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The three practiced constantly, feeling untethered by their technical abilities and rather set free by the desire to play. When it came time to make and The Little Bird in , the production was, by all accounts, casual and inexpensive, and only released on CD-R. Seventeen years later, the time has come for this bird to fly — at least as a digital release and cassette. Funk bands lost to history are legion, as the recorded works of many were issued as singles and one-off albums that landed in dustbins all over the U.
From then on, Christian would be the sole remaining member of the group, accompanied by a variety of touring and session musicians. The music is immediately less scrappy, tighter, more social in its politics. Christian name-calls other leaders in his field like Aretha Franklin and Ray Charles.
Dyke died young. On March 13, , the year-old artist was fatally shot in Phoenix. At the time, he was prepping for a tour of the U. One wonders what might have been. Tenor saxophonist Charles Owens can blow — fast, furious and flowing — with just the right dollop of soul. They actually make it kind of cool, in a tongue-in-cheek fashion. This time around, the year-old Hagans takes on the roles of composer, conductor, arranger and performer in a five-movement concerto that revolves around a single concept: the exchange of ideas.
With A Conversation , Hagans experiments with a truly fresh approach to big band arranging and recording, whereby he physically groups musicians together not according to instrument type, but by sonic and emotional divisions. Each grouping is charged with different artistic objectives determined by Hagans, adding to the instrumental intrigue.
One grouping that Hagans calls Ensemble I includes two woodwind players, three trumpeters and a trombonist. The slightly smaller but equally vital Ensemble II consists of two woodwind players, trumpet and trombone, while the four-piece Ensemble III has one reed player, one trumpeter, one tenor trombone and a bass trombone. Ensemble IV is the full rhythm section of drums, guitar, piano, bass and percussion. The music builds from simple ideas and minimalist concepts into complex constructions of towering and deep proportions.
On this new release from Alex Conde, the virtuoso Spanish pianist puts his personal spin on nine landmark compositions by the legendary pianist and bebop architect Bud Powell. Throughout Descaraga For Bud , Conde demonstrates his prowess at the keyboard, each note landing right on top of the beat in an inspired fusion of the classic bebop lexicon with traditional Caribbean and Iberoamerican stylings.
For his supporting cast, Conde brings back percussionist John Santos and bassist Jeff Chambers from his Monk outing, and adds drummer Colin Douglas to the mix. Impressively, Taylor plays everything himself on the mostly instrumental album, moving between guitar, bass, synth, omnichord, percussion and drums.
His reference points here include funk, Afrobeat, jazz, blues, fusion, soul and electronic music, a blend that feels both vintage and futuristic. And this is effective. Elsewhere, this is perhaps a bit too vague. Regardless, there are interesting things happening here.
One hopes that as live music opens back up Taylor can assemble a band that can replicate this odd concoction onstage. For those outside of Chicago, know this: Shawn Maxwell follows the long lineage of Windy City reed players and composers with a big, brawny sound and thought-provoking art.
He includes a family of 29 players on this recording, each laying down their parts alone and shipping them off to Maxwell, COVID safe. This is a truly personal, absolutely beautiful piece of pandemic art that goes down easy to soothe and uplift the soul. If only our elected officials could make such harmonious music. The album truly sounds like a travelogue of Maxwell and friends speaking for all of us. It must be said that you can listen to this recording without notes or titles and thoroughly enjoy the ride.
The intersections of music and poetry, jazz and hip-hop, art and popular music always risk the chance of running afoul of one and other. Is it honest or forced? Is it too much or too little? Is it authentic, in the parlance of this day and age?
This is the rare piece of art that captures the times — our times — full of confusion, righteous anger and absolute beauty. It rivets, shakes and bakes with crazy rhythmic drive. How could it not? A demand for social justice lies at the core of this recording and this band. It envisions our progression towards a future in which indigenous knowledge and wisdom is centered in the realization of a harmonious balance between the human, natural and spiritual world.
Sons of Kemet naturally meld jazz with the rhythms and music of Africa, hip-hop and the Carribbean. There is an intensity to this music that has been missing, in this way, for far too long. Black To The Future speaks a truth that should be heard. But this recording and these artists never forget to move us musically as well as mentally. Hutchings understands that the best way to educate as a musician is to put your message to music. The album has been released on his own Onyx Productions label following his passing earlier this year.
Peterson recorded this album in December with his working trio featuring brothers Zaccai and Luques Curtis on piano and bass, respectively. As one of many written in response to the murder of George Floyd at the knee of a police officer, the tune envelopes — without words — all the anger, chaos, angst and sorrow so many have experienced in trying to understand why this happened, and why it continues to happen.
He pumps the bass drum to give life to the heartbeat of the man and this music. Zaccai Curtis plays in a pleading call-and-response fashion, with beautiful chordal and melodic passages tinged with just enough dissonance to express feelings of lament. Peterson was an amazing drummer who could simply overpower most musicians. Not true with the Curtis Brothers. But if it is, this is a perfect way to finish. His passing is a great loss to the jazz community, but his music lives on.
The basic concept is acoustic instruments doing electronic music, an idea many have approached but likely few have executed this well. It was made with the acoustic sounds of the clarinet, bass clarinet and contrabass clarinet using minimal effects, and it was recorded during lockdown in the Elmhurst neighborhood of Queens, New York, during April to May of You can hear this in the music.
And his technique is certainly effective. You picture him tapping on a drum machine and a keyboard instead of playing a clarinet. Vocalist Nnenna Freelon has always had a powerful instrument, but rarely, if ever, has she employed that voice in such an intimate way. On Time Traveler , the Grammy-winner wastes no time in grabbing your attention and pulling you in close.
