música en espiral

Paul Motian has been a constant and essential feature of the American jazz scene for many years. From his early days as drummer with the Bill Evans Trio through to the mid period of his career, as one third of the Paul Motian Trio he has constantly shown touch and perception in his choice of material and playing partners.
This album, Bill Evans: Tribute to the Great Post-Bop Pianist, recorded in 1990 on Winter & Winter, when he was approaching his sixtieth birthday marks perhaps a highlight in a career that has many highlights. Drawing on the material of the legendary pianist and melodist, Bill Evans, he has, together with his trio partners, Bill Frisell and Joe Lovano plus bassist Marc Johnson created an album that is excellent and at times sublime.
Given the high standards of playing this group of musicians has been responsible for over the years, and the unforgettable and haunting melodies of Bill Evans it is hard to see where this recording could have gone wrong. But what is truly remarkable is that all four musicians have found ways of expanding their past powers of interpretation and unearthed in these nine Evans tunes harmonic possibilities, rhythmic interplay and originality of voice that in the hands of lesser musicians could have resulted in a more subdued tribute. Perhaps Motian’s personal experience of playing with Evans brought an element to the sessions that prevented it from simply treading water as the work of four fans.

The only real problem must have been deciding on which Evans songs not to include. There are no real highlights here, as each track is played with such excellence and sensitivity they all stand out. It would be better perhaps to name my favourites. An absolute contender has to be "Turn out the Stars," with Joe Lovano floating lovely feathery and melancholy tenor sax over Paul Motian’s ever thoughtful drum and brush work. Bill Frisell’s curious, at times bluesy guitar shapes and Marc Johnson’s bass work off the percussion with a bounce and swinging touch

"Time Remembered" also stands out. The minor figures, and the melody’s downward pull are interpreted with emphasis on its spaces, and its sense of loss. The drum and brush work add a fluid, almost liquid quality, with a splash of cymbal here, and a rhythmic phrase rising like a wave only to subside again. Again Bill Frisell pulls shapes and lines from his fretboard that have a feel of the blues, as well as conventional jazz, and at times even a hint of country-western (a genre he would later explore). Marc Johnson walks and steps though the melody, with a solo that finds its hidden harmonics. And Lovano’s tenor sax is perfectly pitched, sweet without being saccharine, expressive without being intrusive.
There are other wonderful tracks. "Re: Person I knew," (what a great title), is played with an engaging and wistful nonchalance. "Very Early" simply swings. "Five" features the most experimental, distorted guitar and passages of free-jazz, while "34. Skidoo," is a playful and uplifting number.
This is an excellent and essential recording. It shows four musicians at their best. The level of interplay and communication is never short of exquisite. It is a worthy tribute to a great musician, and a fitting example of four great musicians playing music that is unforgettable and inspiring. Highly recommended. - David Millington

Tracks
1. Show-Type Tune
2. Turn Out The Stars
3. Walkin' Up
4. Very Early
5. Five
6. Time Remembered
7. 34 Skidoo
8. Re: Person I Knew
9. Children's Play Song

PAUL MOTIAN drums
BILL FRISELL guitar
JOE LOVANO tenor saxophone
MARC JOHNSON bass

All compositions by Bill Evans
Recorded at Sorcerer Sound NYC, May 1990
JMT 834 445 - 2

This is an utterly fascinating tribute to the music of Thelonious Monk. Most of the selections feature the unusual trio of tenor saxophonist Joe Lovano, guitarist Bill Frisell (who with his wide range of original sounds is really a one-band band), and drummer Paul Motian. Tenor saxophonist Dewey Redman and pianist Geri Allen are guests on two songs apiece and fit in quite well with the sparse but very complete trio. Among the ten Monk songs explored, taken apart and given surprising treatment are "Evidence,""Bye-Ya,""Ugly Beauty," and "Trinkle Tinkle." Recommended to open-eared listeners. – Scott Yanow

Tracks

01. Crepuscule with Nellie

02. Justice (Evidence)

03. Rudy My Dear

04. Straight, No Chaser

05. Bye-Ya

06. Ugly Beauty

07. Trinkle Trinkle

08. Epistrophy (Clarke, Monk)

09. Off Minor

10. Reflections

PAUL MOTIAN drums

BILL FRISELL guitar

GERI ALLEN piano (tracks 3, 9)

DEWEY REDMAN tenor saxophone (tracks 4, 8)

JOE LOVANO tenor saxophone

All compositions by Thelonious Monk except as indicated

Recorded March 1988 at A&R Recording Studios, NYC

JMT 919 020 - 2

After the mind-numbing crunch of the Everyman Band’s self-titled debut, and considering the title of this follow-up, little did I expect the sprightly charm of “Patterns Which Connect.” This smooth opener is as uplifting as heck, due not least to Bruce Yaw’s rubber band bass line Marty Fogel’s soaring tenor. “Talking With Himself,” on the other hand, seems to begin in the middle of a stream of improvisatory energy, but continues with an openness that is nothing if not welcoming. Guitarist David Torn grinds his axe on flint stone and spits plenty of flame, but is content in periodically laying down his torch so as not to obscure Michael Suchorsky’s keen drumming. Like a spoon through porridge, “Multibluetonic Blues” works viscous nourishment into edible consistency, blending the tenor saxophone’s soulful brown sugar crust before the searing heat can burn it black. “Celebration 7” sounds for all like a plugged klezmer tune and shows the band in fine attunement, as does the whimsy of “Trick Of The Wool.” The album’s most appropriate title comes from “Huh What He Say,” which from an initial drawl finds linguistic traction in Fogel’s throwback of a solo. “Al Ur” caps things off with another vibrant sponge that soaks up all of the goodness that surrounds it. - http://ecmreviews.com/

