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STEVE KUHN - Love Walked In (2003)

March 12, 2013, 12:51 am
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The only thing predictable about Steve Kuhn is his unpredictability. On Love Walked In (Sunnyside) he digs playing neglected treasures, such as Duke Jordan's "No Problem"; he will take an overexposed standard, like "Autumn Leaves," and meticulously avoid its melody; he will not only approach the other Duke's "Prelude to a Kiss" as a bossa nova but mischievously infuse its second eight with "'Tis Autumn"; and while you're still pondering that surprise, he confronts Irving Berlin's cornball waltz "All Alone" and morphs it into a way-up, straightahead 4/4. Were it not for Kuhn's dazzling technique and musical intelligence, he might have been outsmarted by Berlin: "All Alone" may hold up in 3/4, but it simply does not "lay well" as a swinger, so Kuhn has some fun with it, interpolating "As Time Goes By," "Goofus" and even part of a Carmen aria.
It's that kind of album, made even more enjoyable by the instinctive support of bassist Buster Williams and drummer Bill Stewart. There's no mistaking whose voice is dominant, yet they get enough stretch-out time to effectively display their solo chops, particularly on "You've Changed." But it's their uncanny anticipation of sudden detours by the unpredictable one that turns this session into one of the classiest, best-balanced examples of chamber jazz to come down the pike. Why did it take five years? Kuhn recorded this in New York in 1998, the year it was released in Japan on Venus; Sunnyside, which now has the license, released it to the rest of the planet.  -  Harvey Siders



Tracks
01. No Problem (Jordan)
02. Land of the Living Dead (Gafa)
03.Sunny (Hebb)
04. Love Walked In (Gershwin / Gershwin)
05. Saharan (Kuhn)
06. Prelude to a Kiss (Ellington)
07. All Alone (Berlin)
08. Autumn Leaves (Kosma / Mercer / Prevert)
09. Lines (Storaas)
10. You´ve Changed (Porter)

STEVE KUHN  piano
BUSTER WILLIAMS  bass
BILL STEWART  drums

Recorded at Clinton Recording Studio September 11 & 12, 1998
Venus Records  SSC  1109





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DAVE LIEBMAN, DAVE HOLLAND, JACK DeJOHNETTE, CARIS VISENTIN - Trio + One (1988)

March 15, 2013, 12:25 pm
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Soprano saxophonist Dave Liebman is joined by bassist Dave Holland and drummer Jack DeJohnette for these adventurous studio sessions from 1988, in which the chordless format works to the trio's advantage. All of the pieces are Liebman originals, some, like "All the Things That...," inspired by a familiar standard (in this case, "All the Things You Are") and some not. Liebman has long been one of the top soprano players, while in Holland and DeJohnette he has a sympathetic rhythm section to accompany his flights. Among the highlights are the haunting "Return to Napanoch" and the humorous free jazz vehicle "It's Different Out There." Liebman's wife, oboist Caris Visentin, is a guest on several tracks, including the brooding "Master of the Obvious" and the intricate "While We're on the Subject." Currently out of print following the demise of the Owl label, this valuable CD is somewhat difficult to acquire. ~ Ken Dryden All songs written by David Liebman. Recorded at Sound Ideas Studio, New York on May 1 and 2, 1988. Includes liner notes by David Liebman. Personnel: David Liebman (soprano saxophone), Caris Visentin (oboe), Dave Holland (bass, cello), Jack DeJohnette (drums). Producers: Jean-Jacques Pussiau, Francois LeMaire (all tracks). Option - Some of the best work Liebman has done in years.