Her vocals are pure, powerful magic. You can feel her loss as well as the joy of her memories. Here we have the young and amazingly talented tenor saxophonist Jack Brandfield taking us on a swinging trio journey with Randy Napoleon on guitar and Rodney Whitaker on bass.
As a group, the three are a wonder of rhythm, time and musicality. Each solo aches of a melodic time gone by, when songs could be instrumental, hip and danceable all at the same time. For his part, Brandfield has a juicy, smooth tone on tenor. The lack of a drummer gives the group plenty of room to play with time and space, all the while keeping the proceedings right in the pocket.
His Waterwheel ensemble, which finds Thatcher in the company of drummer Devin Drobka and electric guitarists John Kregor and Matt Gold, flies in tight formation over the course of 10 originals that blur the lines separating jazz, chamber music and rock. Throughout the program, Gold and Kregor maintain a delicate balancing act, the guitarists dovetailing neatly as they share the air space above the Thatcher—Drobka bedrock. All four members of Waterwheel are eager, experienced improvisers who embrace freeplay and structured soloing with aplomb and enthusiasm.
Thatcher has said that once he settled on this lineup of musicians to perform his compositions, new tunes started coming to him quickly. OK, confession time. I have not seen the Netflix series Babylon Berlin , but I can tell you that the music is awesome because the Moka Efti Orchestra, a member ensemble cast in the series, has just released a new album called Erstausgabe.
The music is of the crazy-good cabaret variety that might just remind you of a certain famous musical by the same name because of the setting and the sound. The band draws from a vast lexicon of swing-feel, ragtime, Chanson and even the blues, and blows it all through your ears with hyper-cool energy and tongue-in-cheek nonchalance over the course of 13 tunes brimming with throw-back reverence and send-it-way-up camp. If you ever get a jones for some highly theatrical, masterfully played big band noir, this is a record for you.
A few months later, the trio gathered under very strict COVID rules and started to lay down what would become the album. It is breathtaking. The title track begins with Gilkes multi-tracking his trombone before Penn and Yasushi join in. Beyond the title track, there is so much to like here. Gilkes has a rare and wonderful mastery of his instrument. Indeed, Waiting To Continue , which was released back in February, could have easily suffered that fate.
Luckily, I was encouraged to go back and check it out. This is honest, hopeful, uplifting music for rising above and beyond the challenges of the past year as we all await the green-light to continue our lives and careers once again. Canadian guitarist Lorne Lofsky, deeply versed in the bebop language and long admired for his straightahead jazz chops, is a sporadic composer by his own admission.
So, he only composes when an idea comes to him. A recent mini-binge of writing led to the recording of This Song Is New , his first album as a leader in more than 20 years. Here we have one of the most ambitious projects to cross these ears in a long time. Five years in the making, British electronic producer, DJ and musician Sam Shepherd, better known as Floating Points, enlisted the help of the entire London Symphony Orchestra as well as Pharoah Sanders, one of the greatest shamans in jazz history, to create art for the ages.
Promises tears down the walls between the electronic and acoustic worlds; classical, jazz and pop. The synthesis of all of this demonstrates that music — all music — can be distilled to beauty. Shepherd performed on a dozen keyboards in the making of this piece. The crescendo is just stunning. Promises is fantastic meditation music for restless minds.
It demands to be heard in concert halls around the world. Until then, a good pair of headphones will do the trick. Broder contributed to the concepts and perspectives explored in the video. An audio-only digital release of Our Highway is also available.
More and more artists are foregoing the time-honored tradition of releasing a full album of music, opting instead for an even older time-honored practice: releasing singles. Here we have pianist and composer Alfredo Rodriguez getting into the game with his longtime musical partner Munir Hossn. Congrats to both artists. This is a shiver-and-sigh record.
Need to chill out at the end of a long day? Midnight Shelter is a go-to. Want to share an amazing listen with someone you love? Here we find Sachal Vasandani easing his way into the mode of singer-songwriter. His voice is clear. His intentions are pure. The music of some of the best songwriters in recent history flow effortlessly alongside original tunes penned by Vasandani, pianist Romain Collin and their writing cohorts.
Pre-pandemic, the group sustained its profile by playing weekly gigs and serving as host to events in support of the educational community. Solos catch fire right after a strong initial statement from the full ensemble, with tenor saxophonist Ian Nevins, alto saxophonist Steve Schnall, trombonist Andy Baker and trumpeter David Katz all contributing fiery choruses.
For anyone who has ever said nothing good happens at 4 a. This is an album packed with groove to spare. Sung mostly in Creole, the music has the drive of a variety of cultural touchpoints — from the Caribbean to Mississippi blues down into New Orleans. The song is said to capture the tragedy of immigrants dying at sea while trying to reach a new home. It rings throughout songs about pain, struggle and freedom, but even these heavy topics cannot suppress the joy and hope that rise above the struggle chronicled in this music.
It was an ambitious project, probably too ambitious for the DIY nature of this beast. But he did it, and it turned out to be a beautiful beast—the music, unparalleled; the musicianship, incredible; Southside, at his full-throated, barroom bard best. Johnny had a secret weapon, an accomplice, on this improbable journey.
And his work on this record shimmers. With all that buildup, the project never got its due, but it did get a feature in DownBeat by this writer, which you can read HERE. Bravo to all on this one, and special credit goes out to Sascha Peterfreund, the remaster engineer on this project. The sound has been completely revamped. The Brooklyn-based violinist, whose compositions here work to render an aural depiction of the 8-bit, sci-fi tableau shown on the album cover, oversees a quintet that relies as much on jazz-world facility as it does on rock aesthetics.
