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Enrico Pieranunzi - As Never Before (Cam Jazz 7807-2)
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McCoy Tyner once described Pieranunzi as “a new addition to the top jazz-piano world”, and while the gut wrenching, sustained notes from Kenny Wheeler’s trumpet and flugelhorn renders this a rather sleepy first listen, persistence will reward with clingy haunting melodies and masterful playing by his trio of 24 years. With over 30 albums to his credit, the Roman pianist/composer has a knack for contrasting textural changes deployed with astounding effect notably on Many Moons Ago when the flugelhorn’s easy meandering river turns to pianistic rapids in a series of alerting descending runs. Pieranunzi’s originals seem to linger in your head like certain pop tunes; moreover his classical roots no doubt perpetuate the importance of melody. Wheeler’s mournful wavering resonances, as opposed to an orthodox vibrato, on both instruments become more melancholy with age. Marc Johnson’s lyrical bass solos and Joey Baron’s empathy on drums combine to make this a spellbinding album.
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by Peter Wockner.
Previously published in Limelight June 08 |
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Elizabeth Geyer - On Patrol with the Jazz Police (www.elizabethgeyer.com EG003)
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Elizabeth Geyer’s third album re-boots the momentum driven by The Dream where the aesthetic is blurred between an original contemporary jazz edge and a pianist-singer-songwriter sensibility. Her breathy yearning tone adapts readily to a range of emotions and desires in her lyric. While much of Geyer’s thought provoking poetry is open for personal interpretation, these compositions and arrangements especially the energetic pieces include qualities of climactic drama and surprise. I didn’t want the crescendo of A Candle is Sweeter than Fire to end. Most of her trumpet/flugelhorn acts as improvised gilding but complements the dynamic between Bill Risby’s piano and Jonathon Zwartz’s bass.
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by Peter Wockner.
Previously published in Limelight June 08 |
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Marcin Wasilewski Trio - January (ECM-2019)
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This Polish piano trio demonstrates maturity beyond its years, due to its history dating back to 1990 as teenagers but gaining stature most recently with their involvement with Tomasz Stanko and Manu Katche. The first five selections are restrained impressionistic sounds lingering like a musical incense. Compositional rights are as diverse as Tomasz Stanko, Gary Peacock and Prince but are tempered with a light touch extracting each minimal essence. Serious tempo only commences on track 6 with Carla Bley’s ‘King Korn’ and they swing hard but swing is no holy grail on this album and that’s what makes it so compelling
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by Peter Wockner.
Previously published in Limelight May 08 |
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Pat Metheny - Day Trip (Nonesuch 367828-2)
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Metheny is back at his melodic best with this mainly tepid but well balanced trio album which in many ways is as good as his Warner Bros output at the turn of the century. The new trio comprises of the most sought after bass player in jazz Christian McBride and rising star Antonio Sanchez on drums. McBride’s bow work on the 2005 Katrina dedicated ‘Is this America?’ is especially exquisite. Not a sound of anger, rather, this is a mournful lamentation with some notes played so caressingly they are virtually implied, just as the question is implied in his melancholy melody; what have we become? Other mood changes include a couple of steaming tempos that showcase their collective virtuosity, a reggae, ‘The Red One’ and the soulful ‘When we were free’ where a gear shift suddenly morphs the guitar sound into an electronic folk-like fiddle. All the selections are Metheny originals.
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by Peter Wockner.
Previously published in Limelight May 08 |
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Bravura! While some singers make claim by including evergreens from the Great American Songbook in their repertoire, Irving is a jazz singer. Her scatting would be among the most sincere recorded in Australia since Kerrie Biddell as it has genuine instrumental purpose. The selections are challenging jazz standards for vocalists including Horace Silver’s Doodlin’ and Oliver Nelson’s Stolen Moments but she naturalises them using her warm tone sometimes reminiscent of Michelle Nicolle. Contributions from Matt McMahon’s piano and arr. and Ashley Turner’s bass are worthy of note especially Don Rader’s Milesian bittersweet flugelhorn solo on JJ Johnson’s Lament.
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by Peter Wockner.
Previously published in Limelight May 08 |
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Howard Alden & Ken Perlowski - Pow-Wow (Arbors ARCD 19340)
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This is a brilliant study in jazz interplay, the music rich in its diversity and mood, by long-standing musical compatriots, clarinetist and tenor saxophonist Ken Peplowski and guitarist Howard Alden who first began performing as a duo in 1992 and recorded a well-
received set for Concord Records. There is an almost telepathic connection between the two, one of jazz’s pre-eminent clarinetists and a guitarist noted for his subtle finesse and swing, as they confidently and congenially converse with their instruments. Don’t miss the exciting question and answer romp through the rousing title track based on Cherokee written by another guitarist Joe Puma or the almost reverent treatment of the lovely Billy Strayhorn gem After All. Unfairly dubbed “Young Fogies and New Swing” when they both arrived in New York in the early 1980s, there is nothing tired or ancient about their interpretations of some long-forgotten and little known jazz and popular standards by the likes of Cole Porter, Duke Ellington and Bill Evans to name but a few. Indeed the challenge of fresh the material only emphasizes their deep rapport and musical chemistry: Peplowski’s clarinet is ebullient or gentle, his tenor warm; the perfect foil for Alden
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by Kevin Jones.
Previously published in Limelight May 08 |
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Bill Charlap - Live at the Village Vanguard (Blue Note 7143 5 97044 2 5)
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For anyone not familiar with the Bill Charlap Trio, this set recorded live at the legendary New York club in September 2003, is the perfect introduction. The pianist is the foremost interpreter of the classic standards which sound as if they were written just for him. Few, if any, piano trios swing more than Charlap’s. With the Washingtons, Peter (bass) and Kenny (drums), the pianist gives full reign to his fleet-fingered aerobics on the breakneck The Lady Is a Tramp. But it’s the ballads, where he gives full reign to his sophisticated romanticism, which shows him at his best. Not to be missed!
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by Kevin Jones.
Previously published in Limelight May 08 |
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Nicki Parrott - Moon River (Venus Records TKCV 35412)
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The Newcastle-born Nicki Parrott is very much in demand in New York as a bass player. Now her jazz vocals are impressing more and more with a voice that is emotionally sensitive, tender, sometime coquettish and on Nicki’s Blues downright erotic! Harry Allen’s tenor is added on some tracks and he is the perfect accompanist, dreamy (Besame Mucho), grooving easily (Taking A Chance On Love) and playful (Is You Is Or Is You Ain’t My Baby). As for Nicki, her best may be yet to come as a singer but this is more than good enough for now. Impressed? You bet. Just listen to The More I See You.