Tracks
01. All The Things That...
02. In The Mean Time
03. Return To Napanoch
04. it's Different Out There
05. Master Of The Ovious
06. Romp
07. While We're On The Subject
08. Burst
09. Ode For Leo (Prelude)
10. Gazelle

DAVE HOLLAND  bass, cello
JACK DeJOHNETTE  drums
CARIS VISENTIN  oboe
DAVE LIBMAN  soprano saxophone

All compositons by Dave Liebman
Recorded May 1 & 2, 1988 at  Sound Idea Studios N.Y.C.
OWL Records  -  OWL 3800512






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GARY PEACOCK - Voices From The Pass Paradigm (1982)

March 22, 2013, 5:21 pm
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This abstract quartet recording by bassist Gary Peacock features Jan Garbarek on tenor and soprano saxes, Tomasz Stanko on trumpet, and Jack DeJohnette on drums. The interplay between Peacock and DeJohnette, captured roughly two years before the release of the first Keith Jarrett standards record, is especially interesting. One only wishes the horns weren't so tinny. Highlights include the freebopping "Moor" (a piece that dates back to the early '60s), the lyrical "Ode for Tomten," and the chill-inducing "Voice From the Past." (The latter resurfaced on 2001's Amaryllis, with Marilyn Crispell and Paul Motian.) - David R. Adler


Tracks
1. Voice From The Past
2. Legends
3. Moor
4. Allegory
5. Paradigm
6. Ode for Tomtem

GARY PEACOCK bass
JAN GARBAREK tenor and soprano saxophone
TOMASZ STANKO trumpet
JACK DeJOHNETTE drums

Music composed by Gary Peacock
Recorded August 1981, Talent Studio, Oslo
ECM 1210 / 517 766 – 2

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PETER ERSKINE - Time Being (1994)

March 22, 2013, 5:26 pm
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Although it is easy to stereotype Peter Erskine as a fusion drummer due to his notable work with Weather Report, in reality he is a very flexible percussionist. On his trio session for ECM, Erskine is mostly content to back his sidemen (pianist John Taylor and bassist Palle Danielsson). This CD is actually most interesting for the playing of Taylor who contributes three of the originals and plays in a style not that far from Keith Jarrett. In general the music starts out pretty quiet but builds its intensity and holds one's interest.  -  Scott Yanow


Tracks
01. Terraces (Danielsson / Erskine / Taylor)
02. For the Time Being (Peter Erskine)
03. If Only I Had Known (Peter Erskine)
04. Evansong (Erskine / Taylor)
05. Page 172 (John Taylor
06. Liten Visa Till Karin (Staffan Linton)
07. Bulgaria (Peter Erskine)
08. Ambleside (John Taylor)
09. Phrase One (Kenny Wheeler)
10. Palle’s Headache (Palle Danielsson)
11. Pieds-En-L’Air (Peter Warlock)

PETER ERSKINE  drums
JOHN TAYLOR  piano
PALLE DANIELSSON  bass

Recorded November 1993 at Rainbow Studio, Oslo
ECM  1532   521719 - 2
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PETER ERSKINE - Juni (1999)

March 22, 2013, 5:39 pm
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Peter Erskine has been a drummer of choice for notable jazz musicians such as John Abercrombie, Marc Johnson, Gary Burton the late Stan Kenton and others. Stints with Weather Report and now the commercially viable “Yellowjackets have skyrocketed Erskine’s career into the stratosphere. Over the years, Erskine has released a string of worthy solo recordings for various labels yet his adventurous and prolific Piano Trio represent simple unrestrained elegance and class.
Juni is the group’s 4th release on ECM records under Erskine’s leadership. Along with John Taylor (piano) and Palle Danielsson (bass), Juni continues in the same direction as the previous 3 ECM releases. The trademark chamberesque-free jazz motifs and stylizations become evident on John Taylor’s “Prelude No.2”. Erskine’s “The Ant & The Elk” provides a good snapshot of the Trio’s long-standing implementations of shifting tempos, quiet dynamics, dazzling virtuosity and intuitive interplay. Here, Erskine’s drumming is intricate and sensitive yet the pulse tends to veer off in different time signatures, as The Trio are rarely complacent and continue to reinvent themselves as a unit. Taylor’s “Fable” is a somber, introspective ballad. The great bassist, Palle Danielsson pursues Taylor’s probing yet expansive chord progressions and interludes with uncanny insight. Here, Erskine provides a mini drum clinic with his adept brushwork. Erskine’s “Twelve” develops into a straight-ahead swing, which is pleasantly austere due to John Taylor’s jazz-classical approach.  -  Glenn Astarita