Tracks

1. Patterns Which Connect (Suchorsky)
2. Talking With Himself (Suchorsky)
3. Multibluetonic Blues (Fogel)
4. Celebration 7 (Fogel)
5. Trick Of The Wool (Torn)
6. Huh What He Say (Fogel)
7. Al Ur (Yaw)

MARTY FOGEL saxophones
DAVID TORN guitars, effects
BRUCE YAW bass
MICHAEL SUCHORSKY drums

Recorded Decembre 1984 At Bearsville Studios, Bearsville, N. Y.
ECM 1290

"The blending of Latin music with jazz harmony and improvisation has produced more than a mere hybrid, as a survey of New York's younger players would reveal. Manuel Valera, a Cuban pianist in his mid-20's, illustrates that evolution handily: postbop and classical romanticism are as integral to his vocabulary as Latin folk forms, and they all find natural expression in his music."
--Nate Chinen, New York Times

"Valera’s sophisticated compositions, and his deft, light touch with strings, stimulate consistently intriguing solos. Blake, especially on soprano, is a voice both affectingly plaintive and articulate. Valera makes one powerful piano statement after another, his speed and complexity and chiming touch always building a story."
--Thomas Conrad, Jazztimes

"Here’s a Cuban pianist who lives up to all the buzz about the rad chops flaunted by many of New York’s young Caribbean jazzers."
--Jim Macnie, Village Voice

"It may be rare to hear a 23-year-old with the exploratory interests and tender touch of Valera, but it's an unalloyed pleasure to discover a young man so accomplished that his potential seems boundless. Pianist-composer Manuel Valera is, indeed, prime mover of this Forma Nueva."
--Howard Mandel, President, Jazz Journalists Association, Writer for Down Beat and Jazz Times

"His Forma Nueva heralds the arrival of an important Latin jazz pianist."
--Nat Chediak, Jazziz

"He is endowed with a profound talent and rich progressive jazz-latin ideas… and offers the portrait of an exceptional young artist emerging as a leader."
--Jesse Varela, LatinBeat

"He is a deeply thematic player, often building longer lines from small motifs. But as much as Forma Nueva is a vehicle for his playing, it is also a showcase for his fine writing. Valera’s personal incorporation of Cuban and other ethnic Latin styles into a contemporary post bop context assures him a distinguished place."
--John Kelman, All About Jazz

"This cd serves proof that Manuel Valera is a brilliant and potential great pianist."
--Allmusic, By Scott Yanow

"Manuel Valera will be one to watch, as his initial recording as a leader was one of the most welcome arrivals on the jazz scene of 2004."
--Ken Dryden, The Pulse

"This is arguably the disc to prick up the ears of any discerning jazz piano fan."
--John Stevenson, Ejazznews

"An accomplished debut that makes you want to hear more."
--Peter Watrous, Descarga.com

"Valera brings considerable talent to the table as shown on this first offering."
--Jay Collins, One Final Note

"He leaves no doubt that he’s destined to play a role in the future of jazz. Valera shows a keen jazz vocabulary, a gift for creating grooves that invite stellar solo flights from his collaborators and the nerve to romance a melody when it suits him."
--Philip van Vleck, Billboard

Pianist Manuel Valera combines together the influences of Chick Corea and Herbie Hancock with a mastery of Afro-Cuban jazz to form his own fresh style. On this modern mainstream set, Valera excels at both straight-ahead and Latin rhythms. Most selections feature a trio with the brilliant bassist John Patitucci and either Horacio Hernández or Bill Stewart on drums, while four numbers add guest saxophonist Seamus Blake. Varela’s post-bop originals (all but two of the dozen songs are his) tend to be complex, but some are a bit more accessible than expected due to the rhythmic patterns. The tender version of "Say It (Over and Over Again)" is a change of pace and quite memorable. Overall, this CD serves as proof thatManuel Valera, despite not being that well known yet, is a brilliant and potentially great jazz pianist. Recommended. – Scott Yanow

Tracks

01. Metaphorically Speaking (Manuel Valera)

02. Forma Nueva (Manuel Varela)

03. Simplicity (Manuel Varela)

04. Displaced (manuel Valera)

05. Drume Negrita (Eliseo Negret / Arr. Manuel Varela))

06. Prey to Indulgence (Manuel Valera)

07. Abue (Manuel Varela)

08. Nebulism (manuel Varela / Matt Stahlhut)

09. Say It (Over and Over Again) (Jimmy McHugh / Arr. Manuel Valera)

10. En Cinco (manuel Varela)

11. Como NG (manuel Varela)

12. Things Aren’t What They Seem (Manuel Varela)

MANUEL VALERA piano

SEAMUS BLAKE saxophone (1, 3, 6, 12)

JOHN PATITUCCI bass

HORACIO "EL NEGRO" HERNANDEZ drums (2, 4, 5, 7, 10, 11)

BILL STEWART drums (1, 3, 6, 8, 9, 12)

Recorded Octuber 2003

Mavo Records MAVO 1101

It seems strange that the music on this CD was not released initially until 1980. Trumpeter Lee Morgan had had an unexpected hit with "The Sidewinder," so his more challenging recordings were temporarily put aside. As it turns out, this was one of Morgan's better sets from the 1960s and he had gathered together quite an all-star cast: altoist Jackie McLean, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Art Blakey. They perform "Rigormortis," McCoy Tyner's "Twilight Mist," and three of the trumpeter's originals, including the title cut. The advanced hard bop music still sounds fresh decades later despite its initial neglect.