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by Kevin Jones.
Previously published in Limelight May 08 |
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Ruby Braff - Ruby Braff and the Flying Pizzarellis (Arbors ARCD 19270)
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I never tire of listening to Ruby Braff, the melodic master of the jazz cornet. Like the great Stan Getz in his final months, Braff refused to let his fragile health compromise his artistic integrity and the high standards he had always set. This was especially true on this, his final session, recorded only eight months before his death through emphysema on February 9, 2003 which ended a 54-year (1949-2002) recording career. Some of his finest albums (and for that matter some of the best ever by a small group) were recorded with two guitars. And this is the case here when, reunited with veteran drummer Jim Gwinn and Bucky Pizzarelli, and playing with the trio of the guitarist’s son John for the first time. Braff is in great form, sublime on the ballads and reveling in the spontaneous interplay. It’s typical Braff: nice tunes, beautifully played. What more could you want?
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by Kevin Jones.
Previously published in Limelight April 08 |
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Dina Derose - Live At The Jazz Standard, Volume One (MacJazz MJX504)
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“The most creative and compelling singer-pianist since Shirley Horn” wrote one American critic. No wonder my ears pricked when I first heard Dena DeRose. This album recorded over three nights at the New York club in March 2007 with her trio of seven years (bassist Martin Wind and drummer Matt Wilson) is the perfect setting to enjoy her. Impressed? You bet. She handles her dual role with aplomb. I like her no-nonsense approach to standards as she renews them with the devil may care attitude of the late Anita O’Day. A remarkable talent at the head of one of the best trios in the business!
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by Kevin Jones.
Previously published in Limelight April 08 |
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Janet Seidel featuring Jone Chindamo - Charade: Henry Mancini Songbook (La Brava LB0077)
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Vocalist Janet Seidel and pianist Joe Chindamo have one thing in common _ they have both have topped the international jazz album charts in Japan. As they also share a love for melody, it seemed only logical our most popular jazz singer should record with one the country’s very best pianists and on the results here I hope it’s not their last album together. Janet’s albums always have a theme; this time it’s the music of Henry Mancini. The warmth of her voice adds to such staples as Days Of Wine And Roses and Charade and Chindamo, the supreme accompanist, shows how to touch the soul of a ballad and swing easily at any tempo. All class.
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by Kevin Jones.
Previously published in Limelight April 08 |
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The best of Newport ’57 - Various artists (Verve 0625 17416109)
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Jazz impresario Norman Granz never did anything in half measures. In 1957 he recorded the whole four days of the Newport Jazz Festival for his Verve label. This two-CD set celebrating the 50th anniversary of the event _ most of it never released before _ shows how diverse the music on offer was. Considering the lineup of legendary names, no wonder the 1950’s are considered a golden era. To numerous to mention, they range from traditionalists like Kid Ory and George Lewis to the big bands of Count Basie and Dizzy Gillespie, tenor giant Coleman Hawkins, the Gerry Mulligan Quartet and then contemporary pianist Cecil Taylor. Great memories and some wonderful music.
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by Kevin Jones.
Previously published in Limelight April 08 |
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Kim Sanders & Friends - "Bent Grooves" - Sound Lounge 9th May 2007
Such was a celebration of various cultures through regional music, a reflection of the endless pursuit of diversity for Kim Sanders. Whilst performances sharing the theme of diversity have not gone un-acknowledged over the past decade, it felt to me like the shackles of the Howard monoculture had finally been broken during this performance which represented more than just creative music but friendship, inclusiveness, respect and genuine inter-cultural collaboration. Sanders might look like a gypsy with his long greying locks, his Bohemian garb and his goat skin bags but his manner and his dialogue is as Aussie as the next bloke and this fact almost defies the reality of his ability to converse in several languages across the Asian, European and African continents, let alone his ability to foster musical conversations in as many languages using over 14 wind instruments.
Along with Kim Sanders, the core quartet of the ‘Friends’ include Sandy Evans tenor and soprano saxophones, Bobby Singh tabla and Steve Elphick double bass. They opened with Heyamoli a Northern Turkish lament which saw Kim playing Turkish gaida (bagpipe) and Sandy in unison on tenor.
Next they performed the suite A Journey in Saba Makam. The ney is a sufi flute made of bamboo which Sanders freely improvised the first movement Bas Taksim over a singular Elphick drone followed by the additive of Evans and Singh. Such was Evans sensitivity on tenor during the second movement Saba Nefes I that her shadowing was simply an additional tonal flavour of the smokey fluted melody. The final movement showcased the awe-inspiring talent of Singh on tabla.
Sanders who is also a keen surfer, at one time took up the boogie board instead and soon found that serious surfers refer to them as a Speedbump but what commenced as a gypsy jam ended up a Congolese groove thanks mainly to the synchronicity of both Singh and Elphick.
Yet another continent was thrown into the mix with the addition of Chilean Carlos Villanueva and his Andean charango playing the flamenco tinged The Bad Bodgie Bulerias. With an almost clenched fist, Villanueva’s finger nails rapidly raked the repeated four chords of this piece on this instrument of only ukelele dimensions. By now parts of the capacity crowd were shrieking.
Kay Yagar which is interpreted as ‘snow is falling’ was a further showcase of Sanders skills; this time on the double reeded flute, the mey. His circular breathing and tonguing of this instrument created a spellbinding vibrato which preceded his swap to the bagpipes. Another dimension of this piece was the addition of Llew Kiek from the renowned band Mara! on the baglama or Turkish lute.
Istanbul Blues allowed Sandy Evans on tenor a precursor of what was to come on Oi Havar where she simply soared, taking the audience with her on a carpet ride of freedom and joyous expression.
When George Doukas arrived on stage the battle of the bouzouki’s began with Kiek choosing his own richly decorated axe. While Doukas proved a virtuoso, nothing was going to prepare us for the arrival of the final friend Bobby Dimitrievski on clarinet who displayed an agility on the instrument which is rarely witnessed. Following a standing ovation the group finally returned to the stage for a fitting finale. But what was probably the most musically intuitive passage of the performance came after Evans (during her solo) cried to Dimitrievski to ‘join in Bobby’. The result was a lesson to us all in genuine conversation where listening is just as important as speech when the magic of their respective instruments interwove a singular dialect of perfect harmony.