Tracks
01. Prelude No. 2 (John Taylor
02. Windfall (John Taylor
03. For Jan (Kenny Wheeler)
04. The Ant T The Elk (Peter Erskine)
05. Siri (Palle Danielsson)
06. Fable (John Taylor
07. Twelve (Peter Erskine)
08. Namasti (Diana Taylor)

PALLE DANIELSSON  bass
PETER ERSKINE  drums
JOHN TAYLOR  piano

Recorded July 1997 at Rainbow Studio, Oslo
ECM  1657   /   ECM  539 726 - 2
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PAUL MOTIAN - Jack Of Clubs (1984)

March 24, 2013, 2:19 pm
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Starting in the early '80s, drummer Paul Motian led a series of fascinating bands, usually pianoless and featuring the highly original guitarist Bill Frisell. For this outing, Motian and Frisell are teamed with the tenors of Jim Pepper and Joe Lovano plus bassist Ed Schuller. The drummer's seven originals feature lots of variety in moods, ranging from witty to introspective and showcasing the colorful players at their best. Frisell (who is featured on "Lament") in particular sounds perfectly at home with Motian’s group.  -  Scott Yanow

Tracks
01. Jack Of Clubs
02. Cathedral Song
03. Split Decision
04. Hide And Go Seek
05. Lament
06  Tanner Street
07. Drum Street

PAUL MOTIAN  drums
ED SCHULLER  bass
BILL FRISELL  guitar
JOE LOVANO  tenor saxophone
JIM PEPPER  - soprano saxophone

Music composed by Paul Motian
Recorded at Barigozzi Studio, Milano. March 26-28, 1984
Soul Note  SN  1124
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STEFANO BOLLANI - Gleda (2004)

March 25, 2013, 5:08 pm
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Italian pianist Stefano Bollani has again partnered with the top-flight Danish rhythm section of bassist Jesper Bodilsen and drummer Morten Lund to create something very precious: an hour of emotive music that culminates in the blissful title cut, "Gleda (Joy). While their previous release, Mi Ritorni In Mente (Stunt, 2004), featured standards with Bodilsen as leader, Gleda, by way of Bollani's modern arrangements, turns a century of Scandinavian tunes into an improvisational delight.
Bollani is a pianist whose precise style avoids sterility through artful phrasing. This is immediately apparent as he opens the program with a melancholy chordal intro to the Swedish "Aldrig Som Aldrig, which quickly becomes pensive with expressively flowing melodic lines. Bodilsen's brushes and Lund's rich resonant bass are continually up front with an unvarnished dignity, a la Ray Brown and Ed Thigpen. Two selections from Danish composer Kai Norman Anderson in turn excite with the shifting tempos of "Den Allersidste dans (The Very Last Dance)" and caress through the engaging balladry of "Glemmer du (If You Forget).
Bollani's arrangement captures a child's innocent naiveté, while Lund's repetitive bass portrays the impending doom of death, until "Moder, Jeg Er Træt, Nu Vil Jeg Sove (Mother I am Tired, I Want to Sleep Now) inevitably fades out to its concluding angelic kiss. "Dansen og Valsen (The Dance and the Waltz) is a memorably fresh spin on the floor, courtesy of quick-paced rhythms and an extended bass solo. Bodilsen's subtle touches allow Bollani to usher in the regal "Morgenlys over København (Morning Light Over Copenhagen)." The traditional carol "Kimer I Klokker (Chime, You Bells) has Bollani initially jingling before he rings out as a full throated carillon, only to tinkle softly at end before the sweet pleasure of Norwegian "Gleda.  -  Elliott Simon