New York-based alto saxophonist and educator Peter DiCarlo makes an auspicious leader debut with the release of Onward. The title track starts the album out on an energetic note, with a driving ostinato in the bass and piano establishing a firm foundation for the horn section.
DiCarlo really lets it rip during his alto solo, pushing his range ever higher and revealing the gritty side of his tone. If you like your jazz with a heaping helping of swirling, wondrous rhythm, Samba de Maracatu by the legendary Joe Chambers will fill you up.
Be it on drums, percussion or mallets, Chambers has been one of the great sidemen in jazz history, providing the beat for everyone from Freddie Hubbard, Bobby Hutcherson and Sam Rivers to Wayne Shorter, Joe Henderson and Chet Baker … just to scratch the surface. Even so, Samba de Maracatu is miraculous in its ability to be both timely and timeless, worldly, yet intimate. For his part, Chambers serves as a one-man percussion machine, overdubbing himself on drums, vibes and percussion to turn this trio into a small, pulsating orchestra.
It features Merritt and Chambers running parallel lines on piano and vibes in front of a deep-running groove. The recording also features two great vocal spots. And they let nothing get in their way during this animated April blowing session. These baritone masters make a sport of navigating the fast-moving changes, zigzagging lines and skippy syncopations that define the genre. Tough Baritones buzzes with one-take excitement.
The guys simply go for it, indulging their affinity for classic Pepper Adams-style bari sax bebop. He released it on his own Gretabelle Music last November, but the set is just now getting out to the public. That said, this batch of chestnuts is worth the wait. Pasqua demonstrates amazing touch and technique on the 10 tunes recorded for this document. And, when he solos on the tune, oh, my, the chops are tasteful and transcendent. Jane Monheit is a potent antidote to a certain brand of jazz snobbery.
Was Ella Fitzgerald as good a musician as Count Basie? Debate that over a Zoom chat sometime. Harburg seems suited to our pandemic era in a particularly bittersweet way. Catching this virtual gig might not be as fun as hearing her vocals reverberate around a jazz club or a festival crowd, but that will come, hopefully soon.
A year-old Donald Byrd comes in a bit hot for his spotlight, but recovers quickly and helps push the tempo up a bit, granting Trane a new platform to re-enter. The pair end on a descending harmony line, giving the song its dour denouement, but one that seems significantly less dire than Strayhorn might have intended. On Lush Life , though, the saxophonist seems more occupied with wringing the emotional meaning from a classic, and does so gracefully and profoundly.
The album is actually inspired by the emotionally evocative and highly accessible music of s Hollywood, when brilliant session players like saxophonist Tom Scott and trumpeter Jerry Hey ruled the studio scene and helped craft moody TV and film scores by legendary composers like Quincy Jones and Pat Williams. Covering a multitude of styles, time signatures and song forms, The Weather Is Here, Wish You Were Beautiful is sophisticated, uplifting big band music executed with precision and passion by some of L.
But that one show, played before a small audience with little preparation except a few soundcheck run-throughs, turned out to be an epic performance. By turns ethereal and aggressive, this music is a weird wedding of dreamy soundscapes and churning mechanics that produces a consciousness-heightening effect and encourages focused listening. Another highlight is the hypnotic title track, a group improvisation that sounds like it was performed underwater in the company of singing whales.
On June 24, , at the Tri-C JazzFest in Cleveland, this writer had the good fortune of catching a performance by guitarist Diego Figueiredo, who initially played solo before joining bassist John Clayton and drummer Jeff Hamilton for a mesmerizing trio set that merged jazz with bossa nova. Figueiredo composed the song while traveling via cruise ship. The penguins, the silence, the beautiful sky and the icebergs—it was all a unique and new experience for me.
Some of the music here would be an appropriate soundtrack for deep thinking and even meditation, but the melodies are consistently compelling. In its incarnation as a trio, as well as a big band, the sparks igniting Fire! In a trio format here, Fire! But the fact that Fire! Gifted with a voice that combines power with an elastic range, Lewis delivers a program centered around her original compositions, all of which nod to tradition.
Eschewing tender ballads in favor of rowdy barn burners, she offers up a rarity in the blues world nowadays: an album without any type of guitar. She recruited five musicians for the sessions, but the instrumentation remains consistent throughout the program: a trio of piano, saxophone and drums. The label only would last until , but during its run, Russell was able to offer an in-the-moment sketch of what was happening in the soul-jazz universe.
Guitarist Calvin Keys—who released his leader debut on Black Jazz the year the imprint was founded—would go on to tour and record with Ahmad Jamal, and solidify his spot as a ranking elder in the Bay Area jazz scene. With a steady stream of records flowing since , the work of Ibiza, Spain-based saxophonist Muriel Grossman invokes nature as easily as the sturdy history of spiritual-jazz.
Two of the compositions on Quiet Earth , though, first appeared on Awakening, a live recording from the Eivissa Jazz Festival that featured freedom-focused drummer Christian Lillinger behind the kit. Guitarist Radomir Milojkovic continues to factor into the ensemble sound, comping where straightahead acts likely would have a pianist slotted. The album serves not only as an entertaining escape during the long days of the pandemic, but also a poignant reminder of the brand of Latin jazz that New York City venues have been missing on a nightly basis during the COVID crisis.
