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CARLA BLEY - Big Band Theory (1993)

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Carla Bley's 1993 recording Big Band Theory features her 18-piece orchestra playing three rather moody and atmospheric originals, plus a straightforward rendition of Charles Mingus' "Goodbye Pork Pie Hat." Listeners expecting the rambunctious humor that was present in some of Bley's earlier big band albums will be disappointed, but there is quite a bit of beauty on this set, particularly during the dramatic slow section of "Birds of Paradise" and the strangely episodic "On the Stage in Cages." Key among the soloists are trumpeter Lew Soloff, trombonist Gary Valente, altoist Wolfgang Puschnig, Andy Sheppard on tenor, and violinist Alex Balanescu. But overall this set (which is enjoyable enough) is less memorable than one would expect from Carla Bley.  -  Scott Yanow 


Tracks
01. On the Stage in Cages (Carla Bley)
02. Birds of Paradise (Carla Bley)
03. Goodbye Pork Pie Hat (Charles Mingus / arr. Carla Bley)
04. Fresh Impression (Carla Bley)

WOLFGANG PUSCHNIG  alto saxophone, flute
CARLA BLEY  piano, arranger
JULIAN ARGÜELLES  baritone saxophone
STEVE SWALLOW  bass
DENNIS MACKREL  drums
KAREN MANTLER  organ
ROGER JANNOTTA  soprano saxophone, flute
PETE HURT  tenor saxophone
ANDY SHEPPARD  tenor saxophone, soprano saxophone
ANNIE WHITEHEAD  trombone
GARY VALENTE  trombone
RICHARD EDWARDS  trombone (2)
ASHLEY SLATER  bass trombone
CLAUDE DEPPA  trumpet
GUY BARKER  trumpet
LEW SOLOFF  trumpet
STEVE WATERMAN  trumpet
ALEX BALANESCU  violin

Birds of Paradise was commissioned by The 1992 Glasgow Jazz Fstival
Watt Works – WATT/25,  ECM Records – 519 966 - 2

BOBO STENSON - Goodbye (2005)

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Five years have passed since Swedish pianist Bobo Stenson released his last disc on the ECM label, the sublime Serenity. It's not that he's been quiet or absent during that time, having recorded albums like last year's duet with saxophonist Lennart Aberg, Bobo Stenson/Lennart Aberg. But the limited availability of his Swedish releases has meant that for the most part, and with the exception of appearances on a number of ECM's :rarumcompilations, he's been out of the eye of the greater international public.
And that's a shame. What's become increasingly apparent with Stenson's body of work, especially since returning to the ECM fold as a leader in '96 with Reflections, is that while he may not have the visibility of Keith Jarrett, he clearly possesses the same cachet as a deeply personal interpreter. Certainly he's a more rarefied pianist, less likely to impress by virtue of overt technical expertise, although it would be impossible to create the music he does were he not a formidable player. No, Stenson's strength is in his ability to go deep into material—any material—and find the hidden and more evasive truths that others might not.
One of the best examples on his latest trio record, Goodbye, is his take on Stephen Sondheim's too-often-covered "Send in the Clowns." While so many others introduce a sense of blatant melodrama, Stenson and his trio intimate a more elusive and bittersweet quality that is at the same time somehow more real, more relatable... and more fresh. His collaborators on this date are long-time musical partner Anders Jormin on bass and a relative newcomer to the trio, drummer Paul Motian, who has recently returned to ECM with a remarkable flurry of present and planned future activity.
Stenson is never one to overstate his purpose, most often creating suggestions that demand the listener participate more closely and draw his or her own conclusions. And whether it's Jormin's arrangements of music by Argentinean Ariel Ramirez and Soviet Vladimir Vysotsky—obscure composers, both misunderstood in their time—or more well-known pieces by Ornette Coleman and Tony Williams, the trio's approach is purely democratic, making no instrument predominant and every one absolutely essential.
There are, of course, moments where a particular instrument comes to the fore—Jormin's plaintive arco work at the beginning of Tony Williams' "There Comes a Time," for example. But it's more akin to a conversation where one participant suggests a point of view and then draws back, looking for other opinions and reactions. And while Motian's sense of time is as elastic as Christensen's ever was, it's even subtler and filled with greater implication.
As spacious and ethereal as Goodbye can be, it's equally dynamic, with its own forward motion. The trio rarely swings in a traditional sense, although songs like Coleman's "Race Face" hint at it, more collectively than through any one individual. But in the final analysis, it's a sense of discovery which includes the listener as an active participant that elevates Goodbye above the endless stream of piano trio recordings released every year.  -  John Kilman 