Tracks
01. Aldrig Som Aldrig (Staffan Hellstrand)
02. Den Allersidste Dans (Kai Normann Andersen)
03. Moder. Jeg Er Traet Nu Vil Jeg Sove (Fini Henriques)
04. Armband (Lisa Nilsson / Henrik Jansson)
05. Dansen Og Valsen (Katrine Madsen)
06. Morgenlys Over Kobenhavn)
07. Kimer I Klokker (Henrik Rung)
08. Glemmer Du (Kai Normann Andersen)
09. Gleda (Bjorn Eidsvag)

STEFANO BOLLANI  piano
JASPER BODILSEN  bass
MORTEN LUND  drums

Recorded November 1, 2004 at Focus Recording, Copenhagen. Denmark
STUNT Records   STUCD  05012

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BOULOU FERRE & NHOP & ELIOS FERRE - Trinity (1982)

March 27, 2013, 11:47 pm
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01. I Can’t Get Started (G. Gerswin)
02. Groovin’ High (D. Gillespie)
03. Lover Man (Davis, Ramirez)
04. Ice Cream Konitz (L. Konitz)
05. De Moscou a Odessa (B. Ferre)
06. Hi Beck (L. Konitz)
07. There’ll Never Be Another you (H. Warren)
08. Out Of Nowhere (J. Green)

BOULOU FERRE  guitar
NIELS HENNING ORSTED PEDERSEN  bass
ELIOS FERRE  guitar

Recorded November 18, 1982 at Sweet Silence Studios
SteepleChase  SCS  1171

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STEVE KUHN - The Vanguard Date (1991)

March 28, 2013, 10:51 pm
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01. Clotilde (Steve Kuhn)
02. Superiet (Steve Kuhn)
03. Little Waltz (Steve Kuhn)
04. The Zoo (Steve Kuhn)
05. I Thought About You (James Van Heusen / Johnny Mercer)
06. Music Prayer for Piece (Van Heusen / Mercer)
07. Dance Oly with Me (B. Comden / A. Green / J. Styne)
08. Lullaby (Steve Kuhn / Laura Anne Taylor)

RON CARTER  double bass
AL FOSTER  drums
STEVE KUHN  piano

Recorded live at the Village Vanguard, New York, March 27-30 1986
Owl Records  3819062
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GENERAL MUSIC PROJECT (1997)

April 7, 2013, 11:17 pm
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General Music Project is an all-star date resulting from the close personal and musical relationship between bassist Charnett Moffett and saxophonist Kenny Garrett. The two contacted well-known pianist and leader, Geri Allen, and added Charnett's dad, Charles Moffett, former Ornette Coleman drummer. The supergroup created by this union resists the easy route of trading solos or taking turns at leading the band. Instead, they create a distinctive and unified group sound of accessible music that does not compromise.

Tracks
01. Choo Choo Train (Charnett Moffett)
02. Apex (Mullgrew Miller)
03. Sing a Song of Song (Kenny Garrett)
04. Happy Dream (Charnett Moffett)
05. Calling You (Bob Telson)
06. Tip-toeing (Kenny Garrett)
07. Intro to Yellow (Geri Allen)
08. Sahara's Short Story (Kenny Garrett)
09. Sun Beam (Charles Moffet)
10. Cathedral (Charnett Moffett)

KENNY GARRETT alto & soprano saxophones
GERI ALLEN piano
CHARNETT MOFFETT bass
CHARLES MOFFETT drums

Recorded on June 19, 1993 at Crossroad Studios N.Y.C.
EVIDENCE ECD 22173-2

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PAUL BLEY & SCORPIO (1973)

April 7, 2013, 11:23 pm
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Pianist Paul Bley has a rare ability to carefully yet playfully balance many musical elements: structure and freedom, gentle lyricism and intricate phrasing, complexity and simplicity. His cerebral approach to jazz piano and pioneering experiments with synthesizers had a profound influence on contemporary players, from Keith Jarrett to Ethan Iverson. 


