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GEORGE SHEARING TRIO - Window (1978)

December 15, 2015, 8:38 pm
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Tracks
01. Tricotism (Oscar Pettiford)
02. Windows (Chick Corea)
03. No Moon At All  (Mann/Evans)
04. Some Other Spring (Arthur Herzog/Irene Kitchings)
05. Wait Till You See Her (Rodgers/Hart)
06. Tune Up (Miles Davis)
07. The Party’s Over (Green/Comden/Styne)
08. The Lamp Is Low (Shefter/Ravel/DeRose)
09. It’s A Lazy Afternoon (Moross/Latouche)
10. Cowboy Samba (NHOP)

NIELS HENNING ORSTED PEDERSEN  bass
LOUIS STEWART  guitar
GEORGE SHEARING  piano

Recorded June, 1977 at MPS Studio Villigen

MPS Records – 0068.200
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GEORGE MRAZ - Jazz (1995)

December 16, 2015, 7:52 pm
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You couldn't have asked for a more sensitive, intuitive acoustic bassist in the '70s, '80s, and '90s than George Mraz. From Stan Getz and Joe Henderson to Hank Jones, Oscar Peterson, Jimmy Rowles, and Tommy Flanagan, the Czech bassist has accompanied one heavyweight after another since arriving in the U.S. in 1968. But surprisingly, Mraz didn't record as a leader until 1991. His first two albums, 1991's Catching Up and 1995's My Foolish Heart, were recorded for the Japanese Alfa label, and it wasn't until 1995's Jazz that Mraz finally recorded for an American label as a leader. Much of this excellent hard bop/post-bop CD finds him leading a trio that includes Richie Beirach on acoustic piano and Billy Hart on drums, although the trio becomes a quartet when tenor saxman Rich Perry steps in on Wayne Shorter's "Infant Eyes" and Mraz's brief "Pepper" (written for baritone saxophonist Pepper Adams). When Beirach shows us his lyrical side on Jimmy Rowles'"The Peacocks," Bill Evans'"Time Remembered," and the standard "Moonlight in Vermont," you can't help but admire Mraz's tremendous sensitivity -- in fact, Mraz enjoys as strong a rapport with Beirach as he did with Flanagan and Peterson. Produced by Todd Barkan, Jazz makes you wish that a U.S. label had recorded Mraz as a leader long before 1995.  -  Alex Henderson

Tracks
01. Moonlight in Vermont (John Blackburn, Karl Suessdorf)
02. Cinema Paradiso Love Theme (Ennio Morricone)
03. Infant Eyes (Wayne Shorter)
04. Happy Saint (George Mraz)
05. Foolish Door (John Abercrombie)
06. Your Story (Bill Evans)
07. Spring Is Here (Lorenz Hart, Richard Rodgers)
08. Pepper (George Mraz)
09. Time Remembered  (Bill Evans)
10. The Peacocks (Jimmy Rowles)
11. Cinema Paradiso, Reprise (Ennio Morricone)

GEORGE MRAZ  bass
RICHIE BEIRACH  piano
LARRY WILLIS  piano (6)
RICH PERRY  tenor saxophone
BILLY HART  drums

Recorded September & October 1995

Milestone Records MCD – 9248 - 2
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PAUL McCANDLESS - Isole (2002)

December 16, 2015, 8:23 pm
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A talented multi-instrumentalist, Paul McCandless is best-known for his longtime association with Oregon and for the floating and meditative sounds that he achieves out of his unusual combination of instruments. McCandless played in Paul Winter's band the Winter Consort (1968-1973) and then (with Ralph Towner, Glen Moore, and Collin Walcott) he left the group to form Oregon. McCandless is primarily associated with Oregon (which was operating on a part-time basis in the 1990s), although he has also played and recorded with Gallery and Eberhard Weber and has led sessions of his own for Elektra, Landslide, and Windham Hill.