Tracks
01. Send In The Clowns (Stephen Sondheim)
02. Rowan (Anders Jormin)
03. Alfonsina (Ariel Ramirez/arr. Anders Jormin)
04. There Comes A Time (Time Williams)
05. Song About Earth (Vladimir Vysotsky/arr. Anders Jormin)
06. Seli (Anders Jormin)
07. Goodbye (Gordon Jenkins)
08. Music For A While (Henry Purcell/arr. Anders Jormin)
09. Allegretto Rubato (Anders >Jormin)
10. Jack Of Clubs (Paul Motian)
11. Sudan (Paul Motian)
12. Queer Street (Bobo Stenson)
13. Triple Play (Anders Jormin)
14. Race Face (Ornette Coleman)

BOBO STENSON  piano
ANDERS JORMIN  double-bass
PAUL MOTIAN  drums

Recorded April 2004 at Avatar Studios, New York
ECM  1904   /   982 5173 

CECIL PAYNE - Scotch And Milk (1996)

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Though slowed by frequent ill health and no longer able to carry a date alone, through the sheer joy of playing and the craft built from years on the bebop campaign trail, baritonist extraordinaire Cecil Payne is still on the one. Where the stamina is limited, the art and the heart are still firmly intact. Delmark has done Payne a solid turn by surrounding him with simpatico players who bring their own sense of joy to framing and playing foil to the leader.
Payne's collaborators on this date include a somewhat disparate but effective cast of Delmark tenor men Eric Alexander and Lin Halliday, master Detroit trumpeter Marcus Belgrave, pianist Harold Mabern, bassist Jone Ore and drummer Joe Farnsworth. Based on "Cherokee," the clever "Git Sac," one of seven Payne originals, makes clear Payne's still cunning way around a baritone. Willard Jenkins

Tracks
01. Scotch and Milk
02. Wilhelmenia
03. I’m Goin’ In
04. If I Should Lose You
05. Que Pasaning
06. Cit Sac
07. Lady Nia
08. Et Vous Too, Cecil?

CECIL PAYNE  baritone saxophone, flute
MARCUS BELGRAVE  trumpet
ERIC ALEXANDER  tenor saxophone
LIN HALLIDAY  tenor saxophone
HAROLD MABERN  piano
JOHN ORE  bass
JOE FARNSWORTH  drums

All titles composed by Cecil Payne, except “If I Should Lose You” composed by Ralph Rainger and Leo Robin
Recorded at Riverside Studio, Chicago on September 2-3, 1996
Delmark  DE - 494

JASON MORAN - The Bandwagon (2003)

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Jason Moran's Bandwagon forges a path of individuality that is in stark contrast to typical jazz piano trios. The artist is well known for his prodigious talent and his much-earned respect for being both unconventional and progressive in his approach. The new release is not an exception. While the true essence of recorded live performances can be difficult to capture, Moran's concert at the Village Vanguard gives an aural picture of one of today's most dynamic musicians. The new live recording may seem somewhat unusual, but the essence of the talent and wonder of the Jason Moran are intact.
From the 12-second hip-hop introduction to the classical interpretation of Brahms' "Intermezzo, Op. 118, No. 2," the music is anything but mundane. Moran's influences seem endless. The two compositions "Ringing My Phone(Straight Outta Istanbul)" and "Infospace" mix digitized Turkish and Chinese voice samples, drawing heavily on Moran's imagination to deliver music that is unexpected and creative.
Moran's percussive piano skills flow freely as he expertly weaves in and out of many styles. He delivers everything and then some on "Out Front" with ragtime flair and energy. His solos reach fiery crescendos or quiet explorations, as on "Gangsterism On Canvas," where the trio shines as one. The Bandwagon trio is made complete with the talents of longtime associates Nasheet Waits on drums and Taurus Mateen on bass, who are fully in tune to Moran's musical flights of fancy. They bring new life to "Body and Soul," which appeared as a solo composition on Moran's recent solo recording Modernistic (Blue Note, 2002).
Jason Moran and his Bandwagon may seem like an enigma to some jazz purists who long for the past or fear the future. Whether you want to jump on the Bandwagon or not, you've got to give props to a musician who can blend modern jazz with digital samples of a woman spitting stock quotes in Chinese.  -  Mark F. Turner