Tracks
1. El Cordobes (Annette Peacock)
2. Capricorn (Paul Bley)
3. King Korn (Carla Bley)
4. Dreams (Annette Peacock)
5. Syndrome (Carla Bley)
6. Gesture Without Plot (Annette Peacock)
7. Ictus (Carla Bley)

BARRY ALTSCHULL percussion
DAVID HOLLAND acoustic bass and fuzz pedal
PAUL BLEY acoustic piano, ARP synthesizer, RMI and Fender-Rhodes piano

Recorded at Advantage Studios N.Y.C. November 24, 1972
Milestone MCD 9046 (20 BIT mastering)
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PAUL BLEY - Axis (1977)

April 7, 2013, 11:35 pm
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After the groundbreaking Open to Love, issued in 1973, pianist Paul Bley further explored the deep reaches of improvisation with an expressionist brush and pointillistic technique. This 1977 set featured two compositions by Bley, including the 16-minute title track and a pair by George Gershwin and Prince Lawsha, respectively. The opening of Axis is all played inside the piano, setting up for three or four minutes the inner dialogue and symptomatic lyricism of what is to follow. For Bley and his darkly chorded epiphanies, this track is landmark, as it goes to the same harmonic edges Cecil Taylor chooses to often, but with a wholly different dynamic and methodology. In Bley listeners can hear quite plainly the Second Viennese School, as well as Bill Evans and even Fats Waller, all of them criss-crossing harmonic ideas and lyrical architectures in his iconic inner world and being translated sublimely to the listener as something highly idiosyncratic and original, but also warm and inviting. The three shorter tracks on side two do nothing to dispel this myth, but despite a stunning read of Gershwin's "Porgy," it is Bley's own "El Cordobes -- Don't Ever Leave Me" that takes the side with its raw, pleading emotionalism and insistent longing and grief that touches on everything from Schöenberg to Villa-Lobos to Jelly Roll Morton and Ornette Coleman in its articulation of those feelings. This is one of Bley's most painterly and moving solo dates.  -  Thom Jurek 


Tracks
01. Axis (Paul Bley)
02. Porgy (George Gershwin)
03. Music Matador (William B. Lawsha)
04. El Cordobes - Please Don't Ever Leave Me (Paul Bley)

PAUL BLEY piano

Recorded July 1-3, 1977 at Axis in Soho, New York, N.Y.
Improvising Artists Inc.   IAI  123853 - 2

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PAUL BLEY - Tango Palace (1985)

April 7, 2013, 11:48 pm
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Bley is good at verbalizing what he does, but words can’t begin to do what the music does. And I shouldn’t try either.  Yet, it’s temping, because in each new Bley set there is a freshness, a different way of self-probing and further revelation of the beauties of sound. And there are few pianists in any form of music who so intriguingly interweave the surprises of both beauty and the intellect.
      In the Contemporary Keyboard interview, Bley said that each piano is different but that “what really happens is that a keyboard is good in places.  Notes are bad when they don’t have any personality. They may be in tune, but they sit there dull and lifeless. Of the 88 keys, perhaps only 15 are useful. The others are passable; some are totally objectionable. The only way to get good tone is not to linger on the passable and objectionable ones and to emphasize the tones that are beautiful.”
      There is also in each of BLey’s pieces a complete though seldom obvious, personality. As in the works in this set. Each is its own microcosm, and each keeps revealing more of its reasons for being in every hearing. I expect this is one set that will permanently be part of your collection because of the uniqueness of each of its parts. And also because there´s more than a touch of mystery in each and mysteries are hard to let go off.
      There’s another thing about Bley – another reason why, over thirty years, I’ve searched out his recordings.  He has never  lost the acute sense of excitement that comes from creating music, from not knowing what’s going to happen. He has never settled into rehearsed reactions.  On each recording that excitement, that thoughtful energy, is contagious. Paul Bley exemplifies, in unpredictable sound, the open-ended life force.  -  Nat Hentoff


Tracks
01. Tango Palace
02. C.G.
03. Woogie
04. A.G.B.
05. But Beautiful
06. Return Love
07. Bound
08. Zebra Walk
09. Please
10. Explain

PAUL BLEY  piano

All compositions by Paul Bley

Recorded May 21, 1983

Soul Note  121090 – 2 (Italy)
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PAUL BLEY & JESPER LUNDGAARD - Live Again (1987)