Tracks
1. Elle (B. Ferra) 
2. Ave Maria (Trad. arr. B. Ferra)
3. Pigami (B. Ferra)
4. Bagatella Mediterranea (P. Dalla Porta) 
5. Mircau (B. Ferra) 
6. Sogno (P. Dalla Porta)
7. Celeste (P. Dalla Porta) 
8. Linea d'ombra (P. Dalla Porta)

PAUL McCANDLESS  sax soprano, oboe, english horn, clarinet bass
BEBO FERRA  guitars
PAOLINO DELLA PORTA bass
FULVIO MARAS  percussion

EGEA  -  SCA 074
http://www.egeamusic.com


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JOSEPH JARMAN & DON MOYE - Black Paladins (1979)

December 17, 2015, 10:40 pm
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During the '70s, Art Ensemble of Chicago members Joseph Jarman and Famoudou Don Moye often performed outside the band as a duo, sometimes bringing in other musicians. Here, they made the inspired choice of the late, great South African bassist Johnny Dyani (founding member of the Blue Notes and long-time collaborator with musicians such as Abdullah Ibrahim and John Tchicai) resulting in a buoyant, joyful release. Dyani's opening "Mama Marimba," propelled by both his bass and voice, is an exceptionally infectious number and contrasts wonderfully with Jarman's ensuing "In Memory of My Seasons," a misty dirge featuring the composer's haunting flute work. Moye is ablaze throughout, notably backing Jarman's lovely sopranino on "Ginger Song," and Dyani's deep, throbbing bass is a joy. On the closing piece, "Ode to Wilbur Ware," the bass groove is as thick as honey, providing the framework for elaborate, coloristic percussion and plaintive bamboo flute, bringing the album to a rich, satisfying conclusion. Black Paladins was the Jarman/Moye duo's most successful effort, and one of the most rewarding projects either was involved with outside of the Art Ensemble. A delicious recording.  -  Brian Olewnick

Tracks
01. Mama Marimba (Johnny Dyani)
02. In Memory of My Seasons (Joseph Jarman)
03. Humility in the Light of the Creator (Kalaparusha Maurice McIntyre)
04. Black Paladins (Henrry Dumas, Joseph Jarman)
05. Ginger Song (Joseph Jarman)
06. Ode to Wilbur Ware (Famoudou Don Moye)

FAMOUDOU DON MOYE  drums, percussion, shakere, congas
JOHNNY DYANI  piano, bass, tambourine, vocal
JOSEPH JARMAN  sopranino, tenor & barítone saxophones, flute, bass bamboo flute,bass clarinet, voice 

Recorded 19, 20 December 1979 at Barigozzi Studios, Milano, Italy.

Black Saint – BSR 0042  (Italy)
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KAHIL EL' ZABAR - Love Outside Of Dreams (2002)

December 18, 2015, 6:47 pm
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While the music on this disc stands as yet another fine addition to  Kahil El’Zabar’s catalogue of collaborative jazz science, it should be noted first that this trio date is the final recording session of the late bassist Fred Hopkins, who died of heart disease six months after they were completed. Upon first listen, the striking and remarkable thing about Love Outside of Dreams sounds like a trio that had been playing together for no less than five or ten years. It's not just the intuition or the way in whichMurray’s and El’Zabar tunes are executed, but the sheer and very muscular musicality the band plays with. This is music with a lot of improvisational fire at its center, yet, because of the strength and communication between the players, the nature of the music, it's affirmative and empathetic need to reach out of itself, is articulated with great verve by the trio. The opener and title track features Murray moving through the melodic statement and theme unencumbered by the rhythm section's simultaneous insistence to swing. He makes it knotty and complex, and then allows himself to open to their groove -- which is considerable. On Murray’s "Song for a New South Africa," El’Zabar adopts hand percussion to open, and Murray borrows a line from Dudu Pakwana to create an evolving thematic scheme. It begins and moves toward another melody before returning and then incorporates that line into a funky kind of break that El’Zabar tempers before Hopkins comes in to mediate with a loping pizzicato, played sparely and in the pocket. "Meditation for the Celestial Warriors" is dedicated to Hopkins and his former bandmate, the late Steve McCall. Murray’s beautiful, warm tone, always rough on the edges, wafts like a wisp of smoke over the African thumb piano, blowing low and mournful. Spirits and ghosts are in the center between them as they intone, a sad prayer that simultaneously pays tribute and remembers. The minor-key swing of Murray’s "The Ebullient Duke" is a marked difference in the proceedings, but it is also the place where Hopkins shines brightest, curling around the drum kit and popping deep blues riffs in the accents, which Murray clearly feeds off of when he begins to quote loosely from Ellington. Hopkins ups the ante three different times in the improvisation, turning the original tune inside out before turning it on itself one more time top bring it back. He swings so hard that no matter what's going on, he cannot be diverted from his purpose. It's a beautiful cut and a fitting send off for Hopkins, one of the most durable and enduring bassists of the free jazz era.  -  Tom Jurek


