Anouar Brahem - Blue Maqams (ECM 2017)

Released on the occasion of Anouar Brahem’s 60th birthday, Blue Maqams offers many reasons to celebrate. Recorded in New York’s Avatar Studios in May 2017 and produced by Manfred Eicher, it brings the Tunisian oud master together with three brilliant improvisers: the “Maqams” of the title refers to the Arabic modal music system, rendered kind of blue by the jazz players. For Anouar Brahem and Dave Holland the album marks a reunion: they first collaborated 20 years ago on the very widely-acclaimed Thimar album. Brahem meets Jack DeJohnette for the first time here, but Holland and DeJohnette have been frequent musical partners over the last half-century beginning with ground-breaking work with Miles Davis – their collaborations are legendary. British pianist Django Bates also rises superbly to the challenge of Brahem’s compositions. And Anouar in turn is inspired to some of his most outgoing playing. Blue Maqams is a highlight of ECM’s autumn season. Live appearances by the quartet will follow in 2018.

1 OPENING DAY (Anouar Brahem) 07:01

2 LA NUIT (Anouar Brahem) 10:28

3 BLUE MAQAMS (Anouar Brahem) 08:41

4 BAHIA (Anouar Brahem) 08:45

5 LA PASSANTE (Anouar Brahem) 04:05

6 BOM DIA RIO (Anouar Brahem) 09:23

7 PERSEPOLIS'S MIRAGE (Anouar Brahem) 08:06

8 THE RECOVERED ROAD TO AL-SHAM (Anouar Brahem) 09:26

9 UNEXPECTED OUTCOME (Anouar Brahem) 10:59

Anouar Brahem   Oud

Dave Holland   Double Bass

Jack DeJohnette   Drums

Django Bates   Piano

Kermit Ruffins and Irvin Mayfield - A Beautiful World (BASIN STREET RECORDS 2017)

In celebration of Basin Street Records’ 20th anniversary, label mates and trumpeters Kermit Ruffins and Irvin Mayfield join forces on A Beautiful World. These two mock adversaries, who used to hilariously battle it out musically at local clubs, stand as Basin Street’s most recorded artists and helped put the local label on the national map.

They share composing credits for the albums’ first cut, “Well, Alright,” which, not surprisingly, swings like crazy and is made complete with hand clapping, singing and Ruffins cheerleading—“Follow the umbrella!” It’s a big band number filled with saxophone, trombone and trumpet sections. The trumpeters kick things off with tenor saxophonist Ed “Sweetbread” Petersen soon standing up for an inspired solo and Trevarri Huff-Boone blowing some fine bari.

Well, alright, there are some 60, primarily very well-known New Orleans musicians on this album that boasts 26 cuts. Granted, there are several very short, spoken word interludes with several amusingly orated by actor Wendell Pierce. Nonetheless, that leaves room for a lot of music that varies greatly stylistically including the traditional sounds of the Ruffins and Mayfield penned “Just Playin’” that includes trumpeters Wendell Brunious, Leroy Jones, Leon “Kid Chocolate” Brown and Andrew Baham. Here, Shannon Powell takes over on drums that are often occupied by Adonis Rose.

There is even a string septet on three numbers, including the title cut, “Beautiful World,” the name of which was an inspired way to pay tribute to trumpeter Louis Armstrong by referencing his hit “What a Wonderful World.” Haley Reinhart, perhaps best recognized as a finalist on American Idol, sings with passion the song written by Mayfield and arranged by trombonist Emily Fredrickson, who also adds some fine tonal accents. Cyril Neville, who is prominent on many of the album’s selections, contributes his voice in harmony.

Neville takes the lead on a highlight of the disc, “Allen Toussaint,” a jaunty number he co-wrote with Ruffins and Mayfield. It embraces all of what might be described as Toussaint-isms—the prominent rollicking piano here provided by Ronald Markham, the distinctive horn arrangements, that certain lilting rhythm and humor. After recalling his first time spotting Toussaint, Neville exclaims, “All I can say, when I saw that, is man, when I grow up I wanna be like that!” The song ingeniously heads out quoting the master’s lyrics from “Working in the Coal Mine,” “Workin’, goin’, workin’, goin’…”

Just as Basin Street Records has done for 20 years, A Beautiful World celebrates New Orleans and its rich community of musicians.