April 9, 2013, 2:26 am
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Tracks
01. Ictus (Carla Bley)
02. Pent-Up House (Sonny Rollins)
03. Diane (Erno Rapee)
04. If I’m Lucky (Eddie DeLange / Josef Myrow)
05. Blues Waltz (Paul Bley)
06. Rebecca (Paul Bley)
07. All the Things You Are (Oscar Hammerstein II / Jerome Kern)
08. If I Loved You (Oscar Hammerstein II / Richard Rodgers)
09. What’ll I Do (Irving Berlin)
10. Willow Weep For Me (Ann Ronell)

PAUL BLEY  piano
JESPER LUNDGAARD  bass

Recorded live at Jazzhus Montmartre, Copenhagen, Denmark, March 26, 1986
SteepleChase  SCCD - 31230
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PAUL BLEY - Chaos (1998)

April 9, 2013, 10:23 pm
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There's a fashion on many contemporary jazz recordings, in which the players are variously combined for each track: all on some tracks, just a few on others, perhaps just one or two on the rest, and no grouping the same. While Chaosfollows this formula, the results have a consistency which is often lacking in straight-ahead releases thus assembled. The explorations of Bley, Di Castri and Oxley are so strong on their solo tracks that when they play together, they strike sparks off each other.
Oxley is an extraordinarily melodic drummer, getting a phenomenal range of sounds from his kit, and his solos are continuously surprising. Di Castri's rich bass sound and spacious melodic sense brings a meditative quality to the recording during his solos. Bley's imaginatively dissonant playing, by turns lyrical or aggressive, relaxed or pushing, provides the binding that pulls the group together. There are plenty of interesting harmonies here, and a sense of rhythm which both includes and goes beyond the tyranny of the beat. Fans of Paul Bley or post-bop music in general will have a treat with this beautifully produced recording.  -  Larry Koenigsberg

Tracks
01. Chaos – piano solo (Paul Bley)
02. Touching Bass – bass solo (Furio Di Castri)
03. Modulating – drums solo (Tony Oxley)
04. Soft Touch – duet (Paul Bley / Tony Oxley)
05. Poetic Justice – trio (Paul Bley)
06. Interpercussion 1 – drums solo (Tony Oxley)
07. Touch Control – trio (Paul Bley)
08. Turnham Bey – piano solo (Paul Bley)
09. Street Wise – trio (Paul Bley)
10. Bow Out – drum solo (Tony Oxley)
11. Starting Over – trio (Paul Bley)
12. Interpercussion 2 – drums solo (Tony Oxley)
13. Template – trio (Paul Bley)

PAUL BLEY  piano
FURIO DI CASTRI  bass
TONY OXLEY  drums, percussion

Recorded March 28 and 29, 1994 at MuRec Studio Milano
Soul Note  121285 - 2 
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PAUL BLEY, PAUL MOTIAN - Notes (1987)

April 11, 2013, 2:29 pm
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Tracks
01. Notes (Paul Bley)
02. Batterie (Carla Bley)
03. Piano Solo No. 1 (Paul Bley)
04. West 107th Street (Paul Motian)
05. Just Us (Paul Motian)
06. No. 3 (Paul Bley)
07. Turns (Paul Bley)
08. Ballad (Paul Bley)
09. Excerpt (Paul Bley)
10. Love Hurts (Paul Bley)
11. Inside (Paul Bley)
12. Finale (Paul Bley)
13. Diane (Erno Rapee)

PAUL BLEY  piano
PAUL MOTIAN  percussion, drums

Recorded July 3 and 4, 1987 at Barigozzi Studio, Milano
Soul Note  SN  743801  /  121190
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PAUL BLEY - Jazz 'n (e) motion (1997)