Tracks
01. Love Outside of Dreams (Kahil El’Zabar)
02. Song for a New South Africa (David Murray)
03. Song of Myself (Kahil EL’Zabar)
04. Nia (Kahil El’Zabar)
05. Meditation for the Celestial Warriors (Kahil El’Zabar)
06. The Ebullient Duke (Kahil El’Zabar)
07. Fred (Kahil El’Zabar / Allan Holdsworth)
08. One World Family (Kahil El’Zabar / David Murray)

FRED HOPKINS  bass
DAVID MURRAY  tenor saxophone, bass clarinet
KAHIL EL’ZABAR  drums, african drums, kalimba

Recorded 10-12 May 1997
Delmark Records   DG – 541
http://www.delmark.com


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DAVE BALLOU, GREG GISBERT, TIM HAGANS, GEORGE COLLIGAN - Jam Session Vol. 22 (2007)

December 19, 2015, 9:25 pm
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Tracks
1. One Finger Snap (herbie Hancock)
2. Like Someone In Love (Jimmy Van Heusen / Johnny Burke)
3. Mamacita (Joe Henderson)
4. Ballad Medley: Body And Soul (Heyman/Eyton/Green/Sour)
5. Ballad Medley: Stella By Starlight (Victor Young)
6. Ballad Medley: Angel Eyes (Earl Brent/Matt Dennis)
7. Joy Spring (Clifford Brown)
8. Solar (Miles Davis)

DOUG WEISS  bass
DARREN BECKETT  drums
GEORGE COLLIGAN  piano, trumpet
GREG GISBERT trumpet
TIM HAGANS  trumpet
DAVE BALLOU  trumpet, flugelhorn

Recorded May 1999

SteepleChase – ECCD 31614
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RYAN KISOR, JIMMY GREENE, JIM PUGH - SteepleChase Jam Session Vol. 8 (2003)

December 20, 2015, 4:13 pm
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Tracks
01. ESP (Wayne Shorter)
02. Up Jumped Spring (Freddie Hubbart)
03. Seven Steps To Heaven (Victor Fedman)
      BALLAD MEDLEY
04. Never Let Me Go (Jay Livingston / Ray Evans)
05. I’m Old Fashioned (Jerome Kern)
06. Body and Soul (Johnny Green)

07. Footprints (Wayne Shorter)
08. Blue Cycle (Andy LaVerne)
09. Freedom Jazz Dance (Eddie Harris)

RYAN KISOR  trumpet
JIMMY GREENE  tenor saxophone
JIM PUGH  trombone
ANDY LAVERNE  piano
JAY ANDERSON  bass
BILLY DRUMMOND  drums

Recorded September 1997
SteepleChase Records  SCCD  31547  Denmark
http://www.steeplechase.dk/



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RYAN KISOR - Donna Lee (2003)

December 20, 2015, 5:03 pm
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“Kisor has some of the ebullience of the young trumpet masters of hard bop yore…there’s a kind of kindred energy in his playing, and he has quite a personal, immediate sound.”  -  The Penguin Guide to Jazz on CD, 6thEd.