The Shape Of Things is one big chain-reaction, a wild ride whose core essence can be best described as geometry in motion. The latest release by singer Janis Mann and pianist Kenny Werner, Dreams Of Flying , combines studio sessions and live performances, recorded three years apart, on opposite U. On paper, that hardly sounds like a recipe for a cohesive program. And yet, thanks to the simpatico rapport by these two veteran musicians, the result is a marvelously congruous minute album. The duo teamed up with bassist Drew Gress and drummer Duduka Da Fonseca for a session at Samurai Hotel recording studio in Queens, and in , the co-leaders presented a set of duo and trio songs with guitarist Larry Koonse in front of a quiet audience at the Capitol Studios building in Hollywood.
Our connections sustain us during the most difficult of times. Roots keep us grounded and nourish our spirits, making them one of the most vital connections of all. White and Driscoll have made it their mission to lay down roots together—not only in their day-to-day lives as a happily married couple but also in the simpatico music they make on this brilliant new album.
The album opens with the Cedar Walton-penned title track, a tricky tune with a deceptively catchy melody that rings through loud and clear. White, usually on the left side, crafts more aggressive lines that tend to weave inside and outside the harmony.
Thing is, though, the bandleader seems as comfortable—and moreover, effective—working through any of these kaleidoscopic modes. Americana and blues practitioner Danielle Miraglia wisely avoids fuss and clutter on her latest album, Bright Shining Stars. Fingerpicking and strumming on acoustic guitar are central to her sound, with percussion frequently provided by the infectious stomp of her foot.
Three of the 11 tracks here are solo recordings, reinforcing a truism that the artist frequently has proven on Boston-area stages: A charming voice and fluid guitar prowess are all an artist needs to keep a listener rapt. Anyone who has paid attention to the blues scene of the past 20 years is fully aware that singer Shemekia Copeland can belt with gusto.
Her artistry has reached a new level with Uncivil War , thanks to Will Kimbrough, who produced the album, plays electric guitar throughout the program, and co-wrote seven of the 12 tracks. Penned by Kimbrough and John Hahn, the song is a fitting tribute to Dr. And after self-releasing a handful of albums, the troupe lit out for New York, falling in with a growing contingent of performers discarding genre boundaries and working to encompass the breadth of Black music birthed of the fraught American experience.
Tango tunes and Bix Beiderbecke compositions are two seemingly disparate ingredients that blend together beautifully on Candlelight—Love In The Time Of Cholera , the new duo album by classical violinist Juliet Kurtzman and jazz pianist Pete Malinverni. The track program showcases exquisite melodic lines from both instrumentalists, as well as brilliant bouts of dialog.
Their shared aesthetic is one born in the 21st century, an approach that dually exploits the emotional resonance of jazz and the keen precision of classical music. Pop-culture aficionados who recognize the name Loudon Wainwright III might know him as a wry singer-songwriter, an actor, an acclaimed memoirist or a musical patriarch with numerous children who are performers, including Rufus Wainwright.
Here, the Nighthawks coax charming vocal performances out of Wainwright, who is well suited to sing witty ditties like the title track penned by Irving Berlin. Tony is singing the song in a spiffy Italian tailored suit, but the director has him situated indoors on the deck of some kind of simulated, fully rigged windjammer. At the very least Mr. Benedetto should have been sporting an eye patch. In his musical performances and in his prose, that mixture of quirky quips and emotional depth is part of the reason that Wainwright, 74, still has the ability to surprise us.
The instrumental, slowly paced offerings—enduringly placid, appealing and contemplative—arrive as untouched clay, waiting for listeners to etch their impressions on the surface. Even shorn of company, pianist still manages to burrow deeply into ideas on Appearance , gently churning up shifting embellishments to each extended cut comprising the album.
But the allure of his performance here is that the listener can project their own ideas and predilections across the backdrop of beautifully wrought sound. As her art matured in the s, she began working with some of the top jazz players of her time, including Charles Mingus, Jaco Pastorius, Wayne Shorter, Herbie Hancock and Pat Metheny. Now comes a sparkling new recording by Scottish trumpeter Colin Steele that consists entirely of Mitchell repertoire, sparingly arranged for jazz quartet.
The 11th album by the Boston-based Jazz Composers Alliance Orchestra adheres to a tradition that dates back to presenting original works by some of the most forward-looking and innovative writers and arrangers of the times. Recorded live at the Berklee Performance Center, the new album is a diverse program of compositions by JCA members David Harris, Darrell Katz, Bob Pilkington and Mimi Rabson, played by a large ensemble that puts a modern twist on traditional big-band instrumentation with the inclusion of strings, French horn and EWI.
The compositions themselves are the stars of this program, brought to life in a live-performance context featuring several remarkably inventive instrumental solos. He has been a leader of several jazz groups in Paris including the Fairweather Quintet and recently appeared in New York at the Cornelia Street Cafe with his quartet.
Barkatz, schooled in classical and jazz guitar and fluent in bossa nova, performs and records regularly in the States and his native France. Influenced by Muddy Waters, B. King, Wes Montgomery and Jimi Hendrix, the year-old taught himself how to play the blues at a young age.
Together, these two transatlantic collaborators cut right to the heart of the blues on 10 original, emotionally charged tracks tinged with elements of jazz and American roots music. Recorded with everyone in one big room, the music on Shadow Man conveys a communal experience, where spontaneity rules the day and collective moods range from sorrow and regret to flirtatious whimsy and liberating redemption. Margitza and Bergeron are old friends who spent time making music together in New Orleans and New York, as well as studying at Frost School of Music, where the leader and many of his band members are currently on faculty.
Cheap Thrills is a testament to the strength and longevity of their musical connection. Two decades ago, Steve Spiegl arranged compositions by Bach, Brahms and Scriabin for Enigma , an album by his namesake big band. Despite the disparate sources of material, Spiegl sculpted a cohesive minute program; all the arrangements reflect the distinctive sound of his artistic voice. A spin of this excellent disc, however, reveals it to be a fine entry point for casual fans curious to know what the band sounds like today, more than 50 years after it was founded.