April 17, 2013, 4:46 am
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Tracks
01. Laura (David Raksin)
      From the film: “Laura” [Otto Preminger, 1944]
02. All The Things You Are (Oscar Hammerstein II, Jerome Kern)
      From the film: “Broadway Rhythm” [Roy Del Ruth, !944]
03. As Time Goes By (Herman Hupfeld)
      From the film: “Casablanca” [Michael Curtiz, 1942]
04. I Got Rhythm (George & Ira Gershwin)
      From the film: Girl Crazy [Norman Taurog, 1943]
05. Someday My Prince Will Come (Larry Morey, Frank Churchill)
      From the film: “Girl Crazy” [Norman Taurog, 1943]
06. What Is This Thing Called Love (Cole Porter)
      From the film: “Night And Day” [Michael Curtiz, 1946]
07. It Might As Well Be Spring (Richard Rodgers, Oscar Hammerstein II)
      From the film: “State Fair” [Walter Lang, 1945]
08. Married Alive (Paul Bley)
      Imaginary Film [Paul Bley, 1997]

PAUL BLEY  Steinway piano

Recorded April 5, 1997 at Studio La Buissonne. Pernes les Fontaines
RCA  2416707 (France)  out-of-print
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PAUL BLEY - Homage To Carla Bley (1993)

April 17, 2013, 5:07 am
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I've never understood why Carla Bley is seldom mentioned in the pantheon of great Jazz composers. Her writing bears an individual signature that you couldn't mistake for the work of anyone else, she's lead groups for decades that have included many of the greatest improvisers of all time. A large portion of her time has been occupied leading big bands (with touring) and also more diverse large ensembles that she wrote and arranged all the charts for. In addition, she was years ahead of her time in forming her own record label WATT to feature her work and that of others, without the exploitation and legalese that come with most labels. (one hopes)
Since her name starts with a B, I will place her in front of Ellington, Monk, Dameron, Mingus and all the other boys in the club.
Tunes by these guys have been covered ad-nauseum, Musicians, looking for a way to make your music stand out from the rest in one easy step? Play Carla Bley tunes! She even has lead sheets available on her web site for free download!   Thank you Carla!  -  dewhy





Tracks
01. Seven
02. Closer
03. Olhos De Gato
04. And Now The Queen
05. Vahskar
06. Around Again
07. Donkey
08. King Kong
09. Ictus
10. Turns
11. Overtoned

PAUL BLEY  piano

Music composed by Carla Bley
Recorded at Sound On Sound Studio, New York on April 25, 1992
Owl Records  827258 2
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ANDERS JORMIN - In winds, in light (2004)

April 18, 2013, 1:08 pm
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Bassist and composer Anders Jormin has been one of the more restless and adventurous musical talents on the ECM roster. He's worked with numerous jazz talents from his long associations with Bobo Stenson, Charles Lloyd, and Tomasz Stanko, and from his composing for brass ensemble. This project is off the map. Commissioned to write new sacred music for premiere in the cathedral in Västerås, Switzerland, he composed a series of works in which he used the existing poems of Swedish writers like Harry Martinson, Johannes Ederfelt, Lotta Olsson-Anderberg, and the great Pär Lagerkvist, as well as those of William Blake. He also wrote his own songs for the project. His focus was on the "beyond" (which was the project's original title) and needless to say, with these writers as inspirations, his concentration was anything but monotheistic. The band he assembled for this outing, recorded in the Organ Hall of the Musikhögskolan in Götenberg, includes pianist Marilyn Crispell, vocalist Lena Willemark, organist Karin Nelson, and percussionist Raymond Strid. Jormin, of course, plays bass. This is a startling record, literally unlike anything ever heard before. These players make wonderful use of space and dynamic, and the manner in which they interact is as one. The strange union of a piano and a church organ is one of the most compelling elements of this record, Crispell's uncanny intuition to bring "song" to her improvisational talent is rich yet restrained and unconventionally lyrical. Nelson's ability to have such an unwieldy instrument move quietly through some of these songs and shift her focus into a dialogue with Crispell is striking and original. But it is Willemark's singing -- utterly uncharacteristic of her Swedish folk-oriented material -- that takes the listener's breath away. As this band focuses on creating a backdrop that underscores the written lines, Willemark falls headlong into them. She uses the complete physicality of her voice to communicate not only the nuance of the lyric -- in Swedish and English -- but uses it to point into the depths of the heart and into the formless void that is beyond the reach of understanding, the same place these texts direct themselves toward. Whether she is whispering, crooning, sighing, or grunting, her attempt to express what is unspeakable flows effortlessly into an undefined terrain given shape and shape-shifting form by the other musicians. This record may not be for everyone, but it is surprisingly accessible and has literally no new age connotations. This is music that may approximate the harmony of the spheres, but it does so from the ground -- from the heart of the heart of the matter -- up.  -  Thom Jurek