“He’s always developing and playing new things…He’s a natural. He’s always played music, and he can play whatever he wants to at will.”  -  Peter Bernstein


Tracks
01. Song For My Father (Horace Silver)
02. Donna Lee (Charlie Parker)
03. Short Story (Kenny Dorham)
04. Up Your Tempo (Ryan Kisor)
05. Rip Tide (Ryan Kisor)
06. I Had The Craziest Dream (Mack Gordon / Harry Warren)
07. Work Song (Nathaniel Adderley / Oscar Brown Jr.)
08. Zingaro (Antonio Carlos Jobim)

RYAN KISOR  trumpet
SAM YAHEL  organ
PETER BERNSTEIN  guitar
GREG HUTCHINSON  drums

Recorded in New York, November 25, 2003
VIDEOARTS  VACM – 1239



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RYAN KISOR - The Dream (2001)

December 23, 2015, 12:58 am
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There's a quiet intensity about Ryan Kisor's latest, The Dream (Criss Cross). While the CD doesn't push many technical or stylistic envelopes, the trumpet man from Sioux City takes a creative step forward backed by a taking-care-of-business rhythm section including pianist Peter Zak, bassist John Webber and drummer Willie Jones III. Kisor plays long lines full of twists and turns on "Minor Ordeal," using interesting altered chords and substitutions without harsh dissonance. While Booker Little inspires his harmonic sophistication, Kisor has his own sound; a gorgeous, glowing tone and vibrato that caresses the bittersweet melody of "I Should Care." On "Deception," a bebop romp through the changes of "Cherokee," a cup-muted Kisor and colleagues sound relaxed even at such a fast tempo. They play out on "Panic Attack," and right down the middle on the finger-popping "Bert's Blues." For the finale, Kisor pays homage to Dizzy Gillespie with the jaunty calypso "Fiesta Mojo," featuring special appearances by tenor saxophonist Eric Alexander and percussionist Renato Thomas.  -  Larry Appelbaum
Tracks
01. Minor Ordeal (R. Kisor)
02. The Dream (R. Kisor)
03. Deception (R. Kisor)
04. Calypso Cove (R. Kisor)
05. Bert’s Blues (R. Kisor)
06. Panic Attack (R. Kisor)
07. I Should Care (Cahn / Stordahl / Weston)
08. Fiesta Mojo (D. Gillespie)

RYAN KISOR  trumpet
ERIC ALEXANDER  tenor saxophone (8)
PETER ZAK  piano
JOHN WEBBER  bass
WILLIE JONES III  drums
RENATO THOMS  percussion (8)

Recorded at Systems Two Recording Studios. Brooklyn, N.Y.

Criss Cross Jazz  CRISS  1215
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RYAN KISOR - Power Source (2001)

December 23, 2015, 2:59 am
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Power Source is something of a departure for Ryan Kisor, as it features a piano-less quartet fronted by the leader and tenor saxophonist Chris Potter, with James Genus on bass and Gene Jackson on drums. The harmonically sparse format gives the set a more modern edge, although there's still loads of tradition in these seven tracks. After getting warmed up with Kisor's fast, polyphonic title cut, the quartet tackles two Chris Potter originals ("Salome's Dance,""Pelog"), two Mingus charts ("Duke Ellington's Sound of Love,""Boogie Stop Shuffle"), and Jimmy Heath's beautiful waltz "New Picture" before signing off with Ornette Coleman's classic "Bird Food." (Potter, incidentally, recorded both "Salome's Dance" and "Boogie Stop Shuffle" on his 1994 release, Pure.) Kisor's trumpet work is superb, his rapport with Potter highly developed. While he has consistently displayed great promise from a remarkably early age, Power Source represents his biggest "growth spurt" thus far. He shouldn't be underestimated.  -  David R. Adler


Tracks
01. Power Source (Ryan Kisor)
02. Salome´s Dance (Chris Potter)
03. Duke Ellington’s Sound Of Love (Charles Mingus)
04. New Picture (Jimmy Heath)
05. Boogie Stop Shuffle (Charles Mingus)
06. Pelog (Chris Potter)
07. Bird Food (Ornette Coleman)

RYAN KISOR  trumpet
CHRIS POTTER  tenor sax
JAMES GENUS  bass
GENE JACKSON  drums

Recorded at Systems Two Recording Studios, Brooklyn, N.Y.
CRISS  1196 CD

www.crisscrossjazz.com
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RYAN KISOR - This Is Ryan (2005)