1 Well, Alright 5:12

2 Kermit, Turn It Down Interlude 0:21

3 Drop Me Off In New Orleans 2:31

4 Don't Worry Be Happy 5:02

5 Irvin, Turn It Up Interlude 0:11

6 Good Life 4:56

7 Good Morning New Orleans 4:22

8 You Don't Look Good Interlude 0:28

9 Mystic 4:31

10 Dad, Turn It Up Interlude 0:22

11 Move On Ahead 5:19

12 Practicing Interlude 0:32

13 Just Playin' 3:19

14 Soul Sister Interlude 0:36

15 Sister Soul 4:15

16 Allen Toussaint 3:48

17 King Lear Interlude 0:27

18 Beautiful World [for Imani] 4:35

19 Do Whatcha Wanna Interlude 2:21

20 Be My Lady 5:40

21 Footwork 2:30

22 Trumpet Bounce 1:23

23 Lexine 2:44

24 Li'l Liza Jane Interlude 1:26

25 Just A Closer Walk With Thee 4:04

26 When the Saints Go Marching In 2:48

Danny Grissett - Remembrance (SAVANT RECORDS 2017)

Danny Grissett is definitely one of today's most exciting and respected pianists. For his first recording as a leader for Savant, Grissett and company offer a varied and interesting set-list which mixes jazz standards and some of the pianist's own compositions.

The go-to keyboard man for the likes of Tom Harrell, Jeremy Pelt, Wayne Escoffey and others, Grissett also finds time to lead his own groups and is a composer of considerable merit. A rare artist who grips and holds attention, Grissett handles the classics of the American songbook with an aplomb equal to the way he deals with the rather complex structures of his own intricate compositions. A gifted improviser with splendid technique, the pianist can also offer warmth and affection in melodic lines, the balance of fine taste, pungent swing and a jubilant approach inevitably generating audience cheer.

1. Woody'n You

2. Lament for Bobby

3. Prelude to a Kiss

4. Gallop's Gallop

5. Renatus

6. Just Enough

7. A Friend Indeed

8. Digital Big Foot

9. Detour Ahead

Danny Grissett (piano, Fender Rhodes)

Dayna Stephens (saxophones)

Vicente Archer (bass)

Bill Stewart (drums)

Arnan Raz: Chains Of Stories+ Next Show Oct 19th

My Upcoming album and my next show

Hello dear friends, I want to shre with you my upcoming album's art cover. The art was made by my freind Efrat Goldmann. It was a process of understadnig me, my music, the ideas that led me to write the music("chains of stories") and also try to link it to my last album cover. I love the result! Soon I will have more details about when I am releasing it. Stay tuned!

I have a show next Thursday in Bushwick! My Quintet. It's in a great great venue.

Oct 19th 9:00 PM @Father Knows Best: 611A Wilson Ave, Brooklyn, NY 11207

I hope to see you there!

Love,

Arnan

LOS 300 en concierto

LOS 300

PRESENTA

THE FIGHTING KANGAROO 

20 OCT · SORIA

CAFÉ TEATRO AVALON

21 OCT · BARCELONA

SALA ALMO2BAR

27 OCT · EL EJIDO (ALMERÍA)

LA FÁBRICA

Más info y entradas en www.rootsound.com

El trio granadino formado por Manuel Collados, Zeke Olmo y Jimi García, vuelve con los guantes puestos al cuadrilátero para lanzar 13 golpes canallas a la música latina, al swing y al estandarizado jazz funk en el elegante “The Fighting Kangaroo”, su nuevo LP.

Tras su sorprendente primer album “The Monkey Howler Times”, con el cual irrumpieron en la escena de la música negra, el jazz y el movimiento tropical, pasando por festivales como Weekend Beach, Imagina Funk o Sonidos Líquidos, llamaron la atención de los espectadores por su auténtica forma de tocar a base de loops orgánicos, sonando en escena como si fueran trescientos músicos, de ahí su nombre de pila. Ahora, Los 300, regresan con “The Fighting Kangaroo”, un disco más festivo y maduro, compuesto por 13 ganchos musicales cada cual con su intensidad que dejarán KO al oyente.