Tracks

1. Tom Cat

2. Exotique

3. Twice Around

4. Twilight Mist (McCoy Tyner)

5. Riggarmortes

LEE MORGAN trumpet

CURTIS FULLER trombone

JACKIE McLEAN alto saxophone

McCOY TYNER piano

BOB CRANSHAW bass

ART BLAKEY drums

All compositions by Lee Morgan unless otherwise noted

Original recorded on August 11, 1964 at the Van Gelder Studio, Englewood Cliffs, New Jersey

Originally issued in 1981 as LT 1058

Blue Note Records RVG Edition 0946 3 37764 2 5 (2006)

Walt Dickerson made an impact when he first emerged in the early '60s -- he won the Down Beat Critic's Poll as New Star in 1962 -- but as the years passed he became much less visible. Dickerson graduated from Morgan State College in 1953. After serving in the Army from 1953-1955, he settled in California, where he led a band that included Andrew Cyrille and Andrew Hill. In his early-'60s heyday, Dickerson played the clubs on the New York scene. He worked with Sun Ra, recording Impressions of a Patch of Blue in 1965. Shortly thereafter, Dickerson retired from performing for nearly a decade and returning in 1975. In the years 1977-1978, he made the bulk of his recordings for the Steeplechase label, which included duos with Sun Ra, guitarist Pierre Dorge, and bassist Richard davis. Also in 1978, Dickerson recorded in a quartet with pianist Albert Dailey. Dickerson was one of the few vibists to exhibit an awareness of free jazz techniques, though he was manifestly conversant in the language of post-bop. Although not heard as a leader on disc after 1982, Dickerson subsequently performed around his native Philadelphia; he died in Willow Grove, PA, of cardiac arrest in May 2008.

Tracks

1. I Hear You John (Walt Dickerson)

2. We Wish You Well, Wilbur Ware (Walt Dickerson)

ANDY McKEE bass

JIMMI JOHNSUN drums

WALT DICKERSON vibraphone

Recorded “live” at Vaerkstedet, Holbaek, Denmark, October 2, 1978

SteepleChase SCCD 31146

Can we all just agree that this is the debut of the year, if not the record of the year? Jazz has seen its share of excellent young players, but 24-year-old pianist Jason Moran really raises the bar with his superb Soundtrack to Human Motion. Moran explains the title as follows: "I like to think this recording could serve as the soundtrack to all movements a human might make in a given dayï." If only my daily movements were anywhere near as graceful and beautiful and fascinating as this album.

Moran has been recording as a sideman for a whopping two years. Many struggle a lifetime to attain his level of mastery. With his piano playing no less than his writing and arranging, Moran has already crafted a distinctive jazz voice, and it shines through on this CD from the first note to the last.
Innovative altoist Greg Osby, who gave Moran his start, served as his mentor, and produced this disc, appears as the sole horn. Joining Osby are Stefon Harris on vibes, Lonnie Plaxico on bass, and Eric Harland on drums. The entire ensemble is featured only on "Gangsterism on Canvas,""Still Moving," and "Aquanaut." Harris sits out for "Snake Stance," Osby for "Retrograde." Moran shifts to piano trio mode for "JAMO Meets SAMO,""Release From Suffering," and "States of Art," which begins with a solo rendition of Ravel's "Le Tombeau de Couperin." The album closes with "Root Progression," a stellar duet between Moran and a soprano-blowing Osby. Moran employs his players very wisely, varying the combinations so that the sound of the record is never static, always in motion.
Smack in the middle of the program, Moran plays a solo piece called "Kinesics." As I listened, an historical panorama of solo jazz piano came into view. Duke Ellington, Art Tatum, Bud Powell, Thelonious Monk; somehow Moran encompasses them all and utters a marvelous fin de siècle statement on jazz past and future, in a harmonic language all his own.

No doubt Moran's imagination will take him down many interesting roads. His influences are drawn from art, literature, and theater, as well as from classical music all the way to hip-hop. This is a critical broad-mindedness, though, not an everything-and-the-kitchen-sink approach to the creative enterprise. Moran simply knows talent for what it is, wherever it comes from. So when he mentions a desire to work with pop singer Björk and hip-hop's MC Saafir, one gets the feeling he's not talking about some ordinary crossover project. Watch this man closely and see what develops. – David Adler

Tracks

01. Gangsterism Oncavas
02. Snake Stance
03. Le Tombeau de Couperin (State of Art)
04. Still Moving
05. Jamo Meets Samo
06. Kinescis
07. Aquanaut
08. Retrograde
09. Release From Suffering
10. Root Progression

JASON MORAN piano
GREG OSBY alto & soprano saxophones
STEFON HARRIS vibraphone
LONNIE PLAXICO bass
ERIC HARLAND drums

All compositions by Jason Moran except (3) written by Maurice Ravel
Recorded at Systems Two, Brooklyn, NY on August 20 & 30, 1998
BLUE NOTE 7243 4 97431 20

Brilliance abounds in his jewel of a find. The chemistry between these two players is evident from the first track, an incredible rendition of Miles Davis's "Nardis." Copland's piano style is very similar to Towner's. Towner is no slouch on the keyboards, either. But, for this date, he sticks to guitar.