December 23, 2015, 11:44 am
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This is Ryan continues to confirm that trumpeter Ryan Kisor is more than a "young lion, a label he received after winning the Thelonious Monk Competition back in 1990. At the still young age of 32, he is continuing in the tradition of the modal-minded trumpet players who preceded him, sounding like he comes from the direct lineage of the great Woody Shaw. His excellent trumpet technique, especially clear in the upper register, makes possible seamless solo lines. This is Ryan features compositions by three major trumpet players from the '50s-60s: Kenny Dorham's "Una Mas, Don Cherry's "Art Deco and Dizzy Gillespie's "Con Alma. The CD also includes four solid Kisor originals: "Waiting for Brown, a hard driving modal tune; "Maiden Lane, a smooth flowing ballad; "Dirty Ernie, a hard swinger; and "Solitaire," a swinging waltz.
The musicians Kisor has assembled—Grant Stewart (tenor sax), Peter Zak (piano), John Webber (bass) and Jason Brown (drums)—are all well versed in the hard bop and modal traditions, and the recording overall has the old-school feel of the great quintets of the '60s. As a support system Stewart, Zak, Webber and Brown all deliver, though at times I desired a more adventurous interaction between the members of the ensemble.
The standout track is the classic "You and the Night and the Music. Kisor takes the well-known melody and embellishes it, changing some notes in the head to give the tune a modal twist, and later takes a very exciting solo. "Con Alma also deserves recognition for the silky smooth interaction of the trumpet and tenor sax lines in the arrangement.  -  Judith Insell 
Tracks
01. Waitinf for Brown (Ryan Kisor)
02. You and the Night and the Music (Arthur Schwartz)
03. Una Mas (Kenny Dorham)
04. Maiden Lane (Ryan Kisor)
05. Dirty Ernie (Ryan Kisor)
06. Art Deco (Don Cherry)
07. Con Alma (Dizzy Gillespie)
08. Solitaire (Ryan Kisor)

RYAN KISOR  trumpet
GRANT STEWART  tenor saxophone
PETER ZAK  piano
JOHN WEBBER bass
JASON BROWN  drums

Recorded at Sears Sound Studio, New York, March 8, 2005

Videoarts Music Inc.  673406
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GEORGE CABLES - Live In Bollate (2005)

December 23, 2015, 3:25 pm
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Tracks
01. Looking For The Light (George Cables)
02. Helen’s Song (G. Cables)
03. Señorita de Aranjuez (G. Cables)
04. Mr. Baggy Pants (G. Cables)
05. Yo Todavia La Quiero (Joe Henderson)
06. ‘Round Midnight (Thelonious Monk/Bernie Hanighen/Cootie Williams)
07. I mean You (Monk)

GEORGE CABLES  piano
ESSIET ESSIET  bass
PIERO ODORICI  tenor and soprano saxophones
VICTOR LEWIS  drums

Recorded live March 22, 2005 at Auditorium Don Bosco di Cascina del sole, Bollate, Milan
Musica Jazz MJCD  1176  (Italy)



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GEORGE CABLES - One For My Baby (2001)

December 25, 2015, 1:16 pm
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George Cables draws from a variety of standards and jazz compositions by well-known composers for this 2000 trio date with bassist Jim Anderson and drummer Yorun Israel, the latter appearing for the first time with the pianist on a record date. Cables starts with a decidedly bop-flavored take of Duke Ellington's "Drop Me off in Harlem," romps through Billy Taylor's lively calypso "Capricious," and offers stunning interpretations of two gems by Wayne Shorter, "Virgo" and "Anna Maria." His interpretations of the standards are also of high value. He glides effortlessly through Johnny Mandel's "Emily" (a favorite of the late pianist Bill Evans and many others), while his sensitive rendition of the lush ballad "My Foolish Heart" is very lyrical. The session wraps with a loping, blues-drenched take of "One for My Baby."  -  Ken Dryden 

Tracks
01. Drop Me Off In Harlem (Duke Ellington / Nick A. Kenny)
02. Virgo (Wayne Shorter)
03. My Foolish Heart (Ned Washington / Victor Young)
04. I Should Care (Sammy Cahn / Axel Stordahl / Paul Weston)
05. Capricious (Billy Taylor)
06. Emily (Johnny Mandel / Johnny Mercer)
07. Anna Maria (Wayne Shorter)
08. One for My Baby (And One More for the Road) (Harold Arlen / Johnny Mercer)