This was nothing less than a triumphant performance by Kim Sanders and Friends
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by Peter Wockner. |
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Clifford Brown – Jazz Characters, Joy Spring (Le Chant du Monde 2741455-56)
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A 1950 serious car accident did not deter ‘Brownie’, the young Indiana bop trumpeter from reaching stellar heights with expectations of even surpassing Dizzy. CD 1 charts his development from 1952-1954 including the quirky inclusion of the calypso ‘I Come from Jamaica’. The definitive moments are found on disc 2; firstly a duo with Max Roach which could now be argued as a pre-cursor to Roach’s Freedom Now Suite and a rare live recording of a theatrical Dinah Washington ‘I’ve got you Under my Skin’ complete with Brownie, Clark Terry and Maynard Ferguson trading fierce blows. Tragically, Brownie died in another car accident in 1956.
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by Peter Wockner.
Previously published in Limelight April 08 |
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Eliane Elias - Something for You. Eliane Elias sings and plays Bill Evans (Blue Note Records 5099951179526)
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Elias returns to Blue Note after a short spell with RCA to document a moving tribute to the legendary pianist. Her husband and bass player on this recording Marc Johnson was with Evans in his final trio but it was a cassette recording of unfinished works that triggered this project, part of which can be heard in its original form on the final track. The Brazilian pianist adds her light and breezy vocals with her clipped phrasing to some tracks, but it’s her swinging playing, exquisite time changes and some previously un-recorded Evans material that I wanted to hear most.
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by Peter Wockner.
Previously published in Limelight April 08 |
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Dave Douglas & Keystone - Moonshine (Greenleaf Music GRE-06)
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Trumpeter Dave Douglas finds new inspiration in a live recording to develop further the futuristic style of his 2005 Keystone release. Moonshine beckons the dancer with shuffling backbeats and questions the conscience with samples of Bush’s monotonous reference to ‘terrorists’ against mournful Middle Eastern female chants juxtaposed by a trumpet lament. The music is spiked heavily by DJ Olive and his laptop, while the fat vibrato of Adam Benjamin’s fender rhodes subconsciously propels the rhythm. Douglas himself strikes the fine balance of pre-conception versus spontaneity that results in such a tasty recipe, embedding this new sound in the tradition of jazz.
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by Peter Wockner.
Previously published in Limelight April 08 |
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Les Tresors - Du Jazz, Volume 7 (1956), Various (10-CD set), Le Chant Du Monde 574 1471.80
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Ratings are superfluous when faced with a historically important reissue package such as this. In 1956 jazz was part of music’s mainstream (a far cry from today when it is all but shunned by the major record companies) and the sounds recorded rich in their diversity. Greats abound. Ellington, Armstrong and Basie to the MJQ, Miles and Max and Clifford - and the sounds: traditional to big band, mainstream, cool, bebop and post bop. The only greats not represented appear to be Benny Goodman and Coleman Hawkins. And the music! Who said West Coast jazz didn’t swing: a listen to the romping version of the Basie favourite The King by alto saxophonist Bud Shank and tenorist Bob Cooper puts pay to that. Or tenor giant Stan Getz at his imperial best making light of the fast tempo as he outplays both Dizzy Gillespie and Sonny Stitt after they had both vowed to put him in his place musically. Or the genius of pianist Art Tatum with another tenor giant Ben Webster. Or . . . I could go on. This is an indispensable set no serious jazz collector should be without. Already my reissue of the year.
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by Kevin Jones.
Previously published in Limelight March 08 |
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Harry Allen-Joe Cohn Quartet - Music from Guys and Dolls (Arbors ARCD 19354)
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Songs from Frank Loesser’s classic score have proved a favourite with jazz musicians including such greats as Louis Armstrong (Sit down You’re Rockin’ the Boat) and Miles Davis (If I Were a Bell). The mostly hard swinging versions by this award-winning quartet are enhanced by guest vocalists Rebecca Kilgore, warm and supple, and Eddie Erickson, who adds just the right touch to Luck Be a Lady. As for the excellent Allen, he is at his Getzian best on the lyrical I’ll Know and with co-leader, guitarist Joe Cohn, swings joyously on the title track. This is a working band in rare form.
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by Kevin Jones.
Previously published in Limelight March 08 |
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The Jimmy Cobb Quartet - Cobb’s Corner (Chesky SACD 327)
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Fifty years ago albums like this were commonplace, superior blowing sessions built around popular and jazz standards, a blues and a few originals. Today they are an exception to the rule but what an exception this is! Don’t miss it. The legendary Jimmy Cobb, the last surviving member from Miles Davis’ Kind Of Blue session, gives a master class in the art of drumming with a stellar quartet: trumpeter Roy Hargrove, pianist Ronnie Mathews and bassist Peter Washington. Whether open or muted, the versatile Hargrove is all class and the burnished beauty of his ballad playing on flugelhorn quite lovely.
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by Kevin Jones.
Previously published in Limelight March 08 |
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Australian pianist Barney McAll continues to forge a pathway in the fertile hot-bed of NYC. Apart from the highly personal compositional style of McAll, the key ingredient here is the addition of the frighteningly agile guitarist Kurt Rosenwinkle. Rather than fluid lines, McAll in a guiding role, uses the piano as a navigational tool within the context of his mood swinging compositions; from agitated thunderstorms followed by sublime composure through to contemplative utterances with subtle influences from Africa, the Middle East and Cuba allowed to bubble through to the surface. Obed Calvaire’s double time cymbal work is quite remarkable.
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by Peter Wockner.
Previously published in Limelight March 08 |
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Matt Keegan Trio - Tone Imagination (Jazzgroove JGR039)
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Enthusiasts identify the famous Blue Note ‘sound’ immediately. The Sydney based collective have released their 39th album and similarly, if there is a sound that embodies the ‘Jazzgroove’ sound then Keegan’s Tone Imagination is it. His trio’s third and finest continues to explore the possibilities of the organ-like shoebox known as the ‘Maestro’ which, when connected to both wah-wah pedal and his saxophone mouthpiece, produces an array of tonal palettes sometimes industrial or metallic at other times radiant and soothing. Cameron Undy on electric bass is not as busy here as his 20th Century Dog digs and instead plays a pure pulsating groove. Keegan’s compositions curb the intensity of Undy’s bass and Goodman’s textural percussion leaving Keegan wider spaces to overdub and orchestrate ravishing releases of tension, undoubtedly influenced by hip-hop projects, DJ collaborations, and the great Eddie Harris. Brilliantly recorded and if you have the luxury of space largesse – turn it up!