Over the past seven years of tours, Yes frequently has built set lists that include the performance of an album in its entirety, such as Fragile , Close To The Edge and Drama. But for the tour, the group took a different route, as reflected by the track listing here.
But neither Davison nor Sherwood is required to mimic their predecessors; their job is to honor the compositions. And the same is true for Yes. That three-hour session served as source material for two recent albums. The first six cuts on Soundtrack were helmed by Amon Drum, and the final five by Rubin. Soundtrack embraces a fuzzy analog vibe with a low end that frequently pushes into the red zone. Barre Phillips has been releasing solo bass recordings for about 50 years.
Maybe some of the most malevolent sounds Phillips cajoles from his instrument on Thirty Years In Between come off like wildlife field recordings interspersed with arco finesse. To craft her fourth solo album, Heart On The Line , the Dallas native did some heavy lifting: She composed eight of the 11 tracks, played six instruments, wrote the horn arrangements, produced the disc and sang lead vocals, as well as the multitracked background vocals.
A graduate of the prestigious Berklee College of Music and a musician comfortable blurring genre lines, Collier is artist whose music can generate some much-needed smiles during this pandemic. As much as any other contemporary bandleader, James Brandon Lewis devises thematic ideas for each of his albums.
He now takes on science with Molecular. But at some point, he also dismisses it, making the premise seem like just another intellectual pursuit among many. But the post-bop setting—however space-aged—recalls the best of quartet interplay, as pianist Aruan Ortiz and drummer Chad Taylor bounce rhythms off each other. It adds a bit of welcomed texture to an album otherwise given over to muscular yet thoughtful displays of blowing.
It was no small feat, and Lefkowitz-Brown proves to be the perfect artist to spearhead such a venture, judging by the quality and spirit of the music on Quarantine Standards. Ensemble passages are tight and dynamic, with plenty of locked-in swing feeding the collective feel of a traditional big band and helping to erase any sense of physical isolation. The old saw goes like this: Jazz is a conversation. Casa is a quiet take on the piano-trio setting with a subdued bearing that belies its acute musicality.
While some of their predecessors nodded to the complex sonic tapestry that George Martin stitched together on the original album, Wolff, Clark and Dorsey scale things down, utilizing a less-is-more recipe: three musicians, eight cherry-picked songs and zero glossy production touches.
The result is a master class in recasting classic pop tunes in a straightahead, piano-trio setting. The latter arrangement zigs at junctures when one would expect it to zag. Throughout the minute program, the trio succeeds in making the source material easily recognizable while still expressing an adventurousness that prevents the proceedings from feeling overly reverential. Pepper altar. Throughout Faune , Pannier plays to his strengths as an imaginative colorist and a master of textures whose light touch on the drum kit brings to mind the delicate brushstrokes of an impressionistic painter.
Any project that archivist Christopher C. King works on is bound to arrive with some backstory as interesting as the Ganges River is long. How The River Ganges Flows covers a not too dissimilar span of time, but in a region then being carved up following another chapter of British colonialism. Since that initial period of discovery, Rousseau has refined his taste for prog-rock indulgence, incorporating ideas inspired by bands like King Crimson, Yes, Genesis and other prominent artists of the era into his vast creative arsenal.
With a wealth of experience as a genre-hopping player dating back to the late s and a more recent reputation as a prolific composer and ambitious bandleader, Rousseau takes listeners on a nostalgia trip with Fragments , a collection of all original pieces with just a bit of borrowed material from influential guitarist Robert Fripp and star singer-songwriter David Crosby , teeming with mechanical arpeggios, blazing Moog synthesizers, bombastic big-kit drumming, virtuoso-level electric bass lines and haunting, heavily compressed electric guitar solos.
Elsewhere, the versions of songs by B. Los Angeles-based singer-songwriter Chelsea Williams is a keen observer of the human condition, and perhaps her years busking on the streets of Santa Monica helped hone that aspect of her personality—along with the ability to craft catchy melodies that could grab the attention of busy pedestrians. Although her style has a thoroughly engaging accessibility, the album features some quirky instrumentation and deft production touches—including cello, glockenspiel, toy piano, Mellotron and musical saw—that distinguish Williams from many of her better-known peers.
Armed with a lovely voice, an impressive vocal range, a deep understanding of songcraft and a newfound willingness to write protest material, Williams definitely is an artist to watch. The tracks featuring Camilo stand out in particular.
Even without a prodigious catalog to point to, the composer moves through music framed by strings and more compact ensembles, switching among saxophones, flutes and clarinets. For Samadhi , his fifth album as a leader, the Sacramento-based performer and educator enlists a new group to help him wend his way through a cultivated combination of jazz and nuanced classical touches.
On the title track—a word intrinsically linked to deep thinking and meditation—pianist Joe Gilman directs a ruminative meeting of slow-rolling saxophone lines and a subdued rhythm section. Violinist and bandleader Tomoko Omura delivers on that guarantee, forging jazz compositions on Branches, Vol.
When the mountain witch eventually shows up and starts pounding on the door, you can tell. Reaching the end of Branches Vol. Multi-instrumentalist Daniel Carter and TEST slot into a space where gut-bucket improv and jazz meet, a place that, despite its remove, worked to invigorate rock-related acts interested in exploring something beyond what most expect from guitar, bass and drums.