Michel Fernandez Quartet - Brazza Cry (2017)

1 Almeria 6:49

2 Birdboy 6:22

3 Lea 5:00

4 Jamaa El-Fna 7:20

5 Brazza Cry 7:06

6 Seven for Tchicai 6:40

7 Colo-Mentality 5:51

Michel Fernandez saxophones

Joël Sicard piano

François Gallix bass

Nicolas Serret drums

Joey Alexander - Joey.Monk.Live! (MOTEMA MUSIC 2017)

In celebration of Thelonious Monk’s centennial, Joey Alexander performed at Jazz at Lincoln Center’s Appel Room in June of 2017. The resulting live album, Joey.Monk.Live! captures Joey’s trio, with bassist Scott Colley and drummer Willie Jones III, exploring Monk’s music in imaginative and deeply-felt ways. In solo, duo and trio performances, Joey pays tribute to the pianist and composer who first made an impression on him and who still serves as a guiding inspiration.

1. Round Midnight

2. Evidence

3. Ugly Beauty

4. Rhythm-a-Ning

5. Epistrophy

6. Straight No Chaser

7. Pannonica

Joey Alexander: piano

Scott Colley: bass

Willie Jones III: drums

Fox - Pelican Blues (JAZZ AND PEOPLE 2017)

Pour son second disque, le trio FOX formé par Pierre Perchaud, Nicolas Moreaux et Jorge Rossy fait équipe avec le grand saxophoniste américain Chris Cheek et signe un album en forme de rêverie sur les racines entremêlées des musiques de la Louisiane, cette terre nourrie de culture française, berceau originel du jazz. Un disque canaille et délicat, terrestre et aérien, luxuriant et enchanteur, avec Vincent Peirani en invité exceptionnel.

1. Moonshine 06:11

2. Cliff Tone 07:12

3. Syntax 04:12

4. Fox on the Run 04:58

5. Canoë 05:16

6. Pelican Blues 05:30

7. 2 a.m. 03:57

8. Spirit of St. Louis 07:34

9. Mardi Gras/Bubble Gumbo 05:14

10. Four Deuces 04:59

11. Storyville 07:10

Pierre Perchaud, guitar

Nicolas Moreaux, bass

Jorge Rossy, drums

Chris Cheek, tenor and soprano saxophones

Special guests:

Vincent Peirani, accordion, accordina on tracks 1, 6 and 8

Christophe Panzani, tenor sax on track 11

Lettuce - Witches Stew: A Tribute to Miles Davis (2017)

Since 1992, Lettuce have kept a very distinct strand of festival funk alive, but with their newest outing, Witches Stew, the band veers into uncharted cerebral territory. Recorded live at the Catskill Chill festival in Lakewood, Pa., Witches Stew pays tribute to jazz icon Miles Davis with a reimagining of seven Davis originals.

The centerpiece of LP is a full recreation of his acclaimed fusion record In A Silent Way, and the band’s Berklee education shine through as they swing and groove through these bold musical abstractions. In A Silent Way is considered by many to be Davis’ greatest creative advancement. Rock critic Lester Bangs called it “transcendental new music” that gleefully “flushes categories away.”

And in many ways, the members of Lettuce strive to do the same on this LP. Sure, it’s a bold undertaking, but the band’s all-star roster definitely has the chops (guitarists Adam Smirnoff and Eric Krasno, drummer Adam Deitch, bassist Erick “Jesus” Coomes, vocalist-keyboardist Nigel Hall, saxophonist Ryan Zoidis and trumpeter Eric Bloom). Additionally, Witches Stew advances Lettuce’s prior forays into sonic experimentation, and proves that resting on their laurels is not an option.

Most tracks bust open to surpass the 10-minute mark, and needless to say the horn section thrives. There are some bite-sized grooves too, namely the funky, three and a half minute “Black Satin.” However, Lettuce are at their best when raw and unhinged, pushing their limits to honor a legend.

Miles Runs The Voodoo Down

Sivad

Shhh/Peaceful

Jean Pierre

In A Silent Way/It’s About That Time

Right Now

Black Satin

TOUR

October 20 El Prado, NM @ Taos Mesa Brewing

October 21 Denver, CO @ Fillmore Auditorium

October 22 Lincoln, NE @ Bourbon Theatre

October 24 Lexington, KY @ Manchester Music Hall

October 25 Birmingham, AL @ Avondale Brewing Company

October 26-27 Live Oak, FL @ Suwannee Hulaween Festival

October 28 Wilmington, NC @ Greenfield Lake Amphitheater

October 29 Raleigh, NC @ The Ritz

October 31 Asheville, NC @ New Mountain Amphitheater

December 29 Brooklyn, NY @ Brooklyn Bowl

Johannes Mössinger & Joel Frahm - New by Two (UNIT RECORDS 2017)

Johannes Mössinger and Joel Frahm met 2016 in New York to record their new Album New By Two (Unit Records UTR 4802, Oktober 2017). It is another highlight in their long and creative collaboration and after many years of playing in a quartet format they found a new essence in their art during this duo session. The listeners are directly touched by the rhythmical flow of this music, which comes from the elegant and clear ideas in Johannes Mössingers piano playing and the magical sound from Joel Frahm on the saxophon. From the first notes on there is this special connection between the instruments and the musicians, that is the precondition for a world class duo and leads on the other hand to the true experience while listening to this music.