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by Peter Wockner.
Previously published in Limelight March 08 |
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Steve Russell - When the Light Comes (Pinnacles Music PM 02/04)
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Further proof of the quality of jazz scene’s outside of our major cities. The pianist has gathered the core artists of the Northern NSW jazz scene. Two sparkling solo-piano standards Round Midnight and Stella by Starlight are expressed thoughtfully and respectfully, while his originals germinate from a generic, well versed tradition then expose contemporary influences from Cuban to Coltrane and West Coast characteristics. Russell’s compositions allow Jack Thorncraft’s bass a collaborative role in forming the melodic appeal of this material and his bow work is as commanding as ever. Tony Buchanan, John Hoffman and Jim Kelly also stamp their brands.
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by Peter Wockner.
Previously published in Limelight March 08 |
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Becky Fox - Allure (ABC JAZZ 4766239)
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Despite the prevalence of pop leaning backing vocals and ‘ooh wooh’ padding, Allure provides more than a taste of the pure essence of Fox’s angelic voice; a voice of luscious sensuality that I’d like to hear in a less produced setting. Most selections are sung in French with remarkable pronunciation. Slick arrangements by Graeme Lyall and others but the re-arrangement of I Love Paris provides little scope for emotional connection with the lyric. Romanticism is at the forefront of a Joe Chindamo piano accordion solo on Let it be Me. Other major contributors include John Hoffman on trumpet/flugelhorn and Simon Patterson on guitar.
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by Peter Wockner.
Previously published in Limelight Feb 08 |
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Horace Silver - Jazz Characters (Le Chant du Monde 2741537.38)
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One of 40 titles in the Jazz Characters series compiled by French jazz conservationists Andre Francis and Jean Schwarz. This dual CD set presents the formative pianist in numerous be-bop and trio settings from 1951 to 1954 on disc 1 featuring the blistering Lou Donaldson alto and an un-decided Miles Davis, before gravitating to his signature soul jazz sound from 1954 to 1956 on disc 2, with his quintet and the Jazz Messengers. Re-mastered sound ensures a surprisingly consistent quality throughout. The chronological compilation documents his development from a sizzling bop exponent influenced by Bud Powell, to the soulful melodist at medium tempo.
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by Peter Wockner.
Previously published in Limelight Feb 08 |
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Cam McAllister Quintet - Libran Balance (CAM001)
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Rich dark chocolate harmonies set against a background of melodic bass-lines and energetic rhythms dominate this independently released debut album from the Melbourne trumpeter. Listen intently and allow his mood changing but highly accessible compositions to overshadow his gently piercing trumpet style showing some Terence Blanchard tendencies coupled with a certain soulful fragility. At it’s most dramatic, White Knight has a feeling of mystery and intrigue via the captivating lines of pianist Mark Fitzgibbon. Dave Rex on alto completes the classic quintet instrumentation while trombonist Jordan Murray guests on three of the nine tracks. A talent deserving wider recognition.
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by Peter Wockner.
Previously published in Limelight Feb 08 |
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Jackie Ryan - You And The Night And The Music (OpenArt OA 07292)
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I’ve been so busy praising Roberta Gambarini for the past 12 months that I’d forgotten about the San Francisco-based Jackie Ryan who has been a fixture at Ronnie Scott’s Club in London for the past eight years and sung at major venues in New York and Los Angeles. This brilliant album, her first for four years, is a timely reminder that Ryan who one English critic called the best singer to appear at Ronnie Scott’s since the late Shirley Horn, shows she is among the very best of her generation. Four years is too long between albums for a singer with such a richly expressive voice although I understand one with pianist Cyrus Chestnut and tenor Eric Alexander will be released later this year. I detect overtones of both Sarah Vaughan and Betty Carter and, like the former she has the ability to rephrase a melody. But she is very much an original stylist from her whiskey and honey tone in the lower register to the crystal clear intonation at the top. And her backing is all class; pianist and arranger Tamir Hendelman, bassist Christopher Luty, drummer Jeff Hamilton and, on five tracks, the ballsy tenor of veteran Red Holloway. Every track has something to offer: the sensual beauty of Besame Mucho, the lovely ballad Never Let Me Go and the swinging title track to name a few. Unreservedly recommended.
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by Kevin Jones.
Previously published in Limelight Feb 08 |
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Ella Fitzgerald - Live At Mister Kelly’s (Verve 06025 17332157)
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A real treasure trove, this set captures a relaxed Ella Fitzgerald in an intimate setting interacting confidently with a live audience at the Chicago nightclub in 1958 with her trio. Never released before, probably because Norman Granz had already issued concert albums with her from the Hollywood Bowl (1956) and the wonderful Live At The Opera House (1957). This is vintage Ella, a mixture of up-tempo numbers, lovely ballads and swing anthems scatted as only she knew how. Many were songs she rarely sang including two associated with Frank Sinatra; In The Wee Small Hours and Witchcraft, complete with verses. A must for Ella fans
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by Kevin Jones.
Previously published in Limelight Feb 08 |
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Described by drummer-leader Anthony Howe as “classic jazz Aussie style”, this is bright and more than acceptable music played by one of the best small groups of its kind. It may have traditional roots but Howe’s deep knowledge and catholic taste keeps the band’s repertoire varied, original and good humoured. Here it includes compositions by Duke Ellington, Benny Carter, Gerry Mulligan, his own originals and a Jimmie Lunceford-styled Ain’t She Sweet. Spurred by a healthy rhythm section, the rocking ensembles are played with ease and assurance leaving space for strong solos, especially by trombonist Dan Barnett, both open and muted and pianist Peter Locke, one of the unsung treasures of the Sydney jazz scene. .
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by Kevin Jones.