This is work of a collective accelerated heartbeat, the frontline uncorking diabolic screeds—frequently simultaneously, overlapping in pungent wailing. Twenty years ago, brothers Luther and Cody Dickinson burst onto the national blues scene as members of what was then a blues power trio called the North Mississippi Allstars. Today, that band is still going strong and the siblings continue to find fresh ways to revitalize blues-rock, as evidenced by Below Sea Level , the new trio album by singer-songwriter Eric Johanson.
Luther produced the disc, Cody plays drums on it, and Johanson recruited electric bassist Terrence Grayson for this collection of a dozen original compositions. But Johanson also shows a deeper side to his compositional acumen with a pair of socially conscious numbers. Johanson ends the program with two tunes that are lighter, both thematically and sonically.
Its beauty lies in its simplicity: four well-established artists playing the music they love in an intimate jazz club for an appreciative audience. All four players draw from deep reserves of bandstand experience and demonstrate thorough knowledge of the straightahead jazz canon; they speak the same language with remarkable fluency, and always seem to have appropriate musical references—whether serious or lighthearted—at the ready.
Like many other sterling big-band albums released this century, the secret sauce for Message is not the instrumentation or the arrangements, but rather the material. Among the original tunes on this this eight-song program, several were written in the summer of , when Zaleski was in an especially reflective frame of mind, and a couple were written during his college years at The New School in New York where he matriculated after studying at the Brubeck Institute.
It all comes together nicely and bodes well for Zaleski as he personally looks to a promising, more grounded future while reckoning with his ambitious past. The liner notes to his new album, Delhi To Damascus , provide a mini-course in history and philosophy, and the minute program gracefully mixes elements of Indian classical music with traditional styles that originated in Syria.
Surrounding himself with players deeply immersed in ethnomusicology, Das has crafted tracks that showcase the shared timbral colors of the four instruments, resulting in an organic set of music that not only warrants repeated spins, it practically demands it. In the hands of others, this type of culture-mixing music might sound dry or overly academic, but empathetic leaders like Ma and Das know that getting listeners to bob their heads is just as important as sparking their intellectual curiosity.
The program consists of original compositions by band members, as well as their arrangements of traditional material, including some Indian ragas. Sculpting an organic program that can be both soothing and exciting is no easy task, but this quartet was more than up for the challenge on this, its recorded debut. With Delhi To Damascus , Das and his fellow travelers have delivered a road map for some irresistible aural adventures. Hollywood is filled with directors who lament missing the opportunity to work with such legendary film composers as Bernard Herrmann, Jerry Goldsmith and Ennio Morricone, who died on July 6 at age But filmmakers today can collaborate with Seigel, who not only has an original voice but who also possesses the ability to write in the style of departed icons.
Beyond Images includes a batch of nine original compositions, each one directly inspired by an artist known for film scores, including Henry Mancini, Thomas Newman and John Williams. However, these tracks are so compelling that any of them would be a fine addition to the soundtrack for a TV show or film, perhaps with a note in the credits similar to the ones in the CD packaging, which clearly indicate that each tune was inspired by a specific film composer.
But even that project sits alongside ensemble work with saxophonist Caroline Davis, and Lisbeth Quartett, another group where Greve serves as the main melodic voice. Six integrally linked compositions constitute Originations , on which Chicago-based pianist and composer Ryan Cohan explores the assimilation of his reawakened Arab lineage and his Jewish upbringing. Created with the support of a Chamber Music America New Jazz Works commission, Originations brings a broad spectrum of disparate musical influences and sensibilities into focus as Cohan assimilates Middle Eastern and North African themes, Western classical music elements and modern jazz into a series of intricately crafted pieces that add up to one extended work.
And in so doing, Cohan makes his most complex compositional statement to date. Originations was recorded by an piece chamber-jazz group deliberately assembled by Cohan to bring his multicultural, multinational vision to life. From there, the program continues to play out like a suite.
Originations is striking and inviting by its very nature, with a special blend of refreshing melodies, warm instrumental tones and catchy rhythmic devices that make for an extremely pleasant listening experience. For more than years, music fans have been swooning over The Planets. Jeremy Levy saw the piece performed at the Hollywood Bowl in and was so moved that he crafted his own arrangement of the suite, which he has titled The Planets: Reimagined.
And with The Planets: Reimagined , Levy has proven once again that iconic, often-heard works can inspire fresh, innovative music. Benny Rubin Jr. His sound is raw and unpolished, with a low-end resonance that feels as if it emanates straight from the gut.
On Know Say Or See , he delivers fully developed ideas with the intensity and sensitivity of a maturing man on a mission. The answer was to avoid extraneous production frills and to showcase the array of retro styles that has helped the group become a fan favorite in Austin, Texas. Still, this program of sturdy roots music could be a great soundtrack for a small family gathering or even a solo dance session.
Live And Unreleased documents the most potent band coming out of the s New York jazz-funk scene in a slamming performance that presents all six members—brothers Randy and Mike — Brecker on trumpet and tenor saxophone, guitarist Barry Finnerty, keyboardist Mark Gray, electric bassist Neil Jason and drummer Richie Morales—at the peak of their creative powers.
Turn up the volume, close your eyes and prepare for a long, thrilling night with one of the most ass-kicking bands to ever play in concert. Initially formed as a group to accompany DJ Greyboy, the ensemble worked out its funk bona fides on a debut— West Coast Boogaloo , which is set to be reissued on Aug. The West Coast Boogaloo reissue sets up the band as a catchall for styles ranging from jazz to funk, soul and boogaloo, with a new album— Como De Allstars , released in July—extending the format.