The title track, Jobim's "Zingaro," begins as a conversation. Towner's strings utter a phrase, Copland's keys whisper a reply. The conversation gently builds, and the musicians become dancers. A sultry passionate samba ensues. This is some of Towner's most beautiful recorded work.

Two Towner compositions are included. This is the only place I recall finding the upbeat,"Tern.""Jamaica Stopover" gets a great workout here.

Copland contributes three songs, "Goodbye" is stunningly beautiful and features Copland and Towner doubling the melody line in perfect complement. "All That's Left" is a bold and bumpy romp with a nice edge to it. "Snowfall" is a bit sappy, the only weak cut. But, het, how bad can it be? Towner's on it.

A Towner trademark endures with the improvisational peice, Freebop. A real gem. You can tell they are having fun and stretching out.

Another outstanding quality of this recording is the selection of cover tunes. A second Davis compostion, Blue on Green, cowrtitten with Bill Evans receives a lovely treatment. But, the closing peice, Gershwin's Love Walked In is the cut that will really get your head bobbin'. – David Matthews

Tracks

01. Nardis (Miles Davis)

02. Zingaro (A.C. Jobim)

03. Tern (Ralph Towner)

04. Goodbye (marc Copland)

05. Freebop (Marc Copland, Ralph Towner)

06. All That’s Left (Marc Copland)

07. Jamaica Stopover)

08. Snowfall (Marc Copland)

09. Blue In Green (Miles Davis, Bill Evans)

10. Love Walked In (George Gerswin)

MARC COPLAND piano

RALPH TOWNER guitar

Recorded November 1993 at The Studio, New York City

Jazz City Spirit TKCB - 70405

With a brooding approach that is nonetheless elegant in its delicacy, pianist Marc Copland teams up for yet another series of outstanding duets, this time with double-bassist Gary Peacock. What It Says represents some of Coplandís most impressionistically abstract work and, for Peacock, his most successful duet outing this side of his work with Ralph Towner.

The pairing of Peacock and Copland is not exactly new; Peacock played on Coplandís 1998 Savoy date, SoftlyÖ , albeit in more traditional trio, quartet and quintet settings. By paring things down to the barest essentials, they have created a recording of quiet beauty; dark and mysterious, this is chamber jazz at its best.

Most telling are the two separate versions of Peacockís piece ìVignette.î The first, a more rhythmically-propelled interpretation of a characteristically-spare motif, finds first Copland and then Peacock soloing with the kind of sheer lyricism that is almost painful in its simplicity. The album closes with the second reading, this time a solo rendition from Copland, where the harmonies are less direct, more abstruse.

Another Peacock piece, ìRequiem,î bears comparison to the version on the Marilyn Crispell trio recording from 2001, Amaryllis, as it so succinctly defines the difference between the two pianists. Crispell comes at the piece from a slightly more jagged, avant edge; Copland from a more romantic impressionistic point of view. Both are beautiful versions, but Copland is clearly the more graceful of the two.

Peacock, now nearing his sixth decade of performing, always manages to create an environment that is unpredictable and full of surprise. He has the remarkable capability, especially when in matched company, of managing to imply things that arenít there; it is part of the magic between these two players that on a piece like Coplandís ìAround in the Airî there is a palpable pulse even though one is not strictly being played.

Gracing the five Peacock and four Copland compositions are three improvisations that truly demonstrate Peacockís concept of spontaneous composition. ìCall & Answer,î in particular, is remarkable as each player first responds to and then develops and extrapolates on the otherís presented motifs. For those who think that free improvisation implies no sense of structure or composition, these three pieces are as good a place as any to change that mindset.

That Peacock should be capable of music with this much dignity should be no surprise; neither should it be especially surprising from Copland who, while a late starter on his chosen instrument, continues to develop a personal approach that combines the best of American and European traditions. What It Says is another fine recording from Franceís Sketch Records, a label that is joining a select group of independents with an uncompromising sense of artistry, and a distinctive personality; Copland and Peacock have managed to capture the essence of the material in a programme that is rich in ambience and deep in emotion. – John Kelman

Tracks

01. Ladder (Marc Copland / Gary Peacock)

02. Vignette (Gary Peacock)

03. Watching The Silence (Marc Coplan / Gary Peacock)

04. Around In The Air (Marc Copland)

05. Colors Of Hue (Gary Peacock)

06. Talkin’ Blues ((Marc Copland)

07. Calls & Answers (Marc Copland / Gary Peacock)

08. In A Dance (Marc Copland)

09. From The Well (Marc Copland)

10. Skim (Gary Peacock)

11. Requiem (Gary Peacock)

12. Vignette (Gary Peacock)

MARC COPLAND piano

GARY PEACOCK double bass

Recorded September 16 & 17, 2002 at The Studio, New York City

Sketch SKE 333040

www.sketchmusic.com

Individually, pianist Marc Copland and saxophonist Dave Liebman always create compelling music -- and when they occasionally join forces, the effect is astounding. Accompanied by bassist Mike McGurk and drummer Tony Martucci on this 2001 session for Hatology, they open with Jimmy Giuffre’s powerful, very mournful "Cry Want," with Liebman’s soprano gushing with emotion. Copland’s intense "Lunar" percolates with energy, a gallop toward an unknown destination and fate. The one standard of the date is "You and the Night and the Music," though the piece initially takes on a very different character with Copland’s eerie introduction and haunting tenor. Liebman contributed the moody, almost tragic ballad "All That's Left," Liebman’s a gut-wrenching duet with Copland that suggests the conclusion of a death watch for a loved one, along with the constantly shifting "Brother Ernesto." Joh Coltrane’s "Naima" is one of his most treasured ballads, yet Copland and Liebman (on tenor) reshape it into a more bittersweet setting as a beautiful duo finale to this rewarding session. – Ken Dryden