Tracks
01. Intro
02. Another One
03. Intermezzo No. 2
04. Ringing My Phone (Straight Outta Istanbul)
05. Out Front
06. Gentle Shifts South
07. Gangsterism on Stage
08. Body & Soul
09. Infospace
10. Planet Rock
11. Sound It out

JASON MORAN  piano
NASHEET WAITS  drums
TAURUS MATEEN bass

Recorded November 29-30 at The Village Vanguard
Blue Note – 7243 5 91892 2 4

KEITH JARRETT - Birth (1972)

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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 JARRETT piano
DEWEY REDMAN tenor sax, chinese musette, clarinet, percussion
CHARLIE HADEN bass, steel drums
PAUL MOTIAN drums, 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

KEITH JARRETT - El Juicio (1971)

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El Juicio is an excellent early Jarrett album and finds him in typically eclectic form with his classic American quartet. I nominate the opener, "Gypsy Moth," as the best piece on the record. Sounding a little like a more confident version of "Lisbon Stomp," from Jarrett's 1967 debut album Life Between the Exit Signs, Jarrett first whips up a rollicking theme on the piano and then switches to soprano sax towards the end, the rhythm section swinging hard throughout. "Toll Road" is more abstract, but the collapsing cymbal pattern paired with Charlie Hayden's pummeling bass lines creates an intriguing canvass for Jarrrett and Redman's sax improvisations. "Pre-Judgement Atmosphere" is a short percussion piece that manages to incorporate a steel drum into the mix. The title track is an ecstatic ten-minute free-improv wherein Jarrett pounds out and wails away (if you don't like Jarrett's wordless yelps, I'm living evidence that it is possible to get used to them, eventually). Melodic fragments are continually spun out and just as quickly squashed, and the whole band burns with a smoldering energy. "Piece for Ornette (Long Version)" is a tribute to the free jazz pioneer (and significant influence) Ornette Coleman. It's good, if a little too understated; Redman really shines on it, though. Jarrett has a sense of humor about it, as the following track is the twelve-second "Piece for Ornette (Short Version). "Pardon My Rags" is a short tribute to ragtime-era piano and if you want to hear it you'll have to buy the European release of this album

Tracks
1. Gypsy Moth
2. Toll Road
3. Pardon My Rags
4. Pre-Judgement Atmosphere
5. El Juicio
6. Piece for Ornette (L. V.)
7. Piece for Ornette (L. V.)

KEITH JARRETT piano, soprano saxophone, flute, percussion
DEWEY REDMAN tenor saxophone, percussion
CHARLIE HADEN bass, percussion
PAUL MOTIAN drums, percussion

All selections by Keith Jarrett
Atlantic SD 1673 (LP) / Atlantic 7567 - 80783 - 2

KEITH JARRETT - Shades (1976)

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1975's quintet album SHADES features bassist Charlie Haden, saxophonist Dewey Redman, and dual percussionists Paul Motian and Guilherme Franco pushing Jarrett's typically serene piano style through four lengthy improvisations.