In the past, Norwegian ensemble Jaga Jazzist has come off as a 21st-century big band, a rock act with jazz inclinations and a group that prizes beat music as much as well-arranged choruses. It just depends on the record. The disc retains a debt to jazz and draws on a range of influences that enable the eight-piece ensemble to land on new combinations of sound. Five of the tunes here are helmed by vocalists, with fine contributions from Jane Stuart, Julie Michels and Carolyn Leonhart.
Hersog, also known for his vital voice on trumpet, wrote much of the music on Night Devoid Of Stars with two particular soloists in mind: tenor saxophonist Noah Preminger and pianist Frank Carlberg. Rarely do we get a precious gift from such a talented artist so close to their departure. A few months before his death on March 21 at age 85, prolific percussionist and Latin jazz icon Ray Mantilla approved the final mix of the tracks that appear on Rebirth.
The album title, which Mantilla chose, nods to the fact that during the last two years of his life, he was able to bounce back from a bout with cancer. The South Bronx native enthusiastically took his congas and other percussion instruments into the studio for what would be his final leader sessions, working with such longtime colleagues as Edy Martinez piano, Fender Rhodes , Guido Gonzalez trumpet, flugelhorn and Ivan Renta soprano and tenor saxophones.
Earworms abound on Rebirth. Is it physically possible to stand still as Mike Freeman pounds out those hypnotic vibraphone riffs? Keyboardist Larry Willis touted a catalog—including his Groove Merchant release, Inner Crisis —that today remains a hallmark of an era when commercial strains of music merged with the art-world intentions of jazz.
That Willis, before his death on Sept. The bandleader, alone, sounds like a rainy day. Blessed with a voice that exudes grit and swagger, the singer operates in the tradition of departed Windy City icons such as Otis Clay and Tyrone Davis. I think all the Polish musicians have this melancholic thing, and now they can explore and mix together classical music and jazz.
Such is the case with Borjoner , a charming collection of 10 covers on which Calgary-based singer Aimee-Jo Benoit showcases her love of Canadian tunesmiths. The aforementioned tracks are quite compelling, but Benoit and Trio Velocity—pianist Sheldon Zandboer, bassist Simon Fisk and drummer Robin Tufts—reap greater rewards when they explore 21st-century tunes by fellow Canadians. When Dexter Gordon returned to America in following 14 years spent as an expatriate living in Europe and working with various rhythm sections, he longed to put together his own band.
That dream came to fruition when a steady quartet consisting of himself, L. Gordon fans will get tremendous satisfaction from listening to this previously unreleased live material, which presents the tenor and soprano saxophonist at his finest. This welcome release from Elemental is especially significant for Gordon collectors, as this particular quartet lineup which only lasted until mid issued only two official recordings, the albums Manhattan Symphonie and Live At Carnegie Hall.
Overexposure might be its only sin. With the sheer volume of live stuff from the Dead—especially dating to this era—the Capitol Theatre material comes off as a suitable and reasonable premise for nostalgia. But even as hearing Garcia and company a bit more clearly in the studio might be enticing, the bonus stuff here works mostly to mark the anniversary of a landmark turn in rock, roots music and psychedelia—not a momentous discovery.
Also on board are the excellent young trumpeter Michael Rodriguez, who dovetails with Landrus on octave-unison lines and harmonized passages throughout For Now , and violinist Sara Caswell, who on several tracks joins Joyce Hamman violin , Lois Martin viola and Jody Redhage-Ferber cello on velvety, collaborative string quartet arrangements by Landrus and the distinguished opera composer Robert Aldridge.
The string section also plays an important role here in giving voice to many of the classically informed harmonic concepts that Landrus brings to bear upon his jazz compositions, a modern-minded approach manifested most recently on his remarkable large ensemble recording, Generations BlueLand.
Landrus always has swung his low-B-flat off on bari, and he offers plenty of that swagger on For Now. But throughout the new album, a gentler approach to the big pipes comes into the foreground. His bari flutters with utmost grace, his bass clarinet sobs for humanity and his alto flute floats cloud-like through moody skies.
With For Now , Landrus has created a work of astonishing beauty. Let the revealing liner notes by Grammy-winning composer Herschel Garfein, who co-produced the album with Aldridge, serve as your listening guide. Singer-songwriter Ruthie Foster embodies the celebrated aesthetic of musicians in Austin, Texas, who frequently blend genres in an organic way.
During the current pandemic, those recorded sounds serve as a bittersweet reminder of the joy that live performances can generate. At least three distinct movements take the ensemble through a contemporary version of bop, prog-indebted explorations and snatches of contemplative quiet. It also intimates that Nilsson and her cohort are as ready to shift gears as they are to discard genre considerations altogether. A spate of recent recordings, though, should have hinted at such an expanse.
The relationship between Debussy and jazz goes way back. The composer is said to have been inspired by the harmony and rhythm of African American musical forms, and numerous jazz musicians—most notably pianist Bill Evans —have cited his work as an influence on their ideas, particularly about harmony. Impressions Of Debussy attempts to correct that, albeit in a somewhat roundabout fashion.
Siskind and Rathbun, by contrast, put less emphasis on technique, stressing instead the harmonic and melodic language of the material. Perhaps even the best improvisors can only offer impressions. Composition and orchestration have long been recognized as essential skills in the art of making music, but what about personnel management? Should a school decide to establish such a course, I strongly would recommend hiring James Carney to teach it, if only on the basis of Pure Heart.
On five tracks, the Brooklyn-based pianist offers music of astonishing complexity, both in terms of composed counterpoint and improvisational interplay. Listening to how perfectly the parts fit together and feed off one another, the metaphor of a watchwork comes to mind, with its intricate balance of cogs and gears.