Previously published in Limelight Feb 08 |
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Enrico Rava and Stefano Bollani - The Third Man (ECM 2020 173 7322)
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Musicality, freshness and lyricism; these words sum up this album by ECM’s Italian dream team, the richly gifted improvisers trumpeter Enrico Rava and pianist Stefano Bollani. The nimble-fingered virtuoso, who has all the jazz piano styles at his fingertips who won the 2007 European Jazz Prize sponsored by the city of Vienna, is the perfect foil for Rava’s warm and melodic trumpet. Most of the tracks are Rava originals; standard-like melodies, tone poems and free improvisations plus two takes of Jobim’s romantic Retrato Em Branco Y Petro and the lovely Estate caressed so yearningly in Milesian fashion by Rava. In one word: delightful
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by Kevin Jones.
Previously published in Limelight Feb 08 |
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Roberta Gambarini and Hank Jones - You Are There (Emarcy 0602517370678)
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“A dream come true” is how Roberta Gambarini describes her second album, this 2005 session with piano master Hank Jones who has been a consummate accompanist to singers for more than 50 years. And a good pianist does wonders for a singer! Think of the Ella Fitzgerald Gershwin sessions with Ellis Larkins or, in a more popular vein, Tony Bennett with Bill Evans. The Italian-born Gambarini could not have asked for a more tasteful or sympathetic soloist than the 89-year-old Jones, the last of a famous dynasty with drummer Elvin and flugelhornist and arranger-composer Thad. Described in the 1950s as a “modern day Teddy Wilson”, Jones shows why as he elegantly but with maturity enhances the beauty of Gambarini’s melodic control on a memorable Stardust and adds to her warmth on the ballad Deep Purple. They may have been born generations apart and in different musical eras but Gambarini and Jones are a perfect match.
The fastest rising vocal star in jazz, Gambarini has been compared to Ella although I find Carmen McRae more of an influence. Admittedly there are similarities with Ella whose vocal powers no one could match but the sparkling When Lights Are Low and her slow scat on People Time show Gambarini’s flexibility. She will record even better albums than this in the future, a mouth-watering prospect.
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by Kevin Jones.
Previously published in Limelight Jan 08 |
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Jon-Erik Kelso - Blue Roof Blues: A Love Letter to New Orleans (Arbors Jazz ARCD 19346)
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Jon-Erik Kelso and Evan Christopher will be familiar to traditional and mainstream jazz lovers who have attended the annual Bob Barnard Jazz Party in Melbourne. Kelso may have Chicago roots but his trumpeting shows his affinity with the music of New Orleans and Christopher’s clarinet playing continues the classic legacy of a rich musical tradition. They seamlessly bond together on originals and breathe new life into such hoary chestnuts as Panama (dig the habanera beat) but the highlight is Kelso’s long but mournful title track which captures the bruised heart and soul of a devastated city; a very special letter from the Big Apple to the Big Easy
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by Kevin Jones.
Previously published in Limelight Jan 08 |
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Russell Malone - Live At the Jazz Standard, Volume Two (MaxJazz MXJ604)
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No stretching the boundaries of jazz here, just guitar playing of the highest class as Russell Malone, a brilliant soloist, shows why he is held in such high esteem. Listen to the shimmering sensitivity of Irving Berlin’s How About Me, a ballad feature which is just one of the many delights of the second “live“ album by Malone’s working band; pianist Martin Bejerano, bassist Tassili Bond and drummer Jonathan Blake, taped at the Jazz Stand club in New York in September, 2005. Malone finds new avenues of exploration on these extended workouts. It’s mainly original material but there are exceptions, especially his inventive take on The Theme from Gunsmoke
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by Kevin Jones.
Previously published in Limelight Jan 08 |
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Don Rader - Odyssey (Newmarket 3237.2)
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Trumpeter Don Rader has chosen a mixture of hard bop, jazz standards and originals to showcase his new young quintet and on the evidence here, it won’t be the last we will hear from a group which shows a high level of creativity solo wise and the horns blend nicely together. It includes two of Rader’s former students, pianist Gerard Masters who plays with a graceful economy and sparkling ebullience, and drummer Tim Firth. Brendan Clarke, Sydney’s most in-demand bassist, and tenorist Craig Walters complete a lineup which is augmented by Tony Azzopardi on two tracks. Rader is tastily muted on Alone Together and the group obviously enjoyed the Latinised Bernie’s Tune.
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by Kevin Jones.
Previously published in Limelight Jan 08 |
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Judy Bailey Trio - Pendulum (BL017)
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The release of a new Judy Bailey trio recording should be a regarded as a treasured moment in the history of Australian jazz. Her composition choice carries an air of majesty from the dark harmonies and shimmering arpeggios of the wonderfully lyrical ‘Flamingo’ to her own soulful ‘Country – not Western Blues’ and a jaunty rhythmic re-arrangement of Cole Porter’s Night and Day. Craig Scott lays a multi-coloured conduit and extracts all the physical nuances of his double bass during solo-work while Tim Firth’s abstract brushwork on Tad Dameron’s ‘If You Could See me Now ‘, is like a Gene Kelly tap routine.
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by Peter Wockner.
Previously published in Limelight Jan 08 |
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Laced with weighty potent passages of unashamed rock and funk, this trombone and guitar led recording exposes the groove and grunge sound of the younger Sydney jazz set. The wailing and growling trombone of Jeremy Borthwick also displays some remarkable piston-like agility especially on the Indian and African flavoured pieces along with some ferocious guitar work from Ben Hauptmann. Most compositions employ sections of jamming and overdubbed trombone harmonies hanging above repetitive guitar motifs, but pendulum swings and momentum shifts surprise when roles reverse and melody takes over. There’s also the rare taste of Brendan Clarke playing electric bass utilising synthesised effects.
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by Peter Wockner.
Previously published in Limelight Jan 08 |
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GEST8 - Kaleidoscope (Tall Poppies TP195)
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Sandy Evans and Tony Gorman are again pushing jazz through its outer most boundaries with sounds that reflect the diversity of Australia’s social landscape without abandoning fundamentals. Sadly, today’s music scene offer’s few live opportunities for a band like GEST8 but the cohesive interplay between members is a testament to their level of musicianship. Compositionally compelling and zany as ever; Gorman’s Kaleidoscope was built around the architecture of Coltrane’s Giant Steps while Evans’s bumbling The March of Captain Vanstone had me laughing out loud. You’ll find GEST8 a compass range away from the previously successful Clarion Fracture Zone with Satsuki Odamura’s ground-breaking koto and bass koto melding with the Korean informed percussion of Simon Barker. Greg White’s sampling, the flexibility of Carl Dewhurst’s guitar, Paul Cutlan’s accordion-like Eb clarinet, Phil Slater’s ethereal trumpet and Steve Elphick’s well travelled bass add artistic dimensions of enormous proportion.
