting in the way. As a consequence, the songs simply have different numbers as titles. One might suspect behind this, hides a mystical numerology, but his explanation is quite simple: “Music has a dimension that is greater and deeper than words. To give a song a name would mean to limit the associations that arise in the listener. In order to not steal this freedom from him, I have only given the pieces numbers according to their chronological creation or the beat style.”

Therefore one can be “primitively” immersed in the new works and give rise to a unique visual language. Zamir’s style plays on the singable folk elements and intertwines with orientalism, but never swivels into pure Jazz and is even lesser so on the natural Klezmer terrain. From this excitement the ensemble draws the nuanced coloration of the pieces – as can be shown in just a few examples: In the rhythmic, retroserrate, Uptempo-intro “36” emerges a fluent dialogue between alto sax and piano, an overflowing of solos, that towards the end drift into the open. All the while a persistent ostinato survives all adventurous rhythm changes. “4” delves heartily into the American tradition of Bebop, while in “11” the quartet winks with a downright exuberant breath towards Reggae. In “2” Zamir furthermore proves with an equally melancholy as airy melody, that he also harbors a soulful voice.

Daniel Zamir and his quartet are bringing, with their new work, Middle Eastern playfulness and wily virtuosity under one roof. They are proving, once more, that one should not underestimate Israel as a land of Jazz.

1 Thirty Six    
2 Thirty Five B
3 Seven B    
4 Thirty    
5 Two    
6 Forty Six
7 Yes Eleven
8 ExplicitFour
9 Fifty Six         

Daniel Zamir (Saxophon)
Daniel Dor (Schlagzeug)
Gilad Abro (Bass)
Omri Mor (Piano)

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