GEORGE CABLES  piano
YORON ISRAEL  drums
JIM ANDERSON  bass

Recorded Abril 1999, New York

SteepleChase  SCCD  31487
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ANDRZEJ JAGODZINSKI TRIO & GIOVANNI MIRABASSI - C Minor (2005)

December 25, 2015, 3:42 pm
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On this disc, the Jagodzinski Trio from Poland plays alongside Italian pianist Giovanni Mirabassi (the bandleader taking on the accordion) for a program that includes several original songs and a couple of takes on Miles Davis, Bill Evans and Chopin.
The album opens with Mirabassi's "Tango, which is tailor-made for this four-piece format, as Jagodzinski skillfully channels the vibe and feel of the Argentinean genre. The chemistry among the musicians is evident (this is their third disc together). The piano/accordion combination works like a charm, specially on more fast-paced numbers such as "Souvenirs Souvenirs, where you can also notice the chops of bassist Adam Cegielski and drummer Czestaw Bartkowski, who provide strong backing to the track and also shine individually with their fill-ins and riffs.
Bassist Adam Cegielski and the bandleader beautifully exchange leads on Chopin's "Valse in La Mineur, while Mirabassi backs them with subtle but effective chords that fill all open spaces in the song. During his own solo, he blends his classical and jazz influences by playing in an incredibly simple manner.
Polish jazz musicians seem to have an ongoing love affair with Brazilian music, which can be evidenced by the fact that many artists from that Latin country have toured in Poland. Several albums have either covered tunes by Baden Powell, Jobim and others or been influenced by these composers (vocalist Anna Maria Jopek, for instance, has recorded Powell's "Apelo (with the title "Samba Przed Rozstaniem" , from her 1998 CD Szeptem) and has made an entire album of original bossa nova-inspired songs). Here we are offered "Samba de Tygmont, a Jagodzinski tune that allows the group to be both creative and playful around the melody.  -  Ernst Barteldes

Tracks
01. Tango (Giovanni Mirabassi)
02. Blue Melody (Andrzej Jagozinski)
03. Souvenirs Souvenirs (Giovanni Mirabassi)
04. Rova (Giovanni Mirabassi)
05. La Barre D’Etel (Giovanni Mirabassi)
06. Valse la Mineur (Frédéric Chopin)
07. Deep Cut (Andrej Jagozinski)
08. Samba de Tygmont  (Andrzej Jagodzinski)
09. Mirabasson Continuo (Andrzej Jagodzinski)
10. Solar (Miles Davis)
11. My Romance (Bill Evans)
12. Barcarole (Giovanni Mirabassi)

ANDRZEJ JAGODZINSKI  accordion, piano
ADAM CEGIELSKI  double bass
CZESLAW BARTKOWSKI  drums
GIOVANNI MIRABASSI  piano

Recorded at Studio S4, Polish Radio, Warsaw, 2005
ProFonica – PLB 583

www.profonica.pl
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EVERYMAN BAND - Without Warning (1984)

December 27, 2015, 2:37 pm
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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


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DAVID TORN - Cloud About Mercury (1987)

December 27, 2015, 2:52 pm
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This 1987 production signifies experimental guitarist David Torn's second effort for Germany-based ECM Records. Here, the artist exhibits a sound, style, and methodology that are clearly his own, amid superb support by Bill Bruford (drums), Tony Levin (Chapman Stick/bass), and Mark Isham (trumpets). Torn generates gobs of excitement via his cunningly articulated phraseology, while also incorporating North African and East Indian modal concepts into these power-packed performances, fabricated upon climactic opuses and steamy crescendos. The guitarist's rippling harmonics and off-kilter voicings make for an engaging listening experience, especially when he trades sprightly fours with Isham atop the often-circuitous rhythms. Simply put, Cloud About Mercury looms as one of the finest jazz fusion dates of the '80s, and should be deemed a mandatory purchase for aficionados of this genre.  Glenn Astarita

