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News The Latest From Around The Music World
News The Latest From Around The Music World
Vocalist and composer C茅cile McLorin Salvant is among the nominees for the 61st annual Grammy Awards. (Photo: Mark Fitton)
Daversa, Salvant, Mehldau Nominated for Grammy Awards
Dec 7, 2018 12:32 PM
Trumpeter/bandleader John Daversa, vocalists Kurt Elling and C茅cile McLorin Salvant, pianist Brad Mehldau, saxophonist Miguel Zen贸n and violinist Regina Carter are among the鈥
Maja S.K. Ratkje performs at the Rune Grammofon 20th anniversary celebration at Nasjonal Jazzscene in Oslo, Norway.
Rune Grammofon Marks 20 Years with Two-Day Oslo Concert
Dec 7, 2018 9:00 AM
Rajiv Halim has worked with Chance The Rapper, among others, in addition to leading his own troupe.
Rajiv Halim鈥檚 Collective Confidence
Dec 6, 2018 9:00 AM
Multi-reedist and educator Greg Fishman has published three volumes of his Jazz Saxophone Etudes series.
Greg Fishman Assembles a Multifaceted Career
Dec 5, 2018 9:00 AM
Reviews Music, Video amp; Books
Reviews Music, Video amp; Books
Dec 7, 2018 9:00 AM
Brandon Seabrook is no stranger to the trio format, but this one is different. Instead of the power-trio setting he鈥檚 used to frantic effect with Needle Driver and Seabrook Power Plant, this is鈥
Dec 6, 2018 9:00 AM
Dec 5, 2018 9:00 AM
We鈥檙e All In The Dance
Dec 4, 2018 9:00 AM
Editors鈥 Picks December
Editors鈥 Picks December
Anne Sajdera
New Year
By Bobby Reed
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Digital Downloads
Physical CDs
Fans of Anne Sajdera might assume that her new album would be a continuation of the Brazilian-flavored work she pursued with the band Pelo Mar and on her previous album, 2012鈥檚 Azul. However, New Year represents a new chapter for the pianist, who grew up in San Diego and was trained at the San Francisco Conservatory of Music. The album reflects Sajdera鈥檚 deep admiration for Herbie Hancock鈥攂oth as a musician and a thought leader. As a youngster investigating jazz, Sajdera spent a lot of time listening to Hancock鈥檚 music, and his influence on her style today is evidenced by compelling, melodious compositions, such as 鈥淭reasure鈥 and 鈥淏right Lights.鈥 In the album鈥檚 liner notes, Sajdera explains that New Year was inspired by Hancock鈥檚 call for intercultural dialogue through jazz, a message he returns to frequently as a UNESCO Goodwill Ambassador.
During a 2014 trip to the Czech Republic, Sajdera met trumpeter Miroslav Hloucal and alto saxophonist Jan Fe膷o, with whom she later collaborated for concerts in the States and for recording sessions at Fantasy Studios in Berkeley, California. The result is New Year, which includes five of Sajdera鈥檚 compositions, three tunes written by Hloucal and Fe膷o鈥檚 wondrous arrangement of a traditional Roma tune that he鈥檚 titled 鈥淚t Depends On That.鈥 At the core of much of the program is a quintet, with tracks alternating between the rhythm duos of bassist Dan Feiszli and drummer Jason Lewis, and bassist Gary Brown and drummer Deszon Claiborne. Other highlights include 鈥淧ictures,鈥 a straightahead gem by Hloucal that features Sajdera鈥檚 propulsive, yet spacious, piano solo, along with powerful tenor saxophone contributions from guest Bob Mintzer; and Hloucal鈥檚 鈥淐hangeling,鈥 a tune spiced with potent horn work by the composer and Fe膷o. Both players exude confidence and a selfless sense of serving the composition.
The album concludes with the only live cut in the program, a rendition of 鈥淎zul鈥 that showcases Sajdera鈥檚 dazzling, authoritative right-hand work. The live recording was captured in Oakland, California, at Piedmont Piano Company, where Sajdera is set to perform Feb. 8.
Charlie Haden amp; Brad Mehldau
Long Ago And Far Away
By Ed Enright
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Long Ago And Far Away
Bassist Charlie Haden (1937鈥2014) and pianist Brad Mehldau had known each other for about 14 years when they were invited to perform a duo concert at the Christuskirche church in Mannheim, Germany, as part of the 2007 Enjoy Jazz Festival. The resulting live recording is finally seeing the light of day as Long Ago And Far Away, and it鈥檚 a testament to the simpatico that existed between these two exemplary, groundbreaking improvisers, who were cut from similar cloth but born generations apart.