Tracks

01. Cry Want (Jimmy Giuffre)

02 Lunar (Marc Copland)

03. Pirouette (Mac Copland)

04. You and the Night and the Music (Howard Dietz / Arthur Schwartz)

05. All That’s Left (Marc Copland)

06. Standoff (Dave Liebman)

07. Brother Ernesto (David Liebman)

08. Naima (John Coltrane)

MARC COPLAND piano

DAVID LIEBMAN soprano & tenor saxophones

MIKE McGUIRK bass

TONY MARTUCCI drums

Recorded on 12 October 2001

hatOLOGY 583

Playing at Maybeck Recital Hall before a small but attentive crowd seems to bring out the best in many pianists. Stanley Cowell performs a well-planned program of 14 selections on this 1990 CD. On a two-minute "Softly as in a Morning Sunrise," Cowell runs through all twelve keys. He pays tribute to the stride-piano tradition on "Stompin' at the Savoy," explores some bop, Latin-jazz (a transformed "Autumn Leaves") and post bop music, plays "Jitterbug Waltz" in the style of Art Tatum, inteprets "Stella by Starlight" in 5/4 time and performs J.J. Johnson's "Lament" with just his left hand. A very interesting recital. - Scott Yanow

Tracks

01. Softly, As in a Morning Sunrise (Sigmund Romberg / Oscar Hammerstein II)

02. Stompin’ at the Savoy (B. Goodman/E. Sampson/C. Webb/A. Razaf)

03. I Am Waiting (Stanley Cowell)

04. Nefertiti (Wayne Shorter)

05. Jitterbug Waltz (Fats Waller/Richard Maltby, Jr.)

06. Stella by Starlight (Ned Washington/Victor Young)

07. I’ll Remember April (Gene DePaul/Don Raye/Patricia Johnston

08. Lament (J.J. Johnson)

09. Out of This World (Harold Arlen/Johnny Mercer)

10. Django (John Lewis)

11. Big Foot (Charlie Parker)

12. Little Sunny (Stanley Cowell)

13. Autumn Leaves (Johnny Mercer/Jacques Prèvert/Joseph Kosma)

14. Cal Massey (Stanley Cowell)

STANLEY COWELL piano

Recorded live at Maybeck Recital Hall, Berkeley, CA June 1990

Concord Jazz Records CCD - 4431

More albums like this are needed-not just for its consummate musicianship, but also to demonstrate the bare-bones approach to chamber jazz and the unbridled freedom it affords like-minded swingers.

Pianist Copland and trumpeter/flugelhornist Hagans might just as well be Emanuel Ax and Maurice Andre playing a recital, except the latter pair wouldn't understand or accept this kind of freedom: Their scores already come with dynamics and tempo markings, and must be played as composed.

Very little was written for Between the Lines; what we are privy to is a highly literate duologue of melody and harmony. Rhythm is implied, or Copland will insert brief pedal points; at no time does he resort to a walking bass line or a Garnerlike jazz march. And at no time is the element of swing neglected. Of necessity, the most obvious rhythmic devices are used on the Latin number "Estate" and on Herbie Hancock's "Cantaloupe Island." So personal and minimalistic is the conversation that the occasional arranged heads-Thad Jones'"Three in One" and Ornette Coleman's "When Will the Blues Leave"-sound virtually orchestral in sonority.

The most clinical aspect comes in the extended harmonies employed, particularly in Wayne Shorter's "Nefertiti" and Hagans' own "Passing Giants"-it's a lovely recording, filled with surprises and discoveries. And when Copland "squeezes' his love for "Porgy" through a Harmon mute, it's like rediscovering Miles Davis. - Harvey Siders

Tracks

1. Nefertiti (Shorter)

2. Passing Giants (Hagans)

3. Three in One (Jones)

4. I Loves You, Porgy (Gershwin, Gershwin, Hayward)

5. When Will the Blues Leave (Coleman)

6. Estaté (Martino)

7. On Green Dolphin Street (Kapers)

8. Rainy Night House (Mitchell)

9. Cantaloupe Island (Hancock)

MARC COPLAND piano

TIM HAGANS trumpet, flügelhorn

Recorded April, 2000

SteepleChase SCCD - 31488

The great tenor Dewey Redman has always been a versatile player and he really gets a chance to show off his individuality on this set, whether it is some freebop a la early Ornette Coleman, "Mirror Windows" (which is an explosion of sound and pure energy), the soulful "Blues for J.A.M. - Part 1," a free and speechlike tenor-piano duet with Geri Allen on "As One" and a boppish "Lazy Bird." On "If I Should Lose You," Redman has a rare chance to play some conventional but cliché-free alto. With bassist Cameron Brown and drummer Eddie Moore forming a solid team, this is an easily recommended set of inside/outside music. - Scott Yanow