It should be made compulsory listening to fulfil the citizenship test.
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by Peter Wockner.
Previously published in Limelight Jan 08 |
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Dexter Gordon - Live in 63 & 64 (Jazz Icons Naxos 2.119002)
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When not riding his bicycle around Copenhagen, Gordon was, at 40, touring Europe using pick-up rhythm sections playing a repertoire steeped in the history of jazz. Holland 1964 and the relaxed, handsome Gordon, (epitome of cool) enters the cosy club late, the rhythm section already on stage, wearing a trench coat through the haze of cigarette smoke, gives a charming dignified introduction to ‘A Night in Tunisia’; a reflection of his stately tenor sound. Switzerland 1963 was a concert hall but with a milk bottle sounding piano while Belgium 1964’s ‘Body and Soul’ with Art Taylor on drums is simply a treasure in both picture quality and sound.
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by Peter Wockner.
Previously published in Limelight Jan 08 |
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Knoxville Jazz Orchestra - Blues Man from Memphis (Blue Canoe BC 1040)
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Few jazz orchestras compare with the K.J.O. No less than seventeen chairs with room for fifteen additional artists on eight mostly medium to up tempo originals by the Mississippi born pianist, composer & leader Donald Brown, who replaced James Williams in Blakey’s Messengers in 1981. The three live selections have the powerhouse sound you’d expect, however the studio cuts portray a multifaceted composer of swing, blues, contemporary, reggae and Latin with a refreshingly restrained intent of extracting the essence of each composition. Guests include Stefon Harris & Greg Tardy. A highlight is ‘Peace for Zim’ with a distinctive township flavour and a screaming Tardy tenor solo.
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by Peter Wockner.
Previously published in Limelight Dec 07 |
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Andrew Robson and Paul Cutlan - Simpatico (Lamplight Records LLR00106)
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This is a duo set of musical conversations. In the context of compatible spontaneous improvisation, listening to each other goes hand in hand with creation. The Sydney reedmen listened intently as they played on this delightful balancing act of atonal freedom and melodical motifs. Foreshadowing, foxing and reaching for the unknown, rather than the known, without compromising on melody, some of which are clearly influenced by their tenure with the Eastern European flavoured group Mara! Cutlan plays tenor and Eb clarinet but predominantly with the bass clarinet and uses the lower extremities to haunting effect, while Robson often plays the straight man on alto.
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by Peter Wockner.
Previously published in Limelight Dec 07 |
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Diana Krall - The Very Best Of Diana Krall (Verve 9547000)
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Diana Krall must have put a special emphasis on her signature opening tune I Love Being Here With You during her first major American tour several months ago after giving birth to twins on December 6 last year.
She took “my little angels” (the twins Dexter and Frank) with her! That’s hardly surprising for someone who considers herself to be a hands-on mother but this is an artist who the previous decade spent 300 days each year on the road.
“I ended up sleeping two hours a day,” she says on the telephone from London but she had the best reviews of her career with critics from the east coast to the west lavish in their praise. Motherhood and marriage to Elvis Costello obviously agree with the 42-year-old singer-pianist. Combining them with a career is the ultimate challenge but Krall says it’s “going surprisingly and extraordinarily well. I’m loving it. Not a lot of sleep but I’m loving it. I make the most of every moment. It’s been the pivotal point of my life having my own family.”
She’s more relaxed, content and happy and it shows as we talk. Maybe it’s the thought that after our conversation she will be ringing the United States to check on the twins.
With Oslo the next stop and hardly any rest from performing until a break in December-January combining her two careers may become more daunting in future. “I have five more years to figure that out. I don’t plan on an early retirement. Jazz musicians don’t really retire. We keep going, but I will always do what is best for my family.”
The songs she sings act as emotional weather report. With demos already in hand for her next album, a second collaboration with veteran arranger-conductor Claus Ogerman and the London Symphony Orchestra to be recorded in February, the forecast couldn’t be better.
To paraphrase one of the first albums I ever bought (Jazz for People Who Hate Jazz), Diana Krall remains the jazz singer of choice for those who really don’t dig the music. It’s her personal interpretations of the great standards whether with a lush string orchestra, a big band or small groups that has enabled her to attract both the jazz and mainstream audiences. The emphasis is on ballads in this classy retrospective drawn from eight of her previous 10 albums but there are also examples of her with a trio or quartet, the format which first captured the attention of the jazz lover. She describes the album as being “for people who have never heard of me”. Never heard of her! It’s hard to imagine anyone who has not heard of this critically and commercially successful singer who remains one of the hottest, if not the hottest, vocal property in jazz. She’s a class balladeer. Listen to the tracks from her 1999 collaboration with arranger Johnny Mandel (When I Look In Your Eyes) where his string arrangements provide the perfect platform for Krall’s sultry, honey-laced with bourbon voice as she seductively purrs through the bossa nova flavoured Let’s Face The Music And Dance and reflectively explores I’ve Got You Under My Skin. She confidently moves into Sinatra territory on the previously unreleased lament of lost love, Only the Lonely, with the London Symphony Orchestra. And the swinging quartet tracks before a live Paris audience show what a stunning performer she is. Krall respects these songs and delights in singing them; there’s no better way for newcomers to get acquainted with her talents than this set which is coupled with a DVD of concert footage and videos.
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by Kevin Jones.
Previously published in Limelight Dec 07 |
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Kurt Elling - Nightmoves (Concord Jazz 7230138)
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The multi-talented Kurt Elling is the best male jazz singer around. A master of scat singing, he reigns supreme in the art of vocalese. ie putting words to improvised solos. By utilising tenor star Dexter Gordon’s solo, he turns the long, bravura tour de force on Body and Soul into a dedication to his daughter; words are added to Keith Jarrett’s Leaving Again leading into the inspired cameo of In The Wee Small Hours. He musically enriches poems by Walt Whitman and Theodore Roethke with jazz, and that’s not even scratching the surface of his best album to date. The last word in jazz singing!
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by Kevin Jones.