When Haden and Mehldau met in 1993 at a festival in Pennsylvania, a bond of friendship and mentorship instantly was formed. They subsequently performed together with saxophonist Lee Konitz at Los Angeles鈥 Jazz Bakery in 1996, and in 1997 the trio made a recording for Blue Note called Alone Together. But Haden and Mehldau had never performed as a duo prior to the concert that ultimately yielded this long-awaited CD, whose release was held up because of contractual reasons. The bassist and pianist stroll through the program of six standards (鈥淎u Privave,鈥 鈥淢y Old Flame,鈥 鈥淲hat鈥檒l I Do,鈥 鈥淟ong Ago And Far Away,鈥 鈥淢y Love And I,鈥 鈥淓verything Happens To Me鈥) engaged in perpetual conversation, acknowledging the familiar melodies but improvising all the while鈥攄etouring, modulating, quoting and meandering. By taking their time and embracing an open-minded aesthetic, they discover new paths, rather than following established routes, letting their ears and their hearts lead the way through material deeply ingrained in their memories. Interacting in the hallowed space of an art nouveau cathedral, rapt with mutual respect and admiration, these one-time soul mates achieved a true state of grace.
Fareed Haque amp; KAIA String Quartet
New Latin American Music For Guitar And String Quartet
By Bobby Reed
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Delmark Records
Earlier this year, musicians Julia A. Miller and Elbio Barilari acquired venerated Chicago label Delmark Records from its founder, Bob Koester, and the new owners wasted no time putting their own stamp on the endeavor. Delmark recently issued Paquito Libre鈥攁n album by Miller and Barilari鈥檚 band, Volcano Radar鈥攚hich features reedist Paquito D鈥橰ivera. Additionally, for guitarist Fareed Haque鈥檚 album with the KAIA String Quartet, New Latin American Music For Guitar And String Quartet, Barilari wore multiple hats, serving as co-producer (along with Daniel Goldberg), writing the album鈥檚 liner notes and composing 鈥淐anyengue,鈥 one of nine tracks on the program. Barilari, who hails from Uruguay, contributes an apt piece that places him in august company: The other composers represented on this generous, 79-minute album are Argentina鈥檚 Astor Piazzolla (1921鈥撯92), Cuba鈥檚 Leo Brouwer and Mexico鈥檚 Eduardo Angulo.
The album beautifully blurs the lines between jazz, classical, Latin and world music. Haque, who is equally at home playing classical guitar or electric fusion, sticks to an acoustic instrument here, teaming with the talented KAIA String Quartet: violinists Victoria Moreira and Naomi Culp, viola player Sixto Franco Chorda and cellist Hope Shepherd DeCelle. The centerpiece of the album is a stellar, 28-minute arrangement of Piazzolla鈥檚 suite Five Tango Sensations. Here, DeCelle鈥檚 cello work provides an intriguing, sturdy foundation in the movement titled 鈥淟oving.鈥 Throughout the Piazzolla segment, and particularly during the rendition of Angulo鈥檚 suite El Alevin (The Minnow), Haque鈥檚 intricate playing techniques and sensitivity to the setting make for memorable music that warrants repeated spins. This album鈥攚hich would appeal to fans of genre-blending artists such as the Kronos Quartet or Yo-Yo Ma鈥檚 Silk Road Ensemble鈥攊s a wonderful entry in the expanding catalog of the 65-year-old Delmark label.
Gary Burton
Take Another Look: A Career Retrospective
(Mack Avenue)
By Dave Cantor
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Pledge Music
Who else could make a song with the name 鈥淟iturgy鈥 sound so inviting?
If you鈥檙e an unrepentant Gary Burton obsessive, hearing how he swings in various settings during six decades alone is worth the time spent here. Across the five LPs of Take Another Look: A Career Retrospective, the now-retired vibraphonist and educator accompanies his various ensembles through hippified electric settings, some acoustic work and occasional ventures into Appalachian-derived music.