Tracks

1. Boo Boodoop (Dewey Redman)

2. Mirror Windows (Dewey Redman)

3. Blues or J.A.M., Pt. 1 (Dewey Redman)

4. If I Should Lose You (Ralph Rainger/Leo Robin)

5. As One (Dewey Redman)

6. Lazy Bird (John Coltrane)

DEWEY REDMAN alto and tenor saxophone

GERI ALLEN piano

CAMERON BROWN bass

EDDIE MOORE drums

Recorded September 13 and 14, 1989 at A&R Recording Studio, New York

Black Saint – 120123 - 2

Argentinean composer and bandoneon master Dino Saluzzi's group includes many family members including José Maria Saluzzi on guitars, Felix "Cuchara" Saluzzi playing saxophones and clarinet, and Matias Saluzzi is featured on acoustic and electric bass, with the great Italian drummer U.T. Ghandi on hand for this session recorded at home in Buenos Aires. Juan Condori is Saluzzi at his most relaxed and instinctive. This music is deeply embedded in the folk traditions of the region, as well as the tango and the ballroom music of the country, both rural and urban in an era long gone. The title of the set refers to an old childhood friend from an indigenous family who Saluzzi refers to as "an almost magical figure." Clocking in at over 76 minutes, this is one of those dates where one piece seems to naturally flow into the next, the warmth of the ensemble, and their instinctive familiarity with one another in the title track, where what amounts to a kind of memento mori is played for the namesake. The sounds of the mountains, the sunset, the trees and the lush valleys evoke a time that has always been previous. The interplay between bandoneon and acoustic guitar is simply as mysterious as it is mournful. Different modes and melodies enter and leave and note the passage of time in years, not minutes until an absolute kind of free improvisation takes over for a tumultuous moment and Cuchara's clarinet brings it all back into the stillness again. He is the one who takes the tune out on his tenor as well, playing slow, low, growling notes. As if to underscore this, "Memoria," begins almost out of the silence of the previous track, playing an askew kind of tango that doesn't fall into three/four, but challenges the form as electric guitar and bandoneon play counterpoint with one another. "La Parecida" is almost a celebration by contrast, but it too is by turns knotty and almost pastoral. Saluzzi's bandoneon rings out a sweet song as bass, guitar, drums and acoustic guitar follow him into a dance that becomes by turns dramatic and dynamic especially as Cuchara enters. All of this is cyclical, as is José Maria's acoustic guitar and the soprano saxophone engaging in a melodic improvisation that underscores the song with ferocity. While Manfred Eicher's production is, as usual, signature, he is able to respond to this family band and warm things up considerably without giving up an ounce of clarity or pristine presentation. Juan Condori is one of those recordings where jazz, folk music, and improvisation all wind themselves into the notion of a complex but utterly beguiling song. - Thom Jurek

Tracks

1. La Vuelta De Pedro Orillas

2. Milonga De Mis Amores

3. Juan Condori

4. Memoria

5. La Paracida

6. Inside

7. Soles-La Camposantena

8. Los Cosas Amadas

9. A Juana, Mi Madre

10. Los Sauces

11. Improvisacion

12. Chiriguan

DINO SALUZZI bandoneon

JOSÉ MARIA SALUZZI acoustic and electric guitars

MATIAS SALUZZI STEFANO AMERIO double-bass, bass guitar

FELIX “Cuchara” SALUZZI tenor and soprano saxophones, clarinet

U.T. GANDHI drums, percussion

All compositions by Dino Saluzzi, except “Milonga de mi amores” by Pedro Laurenz, “Soles” by Maria Saluzzi and “Improvisation” by Dino Saluzzi Group.

Recorded October 2005 Estudios Moebio, Buenos Aires

A good seven years after their first recorded foray into the trio format, guitarist Nguyên Lê, drummer Peter Erskine (of Weather Report fame), and bassist Michel Benita recombine for another session. The sound actually does hold some parallels to the Weather Report aesthetic, perhaps due to the involvement of Erskine’s pen in a chunk of the tracks. The performances are exploratory, but controlled. With guest sax player Stéphane Guillaume in tow, the album opens with the title track, showcasing the flow of some parallel lines among the leads before going into a wide-open guitar solo. Another piece penned by Benita, "Rotha & Priska," moves into more chaotic territory, with the band clashing sounds together a bit in a bout of deconstruction. Lê’s "Jive Five" gets a little more of a groove building, and Erskine’s "Song for Jaco" proves a bit more reflective. With "Twelve," the band starts ramping back up slowly (and gives Benita a nice solo), and "Plan 9" brings back Guillaume for a nice bop-inflected bit. Lê takes a nice turn toward the rock end of the spectrum in "Kokopanitsa," with some strong note-bending and scale-burning throughout, and then toward a more ethereal sound in "Romanichel." Benita takes the focus back in "Montreal" with a strong bassline, and the sole Guillaume composition proves itself a loping, funky number. The album closes on one last Lê composition, featuring a fairly sparse interplay between the core trio members. The album has a lot to show, ranging from strong fusion pieces to slow electric nightclub ballads. There's always a touch of fusion inherent in the focus on the electric guitar, but the compositions could often be part of a free jazz or even post-bop setting. Worth a spin for a look at what's going on in the collaborative hotbeds of Paris. - Adam Greenberg