Tracks
1. Suyafhu...Snapping the Hollow Reed (David Torn)
2. The Mercury Grid (David Torn)
3. 3 Minutes of Pure Entertainment (David Torn)
4. Previous Man (Torn/Isham/Levin/Bruford)
The Network of Sparks
5. a) The Delicate Code (David Torn)
6. b) Egg Learns To Walk (Torn/Isham/Levin/Bruford)
c) Suyafhu Seal (David Torn)

DAVID TORN electric and acoustic guitars
TONY LEVIN Chapman Stick, synthesizer-bass
BILL BRUFORD drums, synthesizer-drums, percussion
MARK ISHAM trumpet, piccolo trumpet, flugelhorn, synthesizer on (1)

Recorded March 1985 at Audio International, London
ECM 1322



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DAVID MURRAY & JACK DeJOHNETTE - In Our Style (1986)

December 27, 2015, 3:24 pm
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David Murray, doubling on tenor and bass clarinet, interacts with drummer Jack DeJohnette and (on two of the seven selections) bassist Fred Hopkins for a set of originals by Murray, DeJohnette and Butch Morris. The duo/trio explore a variety of moods with Murray’s extroverted and advanced solos generally serving as the lead voice. Although an avant-garde set, this Japanese import has its mellow and melodic moments before the fire takes over again.

Tracks
1. In Your Style (Lawrence “Butch” Morris)
2. Tin Can Alley (Jack DeJohnette)
3. Both Feet on the Ground (David Murray)
4. The Dice (Lawrence “Butch” Morris)
5. Pastel Rhapsody (Jack DeJohnette)
6. Great Peace (David Murray)
7. Kalimba (Jack DeJohnette)

JACK DeJOHNETTE  drums, piano
FRED HOPKINS  bass
DAVID MURRAY  tenor saxophone, bass clarinet

Recorded at Sound Ideas, New York City on September 3 & 4, 1986
DIW  -  DIW-819  (Japan)


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ANDREW HILL - Dusk (2000)

December 29, 2015, 5:05 pm
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Alfred Lion, founder of Blue Note records, reaction to encountering pianist Andrew Hill's music said it was exactly like the experience he had the first time he heard Thelonious Monk and Herbie Nichols. Lion and Blue Note devoted most of the 1960s to recording sessions for Hill. His sixties sessions were unique post-Monk visions somewhere between bop and the avant-garde. Like Herbie Nichols, Hill didn't receive the deserved public recognition during his Blue Note career. And unlike Monk, he didn't persist in the New York scene suffering in semi-obscurity until being "discovered" by the masses. Hill moved to the West Coast, spending the 1970s and 80s teaching and performing solo recitals.
His return to New York a few years ago signaled a readiness to enter the jazz dialogue once again. Earlier this year, he, along with guitarist Jim Hall, sat in as sidemen on Greg Osby's four star recording The Invisible Hand (Blue Note). This release, as leader for Palmetto, assembles a quintet of instruments that parallel his 60s opus Point Of Departure. Eschewing bop for melancholy, Hill's all too personal music is thoughtful, meditative, and accessibly intellectual. He has found a musical soulmate in alto saxophonist Marty Ehrlich. The 45 year-old reedist plays a cerebral horn a la John Carter and Julius Hemphill. Joined by young lion Greg Tardy and Ron Horton of the Jazz Composer's Alliance, Hill develops a complete suite of music. From horn chorale work to the Monk influenced piano of "ML," Hill plays with shifting time sequences and patterns. Exactly the attractiveness he has to Greg Osby and his sidemen Ehrlich and Horton. "Tough Love" opens with an allusion to "Thanks For The Memories" before exercising some elegant demons. "15/8" another variant timepiece allows his rhythm section to boil, with Ehrlich, Tardy and Horton letting their respective big dogs eat. Hill's music of the sixties opened doors for musicians like Anthony Braxton, Myra Melford, Dave Douglas, and Greg Osby. His return to the New York spotlight will definitely nudge the jazz world into new and creative directions.  -  Mark Corroto