Welcome and familiar tunes from Burton鈥檚 late-鈥60s groups crop up early, 鈥淕eneral Mojo鈥檚 Well Laid Plan,鈥 鈥淐ountry Roads鈥 and 鈥淏oston Marathon鈥 making the case for his band being well-suited to thrill fans of The Grateful Dead. A few Latin-tinged numbers are interspersed (鈥淐omo En Vietnam鈥 gets a bit free on disc two of the set), and the fiddle鈥檚 in no short supply, either. The set鈥檚 third LP finds Burton embracing an ECM aesthetic on his sides for the label, and on the next album, GRP Records come to bear.
Burton also should be credited with offering guitarists an inviting forum in which to work, much in the same way Chico Hamilton envisioned his own ensembles (both leaders recorded with Larry Coryell early on in his career). Players as dissimilar as Wolfgang Muthspiel, Pat Metheny, John Scofield and Julian Lage all crop up in Burton鈥檚 orbit on Take Another Look, and mark the vibraphonist鈥檚 growth and development.
As an art object, the toothsome, marbleized design of the LP sleeves and sturdy packaging makes the Mack Avenue collection (which includes only a single previously unreleased track) an engaging stroll through Burton鈥檚 important鈥攁nd sometimes underappreciated鈥攃areer.
Muriel Grossmann
Golden Rule
By Dave Cantor
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Vinyl 180 gram 2x12'' Limited Edition LP
CD Pre-Order Released in December
Some performers angle at updating the spiritual jazz template with nods to contemporary music. Kamasi Washington鈥檚 rightly been lauded for invigorating the style with modern flair and the feel of life in Southern California. But Ibiza, Spain-based Muriel Grossmann has taken a different tact.
Instead of working to reflect contemporary culture, the saxophonist relates some ecstatic inner-state through strains of music that almost are indistinguishable from her forbearers鈥 concoctions. Joined by a cast of players Grossmann has been working with鈥攊n some cases鈥攆or about a decade, the quartet unleashes seven shimmering cuts on both the LP and CD versions of Golden Rule, with an extended take of John Coltrane鈥檚 鈥淭raneing In鈥 filling out the vinyl. Grossman鈥檚 interpretation of the tune kicks up the original鈥檚 tempo a bit and removes it from its all-acoustic origins as the bandleader splices in the galactic spirituality found in Trane鈥檚 later work.
While switching between alto and soprano, and offering up a spate of originals, Grossman is well-supported by Radomir Milojkovic鈥檚 lustrous guitar work. On 鈥淐ore,鈥 a wild uptempo and dramatic affair, the guitarist follows Grossmann鈥檚 solo, refusing to back away from the energy already coursing through the band鈥檚 11-minute excursion. Here, Milojkovic nestles into repetitive riffs, only to find a way out and onto a related run every few moments.
While combustible displays from Grossmann and her troupe aren鈥檛 tough to pick out here, it鈥檚 a pair of quiet, contemplative tracks鈥斺淒irection鈥 and 鈥淟ight鈥濃攖hat exhibit the bandleader鈥檚 unbound belief in the players assembled for Golden Rule. It鈥檚 not quite group improv on that latter track, but somehow as the quartet mumbles its way through the song, a collective energy absent from the rest of album breaches the accumulated vibe to offer listeners a peaceful coda to an otherwise explosive recording.
Dire Wolves
Paradisiacal Mind
(Feeding Tube)
By Dave Cantor
Taking its name from a Grateful Dead tune, folks might expect Dire Wolves to amble aimlessly through tie-dyed frivolity. Instead, since 2009, the five-piece band鈥檚 been working in the mold of new-millennium freak folksters, invigorating the form with psychedelic intent and the tenants of jazz improvisation.
On Paradisiacal Mind鈥攖he Bay Area troupe鈥檚 fifth release of 2018鈥攁 more concerted focus is put on the improvisational aspects of Dire Wolves鈥 practice. Last year鈥檚 Excursions To Cloudland (Beyond Beyond Is Beyond) fully honed in on freedom, Arjun Mendiratta鈥檚 violin punctuating the ensemble鈥檚 rock backdrop. But there always seemed to be an agreed upon opening gambit. Paradisiacal Mind just sounds like spontaneity.
鈥淛ust Live Your Life Behind Your Eyes鈥 opens with Mendiratta鈥檚 droning strings, some echoey vocals and what sounds like an occasionally clanking tin can. The next 12 minutes find the ensemble slowly building toward brief sonic summits, only to pull back on the mounting tension and ease into something akin to new age noodling. By the time 鈥淚n And Out Of Den Garten He Goes鈥 rolls around a few tracks later, Dire Wolves asserts its rock, jazz and improv reduction with ecstatic intent. Again, there鈥檚 no proper melody or regular rhythm to grasp, setting Paradisiacal Mind in opposition to Cloudland. But the closing title track conflates the band鈥檚 collected influences in a careening 17-minute rock opus, befitting the band鈥檚 Bay Area lineage.