Tracks

01. Dream Flight (M. Benita)

02. Rotha & Priska (M. Benita)

03. Jive Five (N. Lè)

04. Song For Jaco (P. Erskine)

05. Twelve (P. Erskine)

06. Plan 9 (P. Erskine)

07. Kokopanitsa (N. Lê)

08. Romanichel (N. Lê)

09. Montreal (M. Benita)

10. Hanging Out On The Roofs (St. Guillaume)

11. A Demain (N. Lê)

PETER ERSKINE drums, timpani & percussion

NGUYÊN LÊ electric guitar

MICHEL BENITA bass

STÉPHANE GUILLAUME tenor & soprano saxophones

Recorded at Bauer Studio Ludwigsburg, Germany October 14 and 16, 2007

ACT 9467 - 2

This is about as intimate as music gets. Diary features Towner on guitars and piano via overdubs, creating a layered sound that is at once dialectical and univocal. The recording gives Towner vast space in which to work, pushing his reach ever skyward. His guitar lines drip like liquid mercury, beading apart and reforming in continually novel ways. As with much of Towner’s work, Diary gives us a series of pictures, or perhaps even an array of lenses through which to view the same scene from different perspectives or times. “Icarus” is a resplendent duo for 12-string guitar and piano that erupts into a stunning passage of plucked harmonics accompanied by bursts of piano improvisation. Though one of Towner’s most beloved compositions, nowhere else does it sparkle with such effervescence. “Mon Enfant,” a traditional tune and the only non-original in this set, is lovingly arranged for the temperate give of nylon. “Ogden Road” is another 12-string/piano number, the scope and feel of which seem to presage the epic tendencies of Steve Tibbetts. “Erg” is an invigorating piece for two guitars, one of which Towner scrapes, jangles, and taps to furnish a uniquely rhythmic backdrop. As coda we have the lovely “The Silence Of A Candle” for piano alone. Overall, Diary stays true to its subtle convictions. And while more abstract tangents like “Images Unseen” may feel somewhat less realized than other pieces, they never fail to welcome the listener into their frustrations and fears. That being said, an intriguing indifference coheres the album, as if born of the thrill of charting new territory: the explorer’s heart is struck with such awe that all people and circumstances leading up to that moment seem to fade into the most unreachable recesses of memory. Yet once the discovery has been made, all of it comes rushing back. This is precisely what a diary does, turning the past into the present through the act of inscription (recording) so that one can uphold that past later as a tangible object of scrutiny or validation, a log of one’s journey to “getting there.”

As the cover art would imply, this music is two-thirds stratospheric, one-third oceanic, and accordingly played with grace and undulation. Every instrument and sound is the result of careful thought and choice, and the deeply considered arrangements are delectable. The 12-string is a mainstay of Towner’s repertoire, and what he does with the instrument is nothing short of inspiring. Having first discovered Towner through his solo guitar music, I was pleasantly surprised by how suitably well his duly inspired piano riffs complement this album. Towner has everything he needs at his fingertips: a full-fledged percussion section, lead voice, and accompaniment. The one thing missing in his ensemble is you, the listener. So what are you waiting for?

Ecmreviews.com

Tracks

1. Dark Spirit

2. Entry In A Diary

3. Images Unseen

4. Icarus

5. Mon Enfant

6. Ogden Road

7. Erg

8. The Silence Of A Candle

RALPH TOWNER 12-String and Classical Guitar, Piano, Gongs

All compositions by Ralph Towner

Recorded April 4 and 5, 1973

ECM 1032 829 157 – 2

The great jazz pianist Steve Kuhn tackles well-known standards and not so familiar compositions by performers such as Brazilian guitarist Dori Caymmi, bassist Steve Swallow and a contribution from saxophonist Bob Mintzer on Seasons of Romance.
The opener, saxophonist Bob Mintzer's piece titled, "Six Gun" is an ebullient, mid-tempo swing while Kuhn's easily-recognizable or patented elegance and signature style is notably portrayed from the onset. Kuhn's flair and casual poise ride atop the skillful rhythmic articulations by veteran and highly esteemed bassist George Mraz in collaboration with the inimitable jazz session drummer, Al Foster. Here, Kuhn's intelligent comping and sweeping lines aid Mintzer's breezy and lyrically rich tenor sax solo. Kuhn displays his romantic side on Dori Caymmi's touching, "Romance" while trumpeter Tom Harrell joins Kuhn, Mraz and Foster on his original composition, "Visions of Gaudi." The trumpeter's majestic yet smooth, sleek tone and poignant phrasing equalize Kuhn's reflective or soul-searching performance as they comfortably dance through another persuasively memorable composition. Kuhn is in stellar form on Steve Swallow's piece, "Remember" while demonstrating impeccable technique and emotive characteristics via stylish utilization of tremolo, subtle inflections, swirling chord progressions yet most of all, the remarkable synergy he and Harrell enjoy as the primary soloists. Kuhn directs the rhythms with an active left hand on his swinging original "Looking Back" as the pianist and Harrell once again engage in smooth, airy interplay while Kuhn pushes and prods the band in a quiet sort of way!
Steve Kuhn's remarkable inventiveness, truly distinctive sound and style, melodic gifts and cultivated approach place him among the vanguard of modern day jazz pianists. Seasons of Romance proves that notion in elevated fashion! - Glenn Astarita

Tracks

01. Six Gun (Bob Mintzer)

02. Romance (Dori Caymmi)

03. Visions of Gaudi (Tom Harrell)

04. There Is No Greater Love (Isham Jones/Marty Symes)

05. The Pawbroker (Quincy Jones)

06. Remember (Steve Swallow)

07. Clotilde (Steve Kuhn)

08. Good Morning, Heartache (Ervin Drake/Dan Fisher/Irene Higginsbotham)

09. Looking Back (Brook Benton/Belford Hendicks/Steve Kuhn/Clyde Otis)

STEVE KUHN piano

BOB MINTZER tenro saxophone

TOM HARRELL trumpet

GEORGE MRAZ bass

AL FOSTER drums

Recorded April 12 snd 13, 1995 at Sound on Sound New York City

Postcards Records - POST 1009

An obvious classic, this piano solo record (reissued on CD in the OJC series) features McCoy Tyner paying tribute to John Coltrane. Tyner not only plays three of Coltrane's songs ("Naima,""Promise," and "My Favorite Things") but two of his originals (a lengthy "The Discovery" and "Folks") which display how much the pianist had grown since leaving the saxophonist's group in late 1965. Few McCoy Tyner records are not easily recommended but this one even ranks above most. - Scott Yanow