This is the sort of sound that typically takes months of rehearsing and touring to perfect—not something that simply can be thrown together with strangers in the studio. There is, to be honest, more spark, wit and passion in the playing than strangers ought ever to be able to manage, and for that Carney deserves a critics poll category of his own: Best Blend of Players for a Studio Project.
The music here, though, swings a bit more than the names billed might lead folks to believe. This is exploratory music—yes, the title gives it away. Or maybe not. Discourse around the music, too, has been kneecapped by the pandemic. In March , a group of superheroes assembled in Cologne, Germany. The result is album that showcases the turn-on-a-dime precision of the large ensemble, as well as the composing and arranging acumen of the two marquee leaders.
Just like a great Avengers movie, this album could leave some fans fully satisfied, yet also longing for a sequel. In concert, his bandmates occasionally don blindfolds when performing their most intricate numbers, helping to draw a personal connection to the way in which their leader experiences music.
But when a band plays this well, no such stunts are necessary to win over new fans. Fluent in many musical styles associated with his native Brazil, the New York-based Pereira has assembled a minute program that includes four of his original compositions, as well as works by Antonio Adolfo, Edu Lobo and Toninho Ferragutti, among others.
The effect is as impressive as it is hypnotic. The band name Blindfold Test has another connotation, too. DownBeat readers have been enjoying the Blindfold Test—in which a musician is asked to comment on unidentified tracks—since After all, Vision For Rhythm offers a dozen great tracks from which to choose. When downloads surpassed physical CDs in popularity, one casualty of that tectonic shift was the notion of the road-trip album.
Like any great road-trip album, the program contains enough sonic diversity to keep the listener engaged, but without any boring or jarring tracks that would tempt someone to hit the eject button. For Persistence , Figarova recruited her band Edition , a group players who embrace a fusion aesthetic, merging the adventurous spirit of improvisation with the muscular power of rock. Agile bassist Yasushi Nakamura and go-to drummer Rudy Royston keep the proceedings grounded yet grooving.
The power of this program lies partly in its questing vibe: For each track, the players have the basic route in their heads, so any band member can take an intriguing, improvisational diversion down a side road, and yet still merge back into the unified ensemble and help it arrive at the intended destination.
The sonic territory here is a place where jazz meets art-rock, with lots of improvisation. The clip hints at a level of chummy camaraderie that is evidenced by the grooves on this intriguing, nine-track album. He has since recovered very well, considering his age and his experiences. But that month of January was filled with an enormous swell of trauma [and] uncertainty, but also joy and celebration. A pair of suites— Carriers and Wild Geese —ground the album, and give it a sort of cohesion that progressive-minded contemporary work so often lacks.
Peripheral Vision has always been a sort of two-sided affair. On one level, the Toronto-based quartet is about the writing relationship between electric guitarist Don Scott and double bassist Michael Herring. In that sense, it was probably inevitable that this double-edged quartet would end up making a double album.
Written in the hope of addressing, as a nonaboriginal person, the injustice and inequality revealed through the work of Reconciliation Canada , the music is alternately questioning and prayerful, hushed and raucous. Jones—three commanding improvisers with decades of work behind them to prove their mettle.
A startling crisis can add new, unexpected meaning to an existing work of art. This phenomenon was particularly acute for residents of New York City, and it has returned during the coronavirus pandemic. And when they do, some of us will refuse to take them for granted. Probably not. Impressions In Blue And Red benefits from a symmetry and flow imposed upon it by the leader, with each color theme complementing—rather than clashing with—the other.
Eight tracks serve as improvised solo intros that spotlight Goodman and each of his bandmates in turn. The way his breathy tone skips across a trancelike groove, cushioned by the airy ambience of synth chords, will put some listeners in mind of Jon Hassell , and the way he works scales into serpentine swirls of melody might bring Ibrahim Maalouf to mind. As with previous albums, Pohjola and company are more than happy to work with trance-y, synth grooves. But the pulse is merely foundational.
But for many jazz musicians, Kind Of Blue is closer to scripture, in the sense that it has been a source of guidance and inspiration almost from the start. It helps that his ensemble is powered by a first-rate rhythm section, particularly Piket and Jon Wikan, who is rapidly becoming one of the most astutely swinging big band drummers in jazz today. Now, with the release of the sextet recording Marbles , Evans expands his harmonic horizons further with the inclusion of a three-horn front line.
Evans proves himself an expert orchestrator with a knack for voicing three-part harmony and combining brass and woodwind timbres in unexpected, yet extremely effective, ways. On three tracks, guest artist Steve Nelson contributes masterful, tasteful vibraphone to the instrumental mix; his presence on Marbles is the icing on the cake. Some brilliant young players have a knack for finding one another. The vibraphonist recruited her for his sextet album, The Subliminal And the Sublime , and he invited her back to play on his latest effort, the trio disc Embrace.
In recent years, Oh has toured with world with Pat Metheny and done such great work with so many players that she has become a highly sought-after collaborator, one who can shine in a variety of settings. The trio setting not only makes his fluid dynamics central to the overall sound, it also showcases his considerable gift for melody. By drawing inspiration from across the Atlantic Ocean, Dingman is, in his own small way, illustrating how musicians from around the globe are united by a common language.
When an album is this strong, fans should be particularly appreciative of the do-gooders behind the scenes, helping artists bring their visions to fruition. For more than 30 years, the Sydney-based trio has been moving through jazz, ambient and avant-rock while dispatching more than 20 albums, frequently offering up a single, long track on each improvised disc. Bastard Priest - Under the Hammer of Destruction.
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