Kyle Nasser
Persistent Fancy
By Ed Enright
Ostinato鈥攖he use of repeated musical lines to provide a sense of drive, forward motion and mounting tension鈥攑lays a defining role on Kyle Nasser鈥檚 second leader album, embodying the 鈥減ersistent鈥 in Persistent Fancy. Cycling rhythms and recurrent melodic themes propel the saxophonist鈥檚 13 original compositions and one cover through an ever-evolving terrain of advanced harmony and raw emotion鈥攆rom the album鈥檚 opening track, the broodingly minimalist 鈥淪plit Gut,鈥 to the lightly skipping closer, 鈥淐offee And Cannabis.鈥
Nasser鈥檚 six-piece ensemble (with alto saxophonist Rom谩n Fili煤, guitarist Jeff Miles, keyboardist Dov Manski, bassist Nick Jost and drummer Allan Mednard) rides this musical momentum to destinations beyond catchy hooks and memorable grooves. They seek to strike a profound, vivid balance between the cerebral and the sensual, drawing inspiration from literature, philosophy and personal struggle. Nasser鈥檚 concept is best exemplified in two mini-suites at the core of Persistent Fancy: The Baroque Suite, a fugue-like romp that cleverly places a modern twist on classical devices, and Eros Suite, which explores impulses of deep-seated desire. The music on Persistent Fancy is cerebral without being pretentious, gnarly but far from vulgar. On 鈥3-Way,鈥 Nasser (on tenor), Fili煤 and Miles converge for a closely harmonized conversation where dense rubs are relieved by wider interval spreads and voices tend to wander in opposite directions when not moving in parallel.
Nasser hasn鈥檛 tried to reinvent himself for this impressive followup to his 2015 debut, Restive Soul. He鈥檚 clearly got something here, and he鈥檚 developed it carefully, with longer-sighted, more deliberate story arcs and more deeply felt sensuality.
Frank Sinatra
Frank Sinatra Sings For Only The Lonely (60th Anniversary Edition)
By Bobby Reed
For Frank Sinatra, 1958 was a very good year. Two of his studio albums received Grammy nominations for Album of the Year. In January, Capitol released a Sinatra travelogue album, Come Fly With Me, recorded with Billy May amp; His Orchestra. Then in September, the label released a distinctly different LP, one filled with somber torch songs: Frank Sinatra Sings For Only The Lonely, with orchestration and arrangements by Nelson Riddle. As if the title weren鈥檛 enough to convey the theme, the album cover depicts Sinatra as a weeping clown (脿 la Pagliacci), and 48 seconds into the opening track, Ol鈥 Blue Eyes croons, 鈥淭he songs I know only the lonely know/ Each melody recalls a love that used to be.鈥 Pianist Bill Miller鈥檚 coloration adds to the tearjerker mood of the title track, and listeners might require a handkerchief. (The late Frank Sinatra Jr. frequently quipped, 鈥淭he album is so sad it should be sold by prescription only.鈥) The LP proved to be a chart-topping smash. Songs such as 鈥淥ne For My Baby (And One More For The Road)鈥 and 鈥淕uess I鈥檒l Hang My Tears Out To Dry鈥 became Sinatra concert staples.
Capitol鈥檚 60th Anniversary Edition of Only The Lonely is available in multiple formats, including a double-CD deluxe set that includes the original 12-song program in both a mono mix and a new stereo mix, as well as four bonus tracks. Capitol鈥檚 1987 CD reissue included the bonus tracks 鈥淪leep Warm鈥 and 鈥淲here Or When,鈥 but those tunes aren鈥檛 a part of the new anniversary edition, which instead includes an alternate take of 鈥淕uess I鈥檒l Hang My Tears Out To Dry鈥 and a poignant version of 鈥淥ne For My Baby鈥 with just vocals and piano.