I saw the "tour" for this album back in '73. The Jazz showcase in Chicago had just moved to it's new basement location near Rush Street and they hadn't delivered the grand Piano yet. McCoy played the show on a spinet. Busted two strings in the first set alone. I can't tell you how great this show was...etched in my mind forever. Download this one folks! - dewhy

Wow - for once a Yanow review without the word 'quite' in it. He's right, this really is a classic. I had this album before I bought any Coltrane LPs in my youth and I first bought Coltrane LPs to hear McCoy in a group setting. This was 40 years ago back when I was first discovering this amazing, life changing music and this terrific record really helped teach me to LISTEN. It might sound silly but McCoy's two handedness was a challenge back then. Of course then it went on to Sahara and the Coltrane Qt where there were a lot more hands and souls to listen to individually at the same time and assimilate and be moved to a place inside me I never knew existed. So it'a a personal thing for me, but I couldn't recommend this album more highly. If you don't know - go get it!! - Andy July 20, 2012

Tracks
01. Naima (John Coltrane)
02. Promise (John Coltrane)
03. My Favorite Things (ROdgers/Hammerstein)
04. The Discovery (McCoy Tyner)
05. Folks (McCoy Tyner)

McCOY TYNERpiano

Recorded at Victor Studio, Japan, November 11, 1972
Milestone OJCCD 650 – 2

Pianist McCoy Tyner's first full-length trio album since 1964 was one of his most popular. Accompanied by bassist Ron Carter and Elvin Jones, Tyner (who uses harpsichord and/or celeste for flavoring on three of the six pieces) shows why he was considered the most influential acoustic pianist of the era (before Bill Evans began to surpass him in that category). Whether it be Jobim's "Once I Loved,""Impressions,""Ruby, My Dear" or Tyner's three powerful originals, this set finds Tyner in peak form. - Scott Yanow

Tracks

1. Celestial Chant (Tyner)

2. Once I Loved (O Amor Em Paz) (Jobim)

3. Elvin (Sir) Jones (Tyner)

4. Land Of The Lonely (Tyner)

5. Impressions (Coltrane)

6. Ruby, My Dear (Monk)

McCOY TYNER piano, harpsichord, celeste

RON CARTER bass

ELVIN JONES drums

Recorded at Fantasy Studios, Berkeley, CA, February 18, 19, 1975

Milestone M – 9063 / Original Jazz Classics OJC20 720 – 2

This is the single-CD reissue of all of the music from a former two-LP set. Pianist McCoy Tyner’s 1974 quintet consisted of the talented youngster Azar Lawrence on tenor and soprano, bassist Joony Booth, drummer Wilby Fletcher and percussionist Guilheume Franco. As is accurately stated in the new liner notes by Neil Tesser, Atlantis was the final recording from Tyner’s last band to be based on the music of his former boss, John Coltrane. While Lawrence (who was only 20 at the time) derived his style partly from aspects of Coltrane and the rhythm section is fiery, Tyner creates some very powerful and highly original solos, really tearing into some of the more extended pieces. Recorded live at San Francisco's legendary Keystone Korner, this set has four of Tyner’s modal originals played by the full group, a rendition of "My One and Only Love" performed by the leader, Lawrence and Franco as a trio, and a solo piano version of "In a Sentimental Mood." Essential music that still sounds fresh and adventurous. - Scott Yanow

Tracks

1. Atlantis
2. In A Sentimental Mood
3, Makin' Out
4. My One And Only Love
5. Pursuit
6. Love Samba

McCOY TYNER piano
AZAR LAWRENCE tenor & soprano Sax
WILBY FLETCHER drums
GUILHERME FRANCO percussion
JOONY BOOTH bass

Recorded live at the Keystone Korner on 1974
Milestone MCD - 55002

PAUL MOTIAN - Bill Evans (1990)

PAUL MOTIAN - Monk In Motian (1988)

EVERYMAN BAND - Without Warning (1985)

MANUEL VALERA - Forma Nueva (2004)

LEE MORGAN - Tom Cat (1964)

WALT DICKERSON - I hear You John (1978)

JASON MORAN - Soundtrack To Human Motion (1998)

MARC COPLAND, RALPH TOWNER - Song Without End (1994)

MARC COPLAND, GARY PEACOCK - What It Says (2003)

MARC COPLAND, DAVID LIEBMAN QUARTET - Lunar (2002)

STANLEY COWELL - Live At Maybeck Recital Hall, Vol. 5 (1990)

MARC COPLAND, TIM HAGANS - Duo: Between the Lines (2001)

DEWEY REDMAN QUARTET - Living On The Edge (1989)

DINO SALUZZI GROUP - Juan Condori (2006)

E.L.B - Dream Flight (2008)

RALPH TOWNER - Diary (1974)

STEVE KUHN - Seasons of Romance (1995)

McCOY TYNER - Echoes Of A Friend (1972)

McCOY TYNER - Trident (1975)

McCOY TYNER - Atlantis (1975)