Edouard Ferlet - Think Bach, Op. 2 (2017)

Rien n’est moins aisé que de chroniquer un disque dans lequel l’artiste a déjà dit l’essentiel, avec une précision affolante. Avec Think Bach Op.2, Édouard Ferlet explique pas à pas sa démarche, ses doutes, toute la mécanique des affres de la création. Chose rare, il se fend d’un courrier très intime à son guide, à sa statue du commandeur, au Cantor lui-même devenu sujet d’étude et jeu de piste, environnement familier et constant effacement des cartes pour redessiner de nouvelles chasses aux trésors. En préambule, dans « Oves », secret processus entre infusion et effusions qui façonne le Prélude en sol dièse majeur, BWV 884 de son petit nom, Édouard Ferlet s’abandonne à Bach, qui apparaît dans l’ombre. Il met à sa disposition la panoplie entière de son talent de soliste : la main gauche puissante et galvanisée qui ordonne « Les Bacchantes » (BWV 1004) en allant chercher l’âme des cordes, son sens de la retenue qui caresse « Mécanique Organique » (BWV 866) avec une pointe de malice…

Les mots que Ferlet écrit à Bach, on aime en général les garder secrets. C’est un mélange d’admiration, d’amour et de souffrance qui permet de mettre en perspective l’obsession du pianiste et d’en mesurer l’importance. D’aucuns pourraient trouver « Mind The Gap », BWV 872, inconvenant ou iconoclaste avec sa rythmique guadeloupéenne enseignée par Sonny Troupé. Sous les doigts de Ferlet, tout acquis au maître, c’est un salut à la nécessaire modernité de l’intemporel. Il s’est passé cinq ans depuis le premier chapitre de Think Bach, et Ferlet s’est davantage approprié chacun des feuillets, à penser encore un peu plus ce matériel dans son entièreté, pas seulement pièce par pièce. Il a tant appris de son duo avec Violaine Cochard, et du tendre rapport au clavecin, qu’il est capable d’anatomiser le « Concerto n°5 en F minor » (BWV 1056) sans qu’aucun flux ni autre fluide ne suppure. Une opération à cœur ouvert qui ne laisserait s’échapper que de l’amour.

Pas seulement celui de Bach, mais de l’ensemble de sa légende, y compris le rôle discret et fondateur de « Miss Magdalena », sa femme, à qui certains exégètes attribuent la maternité de plusieurs partitions. Puisque le livret est fort détaillé, l’auditeur patient n’a plus qu’à se laisser submerger par les impressions et les images ; elles arrivent vite. Bach peut souvent être rapproché d’Ingmar Bergman par son excellence formelle et la poésie qui découle d’un désir sous-jacent, masqué par une austérité de façade. En écoutant Édouard Ferlet, on songe aux Fraises Sauvages. Bach y serait le vieux docteur Borg, conduit en voiture par le toucher agile du pianiste vers cette cathédrale où l’on est censé lui rendre honneur. Viens, je vais te montrer quelque chose, semble dire le maître de Leipzig à l’instant de faire un détour dans le magnifique « Crazy B » (BWV 988), sommet de l’album. Comme dans le film, l’hommage prend alors la tournure d’une rêverie contemplative hors du temps, qui affirme que l’éternité s’accommode sans sourciller de la modernité et de la surprise. Un parcours initiatique à rebours absolument fascinant.