Previously published in Limelight Dec 07 |
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The Mulgrew Miller Trio - Live At The Kennedy Center, Volume Two (MaxJazz MXJ219)
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Oh to have been among the audience on the opening night of the KC Jazz Club at the John F. Kennedy Center for the Arts on September 5, 2002 in Washington DC to hear Mulgrew Miller with bassist Derrick Hodge and drummer Rodney Green take the piano jazz trio to its highest level. This second volume continues where the first left off with the music vibrant, energetic and intense, reinforcing the view that Miller is at his best before a live audience. Impressively fleet-fingered on the hard-swinging opener Song For Darnell, Miller’s Eleventh Hour mixes boogie woogie with the blues and a rousing finish to end an album where the powers of inspiration never flags.
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by Kevin Jones.
Previously published in Limelight Dec 07 |
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Ella Fitzgerald and Louis Armstrong - The Ultimate Duets (Verve 530 0986)
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Ella Fitzgerald and Louis Armstrong set the bar at the highest level when they recorded this series of duets for Norman Granz’s Verve label in 1956-57. These duets have never been surpassed either in jazz or popular music (I can already imagine angry die-hard traditionalists pressing the claims of those with Louis and trombonist Jack Teagarden with his lazy, Texan burr.) But here we have two of the last century’s elite artists paying homage to some of the greatest of the classic American popular songs in their own unique way. It was a contrast in styles: Ella’s bell-like clarity of tone and rhythmic brilliance against Louis’ guttural charm, warm personality and rhythmic intensity.
Then there was their mutual warmth and humour of which there is no better example than the Swing Era favourite Stompin’ at the Savoy which begins sedately before evolving into a bubbling tour de force with references to bandleader Chick Webb and some joyful scat singing. The ballads are beautiful, especially Autumn in New York, The Nearness of You and Summertime. And a gem from 1950, Sy Oliver’s arrangement of Dream a Little Dream of Me which could have been the catalyst for this inspired pairing six years later.
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by Kevin Jones.
Previously published in Limelight Nov 07 |
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Harry Allen & Joe Temperley - Cocktails for Two (Sackville SKCD2-3071)
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Take two top instrumentalists, add a classy rhythm section, stir in several jazz and popular standards and a blues, and shake before a live audience. The result is a musical cocktail of the highest order. The always swinging tenor Harry Allen (40) blends effectively with the masterful baritone of 77 year old Joe Temperley, soloing strongly from the platform provided by pianist John Bunch, bassist Greg Cohen and drummer Jake Hanna. Both are masters of the ballad – Allen at his Getzian best on Everything Happens to Me and Temperley expressively eloquent on Polka Dots and Moonbeams. This is my kind of music
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by Kevin Jones.
Previously published in Limelight Nov 07 |
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David Hazeltine Trio - The Jobim Songbook in New York (Chesky SACD 328)
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It takes a special pianist to stamp his own individuality on the lovely melodies of Antonio Carlos Jobim, especially when faced with what is a line-up of the ‘greatest hits’ by arguably the last of the great popular composers. But David Hazeltine, whose trio with bassist Nat Reeves and drummer Joe Farnsworth is one of New York’s best, continues to show there are no limits to his imagination or any tune he can’t rearrange or re-harmonise. Whether it’s the free flowing Meditation or the beauty of O Grand Amore, Hazeltine is fresh and fluid. A trio session where everyone shines!
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by Kevin Jones.
Previously published in Limelight Nov 07 |
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Billy Taylor & Gerry Mulligan - Live at MCG (MCG Jazz MCGJ1025)
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It may have taken 14 years, but thankfully this summit meeting between esteemed pianist and educator Dr Billy Taylor and baritone saxophone giant Gerry Mulligan is available at last. Good friends on and off the bandstand, they took part in a series of concerts at the Manchester Craftsmen’s Guild in Pittsburgh over 1-3 October, during which Taylor recorded the pilot program for his respected NPR Jazz at the Kennedy Center series. It’s an intriguing dialogue: the combination of Mulligan’s lyricism and light touch and Taylor’s percussively bop approach, especially their duet on All the Things You Are which begins as a fugue. A set to treasure.
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by Kevin Jones.
Previously published in Limelight Nov 07 |
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Carol Sloane - Dearest Duke (Arbors Jazz ARCD 19350)
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Carol Sloane is an absolute marvel. She made her debut as a vocalist with the Larry Elgart orchestra in the 1950’s, caught the attention of jazz fans at the 1961 Newport Jazz Festival, yet at the age of 70 still remains one of the best of today’s traditional jazz singers. She has always had a love for the music of Duke Ellington yet, unlike her two previous albums of Ellingtonia, there are no strings or all star backing. Instead she has opted for the minimal but sympathetic backing of clarinetist and saxophonist Ken Peplowski and pianist Brad Hatfield which accentuates her heart-felt renditions of some of the Duke’s finest ballads.
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by Kevin Jones.
Previously published in Limelight Nov 07 |
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Rarely does one audio collection include such broad insight into 20th century’s greatest musical art-form. Bed Sidran “on assignment from a future generation” displays the technical expertise as an interviewer and the theoretical knowledge as an accomplished musician/performer to reveal the essence from 60 of the music’s major figures on a 24 CD set. Conversations rather than interviews between 1984 & 1990 reveal emotional thoughts and meaningful dialogue amongst heavyweights like Miles Davis, Dizzy Gillespie and Branford Marsalis. Respectful, non-patronising questioning and candid heartfelt answers of honesty and sometimes humility; Sidran asks Miles about his sound; “it’s like your sweat, it’s your sound” or Dizzy’s admission on be-bop; “Charlie Parker, he’s the one that created that style of playing” or Marsalis on family pressure to avoid pop music “my first musical hero was not Charlie Parker, it was Elton John.” For most jazz fans, Talking Jazz will be revelation upon revelation
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by Peter Wockner.
Previously published in Limelight Nov 07 |
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Jazzgroove Mothership Orchestra with Florian Ross - Dream Wheel (Birdland Records BL016)
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“Intellect and feeling do not exclude each other” says German pianist/composer Florian Ross and his statement sums up why his assimilation with the Jazzgroove Mothership Orchestra in September 2006 was triumphant. The second release of the JGMO was recorded live at the Sound Lounge and Ross contributed 6 of the 7 selections including 2 recognizable melodies via some clever re-arrangements of Autumn Leaves and Come Rain or Come Shine. An abundance of composed contrapuntal lines, with traditional big band space for the soloist, underscored by warm harmonies and serious swing; they are not simply keeping the candle burning for important composers they are flamethrowers.
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by Peter Wockner.