Sinatra fanatics will want to check out the two previously unreleased session takes. One of them finds the singer, a perfectionist, struggling with 鈥淟ush Life鈥濃攁 tune that didn鈥檛 appear on Only The Lonely (or, notably, on any of his other albums). The other new nugget is a remarkable 17-minute collage in which Sinatra tries six times to tackle all or parts of 鈥淎ngel Eyes鈥濃攁 tune that did make it onto the official LP. At one point, a frustrated Sinatra barks to the control room, 鈥淚 can鈥檛 find that note. I don鈥檛 know what the hell it is.鈥 These fly-on-the-wall session recordings depict high-caliber musicians sweating the details, with Sinatra subtly improvising on each take, while orchestra members remained steadfast. All those bouts with 鈥淎ngel Eyes鈥 are a fascinating reminder that although Sinatra is now a timeless icon, he was also a mere mortal.
David Virelles
Igb贸 Al谩korin (The Singer鈥檚 Grove) Vol. I amp; II
By J.D. Considine
One of the most common misconceptions about classical music is the notion that there鈥檚 a level of self-abnegation in a performer鈥檚 deference to the composer. In this view, if you focus your performance on delivering what the composer intended, you鈥檙e somehow erasing your own contribution to the music. The reality is, of course, anything but; what truly great interpreters manage is to find their own voice within the both the composer鈥檚 vision and the tradition from which it descends. With immersion comes transcendence, and that鈥檚 precisely what David Virelles is after here.
Igb贸 Al谩k谦rin (The Singer鈥檚 Grove) Vol. I amp; II is one more in Virelles鈥 series of explorations into the legacy and possibilities of Cuban music. But unlike its predecessors, this album is more focused on the past than the future鈥攏o electronics, no abstractions, no classical crossover, just the decades-old sound of Santiago de Cuba. On a superficial level, the move seems calculatedly regressive, an attempt by Virelles to have his own Buena Vista Social Club moment. Listen closely, though, and it becomes clear that what Virelles actually is doing is extending his reach by laying deeper roots.
Igb贸 Al谩k谦rin is in two parts, the first featuring vocalists and large, big band-ish ensembles, the second just Virelles鈥 piano and Rafael 脕balos鈥 guiro. The brassy, percussion-driven punch of the album opening 鈥淏odas De Oro鈥 fuels an immediate burst of nostalgia, particularly given the saxophones鈥 wide vibrato and the old-fashioned thump of the drums. But when Virelles enters with a dissonant, rhythmically complex piano solo, the effect is anything but retro. Even so, it fits the groove and the mood, and Virelles鈥 phrasing is so perfectly idiomatic, it鈥檚 hard to imagine dancers pausing even for a beat.
Ultimately, that鈥檚 the magic here. Having grown up within the tradition of Santiago鈥檚 music, Virelles understands not only how to maintain it, but how to grow it. Even when he remains within a tune鈥檚 harmonic boundaries, as on 鈥淓l Rayaero鈥 or 鈥淭res Lindas Cubanas,鈥 his playing conveys a deep sense of the music鈥檚 rhythmic potential, an understanding that similarly has animated his more abstract efforts. In that sense, Igb贸 Al谩k谦rin might be Virelles鈥 most radical album yet, because here the music is moving in both directions鈥攆orward and backward鈥攁t the same time.
Editors鈥 Picks Archive
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Archives Jazz History According To DownBeat
Archives Jazz History According To DownBeat
鈥婯enny Werner (Photo: Alessandra Freguja)
Classic Interview
Kenny Werner鈥檚 Continuous Pursuit of Piano Mastery
Nov 27, 2018 11:25 AM
On a warm June evening, a small crowd of clean-cut young adults stood in front of the Manhattan jazz club Iridium taking pictures. Dressed in identical red T-shirts that announced their affiliation to an out-of-town church choir group, the men and women took turns lining up in front of the modest marquee for a quick snapshot as a curious club employee looked on. A sidewalk sandwich board next to the front door announced that the Kenny Werner Trio with special guest Toots Thielemans would be performing two sets that night, and the tourists angled their鈥
Pianist Teddy Wilson (1912鈥1986)
Classic Interview
The Impeccable Mr. Wilson
Oct 26, 2018 9:00 AM
Pianist and bandleader Lynne Arriale once told a journalist: 鈥淛azz should not be only for jazz lovers.鈥
Classic Interview
Lynne Arriale: Not Just for Jazz Lovers
Oct 1, 2018 9:00 AM
Randy Weston at The New School in New York
Classic Interview
Randy Weston: 鈥榃e Have To Go All the Way Back鈥
Sep 12, 2018 3:14 PM
On Sale Now
January 2019
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