1 Oves 5:17

2 Anthèse 5:20

3 Mind the Gap 4:45

4 Et si 5:26

5 Es ist Vollbracht 4:50

6 Les Bacchantes 7:33

7 Mécanique organique 2:18

8 Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo 4:04

9 Crazy B 4:19

10 Miss Magdalena 5:58

Don't Miss This New $5 Album, Get It This Weekend Only! CUNEIFORM RECORDS

Leo Richardson Quartet – The Chase (UBUNTU MUSIC 2017)

Without a doubt, Leo Richardson is widely recognised as one of London's leading jazz tenor saxophonists, best known for his honest, straight-ahead, contemporary hard-bop style. His most significant influences include Horace Silver, Art Blakey, John Coltrane and Joe Henderson. Leo has been making a name for himself on the London Jazz scene. He has become an in demand side man and has collaborated with many well known musicians at acclaimed venues such as Ronnie Scott's Jazz Club, The Royal Albert Hall, Queen Elizabeth Hall, Cadogan Hall, The Vortex Jazz Club and Glastonbury Music Festival. In 2015, Leo was nominated in the London Music Awards for Rising Star in the Jazz category. He regularly hosts the Late Late Show at Ronnie Scott's Jazz Club with his own quartet.His debut album, 'The Chase', is released on Ubuntu Music.

1 Blues for Joe 5:33

2 Demon E (feat. Quentin Collins) 5:19

3 The Curve (feat. Quentin Collins) 6:30

4 The Chase (feat. Quentin Collins) 5:37

5 Elisha's Song 7:24

6 Mambo 7:33

7 Silver Lining 6:14

8 Mr. Skid (feat. Alan Skidmore) 10:01

Leo Richardson (tenor saxophone)

Rick Simpson (piano)

Mark Lewandowski (bass)

Ed Richardson (drums)

Special Guests

Quentin Collins (trumpet - 2,3,4)

Alan Skidmore (tenor saxophone - 8)

Patrice Caratini - Instants d'Orchestre (2017)

« Les titres réunis ici expriment l’ensemble de mon travail ou je les considère comme les plus aboutis » explique Patrice Caratini. « Les enregistrements qui parsèment cet album dessinent avant tout une réalité qui ignore mon assentiment (...). On l’aura compris, pour paraphraser Magritte : ceci n’est pas un best-of. ». Nous dirons qu’il s’agit d’un florilège de dix années de vie de ce beau Grand Format à la française.

01. East End Blues

02. Valse musette

03. What is this thing called love (Cole Porter)

04. Pinta

05. From the Ground

06. My Heart belongs to Daddy (C. Porter)

07. Atlanta

08. Ory’s dream

09. Tierras

10. To the clouds

Enregistrements réalisés en France de 1999 à 2009

Patrice Caratini : contrebasse, direction, compositions / + selon les plages / André Villéger, Matthieu Donarier, Stéphane Guillaume, Rémi Sciuto, Christophe Monniot, Clément Caratini : anches / Claude Egea, Pierre Drevet : trompette / François Bonhomme : cor / Denis leloup : trombone / François Thuillier, Bastien stil : tuba / David Chevallier, Marc Ducret : guitare / Alain Jean-Marie, Manuel Rocheman : piano / Thomas Grimmonprez : batterie / Sebastian Quezada, Javier Campos Martinez, Abraham Mansfarroll, Inor Sotolongo : percussions / Sara Lazarus : voix

Mike Moreno - Three for There (CRISS CROSS RECORDS 2017)

On his third Criss Cross leader date, Mike Moreno convenes drummer Kendrick Scott, who played on his fellow Houstonian's prior Criss Cross outings (Third Wish [Criss 1303] and First In Mind [Criss 1338]) and bassist Doug Weiss, who played on Third Wish.

They frame the 39-year-old guitarist's sui generis tonal on a program culled from the corpuses of a multi-generational cohort of heroes: jazz songs by Charlie Parker ("Perhaps"), Wayne Shorter ("The Big Push"), Joe Henderson ("Serenity") and Mulgrew Miller ("For Those Who Do"); songbook gems by Michel Legrand "You Must Believe In Spring"), Johnny Mandel ("A Time For Love") and Vernon Duke ("April In Paris"); plus one apiece by Radiohead ("Glass Eyes") and Lo Borges ("Clube Da Esquina No.1").

As always Moreno finds fresh pathways through familiar sonic landscapes on a date that is a master class in triological conversation.

1. The Big Push (Wayne Shorter)  6:54

2. For Those Who Do (Marcus Miller)  6:27

3. You Must Believe In Spring (Michel Legrand)  7:10

4. Clube Da Esquina No. 1 (Lo Borges)  5:37

5. April In Paris (Vernon Duke)  9:24

6. A Time For Love (Johnny Mandel)  8:15

7. Perhaps (Charlie Parker)  6:35

8. Glass Eyes (Radiohead)  5:19

Mike Moreno (G)

Doug Weiss (B)

Kendrick Scott (D)