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The Steve Hunter Band - Dig My Garden (Birdland Records BL015)
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Steve Hunter’s originality on the electric bass has lured great artists like Billy Cobham, Chick Corea and Bobby Previte and after spending 10 months in Andalusia, he’s added another facet to his compositional skills and virtuosity. The tapas flavours are best savoured on The Lemon Bird, Cazador and the bass solo Poema del Bajo. James Muller dazzles on Cazador (Spanish for Hunter), a musical theatrical experience complete with suspense, surprise, drama and climax. He then exposes his largely hidden talent on acoustic guitar. But while there is no dismissing Steve Hunter’s balladry, his signature appeal is found in those rapidly rumbling riffs.
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by Peter Wockner.
Previously published in Limelight Nov 07 |
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Dave Brubeck - Indian Summer (Telarc CD 83670)
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“A sort of Indian summary” is how Dave Brubeck describes the title track, a number he first recorded more than 50 years ago. It also sums up this superb piano showcase, the third and best of his three solo albums for the label. Moving and reflective, it’s probably his most personal statement on disc as the 86 year-old recalls his life in music with rarely-heard standards and his own compositions acting as signposts on the journey. With emphasis on restraint and intimacy, he shows the fires of creativity still burn brightly. Recorded shortly after being inducted as a Living Legend of Jazz at the Kennedy Center in Washington on March 3rd 2007, Brubeck shows his mastery of changing tempos and a wide range of styles, despite being in considerable pain with a severe foot injury. An elegant You’ll Never Know, recalling his days as a soldier in World War II, sets the scene for a nostalgic mood laced with lovely melodies. Brubeck admits to becoming more aware of the lyric “the days dwindle down” from September Song but although in the twilight of his career, on the evidence here he has never played better. A magnificent recording.
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by Kevin Jones.
Previously published in Limelight Oct 07 |
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Joe Cohn - Restless (Arbors ARCD 19329)
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Harry Allen’s melodically inventive gifts and lovely tone, which have made him a great favourite of mine, are fully displayed in this session under the leadership of guitarist Joe Cohn, with whom he leads a swinging quartet. Allen plays on only five numbers on the album, but his languid reading of the title track Restless is a knockout and he unleashes his full-bodied tone on the up-tempo Comes Love with Russian altoist Dmitri Baevsky. The mix of originals (two by his famous father Al Cohn) and standards from the musically fertile 1930’s seem the right mix for a fine set by a guitarist who impresses more with each hearing.
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by Kevin Jones.
Previously published in Limelight Oct 07 |
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Ella Fitzgerald - Love Letters from Ella (Concord Jazz 723 0213)
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Be warned this is latter-day Ella Fitzgerald and not the finest from that era. Be warned also that except for those with Count Basie and his Orchestra and Our Love is Here to Stay with pianist Andre Previn from 1983, the best track, newly-recorded backing has been added to Ella’s voice including the London Symphony Orchestra and a contemporary rhythm section. But even the LSO cannot hide the deterioration and surprising fragility of Ella’s voice, sad really, like listening to Frank Sinatra in the autumn of his years. With so much prime Ella to be reissued in the coming months, this can be ignored – except by completists!
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by Kevin Jones.
Previously published in Limelight Oct 07 |
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GEST8 - Friday 26th October 2007, Sound Lounge
Hearing GEST8 perform live should be made compulsory in the Citizenship Test. GEST8 is the brain-child of Sandy Evans and Tony Gorman who were internationally successful with their previous joint project with Alister Spence Clarion Fracture Zone [CFZ]. However such is the state of the Sydney jazz scene, that, this band has only given public performances once a year since it’s inception in 2004. Interestingly, the Sydney Improvised Music Association has presented the band on every occasion. In contrast, I recall CFZ playing the Manly Jazz Festival, the Bellingen Jazz Festival and many more local events during it’s hey day in the 1990’s.
The performance was opened with the Gorman piece The Emperor’s Old Clothes with Evans giving a blistering soprano saxophone solo while Satsuki Odamura used a bow to sustain the impact on koto. Odamura was commissioned to introduce the instrument to Australia and was given a prime opportunity to collaborate with Sandy Evans in this band. The koto has 13 strings, each with its own bridge requiring re-tuning to suit each composition. It’s likely that the traditional Japanese sound of Koto in the world of jazz is unique to this band. Phil Slater took the next solo creating digital resonances as a pre-cursor to his later improvised piece with Greg White on the computer, while Simon Barker’s dancing style over the drum kit is as much of a joy to witness as it is to the ears. Next up was A Shower of Sunbeams a piece written by Evans with a shuffling West African rhythmic feel where Joe Zawinul meets Ornette Coleman,
The inclusion of Greg White in this group is another facet that pushes the boundaries of jazz or indeed improvised music. His improvised duo with Phil Slater created water droplet images and ironically a needle skimming across the surface of a playing record.
After a lengthy Gorman monologue sharing the story behind Whistling at Dinner, (a thump to the head from grandfather ensured that he was the only one allowed to whistle at the dinner table, a fact that Tony and the rest of us present will never forget) written by Gorman with the string trio in mind of Steve Elphick’s bass, Carl Dewhurst’s guitar and Odamura’s koto. The tension these three created was akin to overbearing warmth of a roaring fireplace in a small room.
The first set finished with a rendering of the title track of the album Kaleidescope (Tall Poppies), written by Gorman using the changes of Coltrane’s Giant Steps, featuring both the Eb clarinet of Paul Cutlan and Dewhurst’s slicing guitar.
This second set opened with the piece Just 8 which is not on the album but written by reed player Paul Cutlan. It showcased his playing of bass clarinet which at times sounds much like the didgeridoo. Written while on tour with the Mara! band across the top end. Needless to say, it recalled the arid wilderness of remote northern Australia.
The March of Captain Vanstone had me laughing out loud again. It stumbled along like a clumsy clown via the harmonies of Evan’s tenor and Cutlan’s bass clarinet then into the gaping steps of Elphick’s bass. The koto added to the feel of calamity prior to the start of the march which was appropriately cut short.
Living with MS and lots of time on his hands, Tony Gorman learnt the guitar and from that achievement came the piece Lambent. A spacious, melodic piece that celebrates what is possible from a dedicated artist facing head-on, a lifelong disability.
The blues School’s Out starts out as a scramble prior to Cutlan’s bass clarinet interacting with Odamura scraping the strings of the koto. In fact much of |