Andrew Hill’s first album since 1990's But Not Farewell is also his first for Palmetto, a daring indie label for which his unorthodox music is perfectly suited. A fascinating song cycle inspired by Jean Toomer's 1923 book Cane, Dusk finds the veteran pianist at the helm of a phenomenal new sextet comprised of Ron Horton on trumpet, Gregory Tardy and Marty Ehrlich on saxophones,Scott Colley on bass, and Billy Drummond on drums. The somewhat lengthy title track, built upon a repeated bassline, has the horns executing thick harmonies and darting unison passages. "Sept" and "15/8" are extended, frenetic forays into odd meter. "Tough Love" and "Focus" are unaccompanied piano solos that offer new insights into Hill’s unpredictable musical language. "ML" and "Ball Square" are two relatively brief selections: the former a waltz, the latter an uptempo swing with a half-time interlude that strongly evokes Charles Mingus "T.C." is a tribute to the late saxophonist Thomas Chapin, featuring Tardy and Ehrlich on dueling bass clarinets. (No bass clarinet credits are given on the CD jacket.) With Dusk, Andrew Hill makes it plain that his uncompromising musical vision is intact, undiluted, and perhaps more advanced than ever.  -  David R. Adler

Tracks
1. Dusk
2. ML
3. Ball Square
4. Tough Love
5. septiembre
6. T.C.
7. 15/8
8. Focus

SCOTT COLLEY  bass
BILL DRUMMOND  drums
ANDREW HILL  piano
MARTY EHRLICH  saxophone
GREG TARDY  saxophone, clarinet, flute
RON HORTON  Trumpet

All compositions by Andrew Hill
Recorded at Maggie’s Farm September/October 1999
Palmetto Records  -  PM2057



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ANDREW HILL - Andrew (1964)

December 29, 2015, 8:44 pm
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ANDREW! finds the avant-garde composer and pianist Andrew Hill following up his landmark 1964 LP, POINT OF DEPARTURE, with a more flowing quintet session, featuring the estimable vibraphonist Bobby Hutcherson and Sun Ra tenor saxophonist John Gilmore (in a rare appearance outside of the Arkestra). This is the Blue Note sound of the '60s at its best, cutting edge yet beautifully produced with room enough for full, exploratory improvisations by all concerned. Hutcherson in particular provides a warm, fluent foil to Hill's more abstract conceptions, and Gilmore's bright tone and energetically structured solos bring even more fire to the mix. Andrew Hill remained somewhat underrated throughout his career, but few musicians of the time possessed his special intellectual integrity, the mark of a true composer. ANDREW! captures him in a peak period.

Tracks
01. The Groits
02. Black Monday
03. Duplicity
04. Le Serpent Qui Danse
05. No Doubt
06. Symmetry

ANDREW HILL  piano
BOBBY HUTCHERSON  vibraphone
RICHARD DAVIS bass
JOHN GILMORE  tenor saxophone
JOE CHAMBERS  drums

Music composed by Andrew Hill
Recorded on June 25, 1964 at the Van Gelder Studio,  Englewood Cliffs, New Jersey
Blue Note  0946 3 11438 2 3, originally issued as Blue Note BST  84203





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KEITH JARRETT - Birth (1972)

December 29, 2015, 8:59 pm
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Pianist Keith Jarrett's sessions of July 1971 resulted in three LPs and the birth of his finest group: a quartet (and sometimes quintet) with tenor saxophonist Dewey Redman, bassist Charlie Haden, and drummer Paul Motian. This particular album has some eccentric moments, with Jarrett switching to soprano on the effective "Mortgage on My Soul" and making appearances on steel drum, recorder, and banjo (in addition to piano) on two adventurous pieces. Redman is featured on Chinese musette during "Spirit" (which has Haden on conga and steel drums) and also plays some clarinet in addition to his usual tenor. Not everything works, and there are some wandering moments, but the music always holds one's interest; one can easily see the potential that would soon be realized by this intriguing ensemble.  -  Scott Yanow

Tracks
1. Birth
2. Mortgage On My Soul
3. Spirit
4. Markings
5. Forget Your Memories
6. Remorse

KEITH JARRETTpiano
DEWEY REDMANtenor sax, chinese musette, clarinet, percussion
CHARLIE HADENbass, steel drums
PAUL MOTIANdrums, miscellaneous percussion, steel drum, bells

All selections written by Keith Jarrett
Recorded at Atlantic Recording Studios, New York, N.Y.
Atlantic / Wounded Bird Records WOU 1612


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