Tracks
01. Varstav (Jormin)
02. Introitus (Jormin)
03. Sang 80 (Jormin, Martinson)
04. Choral (Jormin)
05. In Winds (Jormin)
06. Sandstone (Jormin)
07. Allt (Anderberg, Jormin)
08. Soapstone (Jormin)
09. Gryning (Jormin)
10. Each Man (Blake, Jormin)
11. Transition (Jormin)
12. Flying (Jormin)
13. Sommarorgel (Edfelt, Jormin)
14. Lovesong (Jormin)
15. Limestone (Jormin)
16. En Gang (Jormin, Lagerkvist)

ANDERS JORMIN  double bass
LENA WILLEMARK  voice
KARIN NELSON  church organ
MARILYN CRISPELL  piano
RAYMOND STRID  percussion

Recorded at Organ Hall At Musikhogskolan, Goteborg, Sweden
ECM  1866  /  981 1231
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ANDRES JORMIN - Xieyi (2001)

April 18, 2013, 1:17 pm
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There are songs that touch and deeply affect the heart.  Songs that move you, awaken memories and come back to you time and again.  Songs whose lyrics and profound musical vitality carry thoughts and emotions so close to your own hitherto unspoken credo.  On this recording I’ve tried, in my own way, to sing with my instrument some
Of these songs.

Here are Scandinavian religious hymns, discerning songs by the late Violetta Parra and Ornette Coleman, tonepoems by Swedish composers Evert Taube and Stefan Forssén, a children’s song and a few cantabile-improvisations of my own.

In the interests of consistency of sound and atmosphere, as well as a natural and organic form for the interpretations and improvisations, the bass pieces were all recorded on the same occasion, a rainy evening – 17th December 1999 – in the church-like Organ Hall at the School of music and musicology in Göteborg, Sweden.  To Create a slight contrast in musical texture, Manfred Eicher suggested that I write and add some short pieces for brass.  I composed these miniatures with the same goal of simplicity and arioso feeling.

Someone has said, perhaps pretentiously, that singing is allowing the divine to speak through you.  Myself, I want to believe that an honest wish to convey and share your experiences and visions, using your most personal tools of expression, is…to sing.  -    Anders Jormin


Tracks
01. Choral (Anders Jormin)
02. Giv mig ej glans (Jean Sibelius)
03. I denna ljuva sommartid (Nathan Söderblom)
04. Gracias a la vida (Violeta Parra)
05. Idas sommarvisa (Georg Riedel)
06. Xieyi (Andres Jormin)
07. Decimas (Anders Jormin)
08. Och kanske är det batt (Stefan Forssén)
09. Sul tasto (Andres Jormin)
10. Tenk (Anders Jormin)
11. Sonett till Cornelis (Stefan Forssén)
12. Romance-distance (Anders Jormin)
13. Scents (Anders Jormin)
14. Fragancia (Evert Taube)
15. Q (Anders Jormin)
16. War orphans (Ornette Coleman)
17. Choral (Anders Jormin)

ANDERS JORMIN  double-bass
ROBIN RYDQVIST  trumpet, flugelhorn
KRISTER PETERSSON  French horn
LARS-GÖRAN CARLSSON  trombone
NICLAS RYDH  bass trombone

Recorded December 17, 1999 at Aristen Göteborg and October 2, 2000 at Studio Bohus, Kungälv
ECM  1762   013 998 - 2 
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