Pianist Keith Jarrett's mid-'70s quintet was the strongest regular group that he ever led and all of its recordings (even some that ramble a bit) are worth picking up. Thanks to its strong start, Shades is one of this unit's most rewarding recordings. "Shades of Jazz" has a memorable melody and logical (if unpredictable) improvisations by Jarrett and tenor-saxophonist Dewey Redman. The momentum slows down a bit with the gospellish "Southern Smiles" and "Rose Petals" but picks up again with the final number, the rather intense "Diatribe," an excellent vehicle for this classic group. Throughout, bassist Charlie Haden, drummer Paul Motian and percussionist Guilherme Franco keep the band's juices flowing. - Scott Yanow

Tracks
1. Shades Of Jazz
2. Southern Smiles
3. Rose Petals
4. Diatribe

KEITH JARRETT piano, percussion
CHARLIE HADEN bass
PAUL MOTIAN drums, percussion
GUILHERME FRANCO percussion
DEWEY REDMAN tenor saxophone, tambourine, maracas

Music composed by Keith Jarrett
Recorded at Generation Sound, NYC 1976
Impulse - ASD - 9322

KEITH JARRETT - Eyes Of The Heart (1976)

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This live recording features pianist Keith Jarrett (also playing a bit of soprano), tenor saxophonist Dewey Redman, bassist Charlie Haden and drummer Paul Motian performing the 33-minute title cut and an 18-minute piece simply called "Encore." Every recording by this particular group (arguably Jarrett's best working ensemble) is well worth hearing, for they had their own sound and the ability to play both "inside" and "outside" simultaneously, and they were continually full of surprises. Originally released as a two-LP set with the fourth side completely blank, the intriguing music has since been reissued as a single CD.  -  Scott Yanow

Tracks
01. The Eyes of the Heart (Part One)
02. The Eyes of the Heart (Part Two)
03. Encore (a-b-c)

KEITH JARRETT piano
DEWEY REDMAN tenor sax, tambourine, maracas
CHARLIE HADEN bass
PAUL MOTIAN drums, percussion

Music by Keith Jarrett. Concert Recording, May 1976
Theater Am Kommarkt, Bregenz (Austria)
ECM 1150

KEITH JARRETT - Arvour Zena (1976)

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ARBOUR ZENA offers three Keith Jarrett compositions for orchestra, piano, bass, and saxophones. Jarrett had earlier shown his interest in contemporary classical composition, first with the ambitious IN THE LIGHT and then with LUMINESCENCE, the latter featuring strings rather than piano, laced with Jan Garbarek's saxophone improvisations. The string section here is drawn from the ranks of the Stuttgart Radio Symphony Orchestra. The scoring is subtle, with an emotive shimmering quality--after an extended piano break by Jarrett on "Runes," the strings emerge seemingly out of the piano itself. The meditative mood is sustained throughout the set. Charlie Haden's rich bass tone offers a nice contrast to Garbarek's crystalline timbre. Recorded at Studio Bauer, Ludwigsburg, Germany in October 1975.

Tracks
01. Runes
02. Solara March
03. Mirrors

KEITH JARRETT  piano
JAN GARBAREK  tenor and soprano saxophones
CHARLIE HADEN  bass

Members Of Radio Symphony Orchestra, Stuttgart
Mladen Gutesha – conductor

Music composed by Keith Jarrett
Recorded October 1975  at Studio Bauer Ludwigsburg
ECM  1070   /   825 592 - 2

GEORGE MRAZ - Jazz (1995)

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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

KENNY DREW TRIO - Your Soft Eyes (1982)

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Pianist Kenny Drew is accompanied by fellow expatriate drummer Ed Thigpen and the talented young bassist Mads Vinding on these 1981 sessions. The leader continued to grow as a player during his years living in Europe, evolving from a strong bop pianist into something more. He opens "Alone Together" with a tense, evocative solo before returning to familiar territory as the rhythm section joins him. His sprightly, brisk take of "How Are Things in Glocca Mora" is a nice change from the usual arrangements, with Vinding's walking bass prominent in the mix. The leader's two originals include the snappy "Evening in the Park" and the lush, intimate ballad "Your Soft Eyes." This rewarding CD seems to have been deleted from Soul Note's catalog, so it is well worth tracking down.  -  Ken Dryden

Tracks
01. Forgotten But Not Gone (Ernie Wikins)           
02. Alone Together (Howard Dietz / Arthur Schwartz)      
03. Your Soft Eyes (Kenny Drew)   
04. Evening In The Park (Kenny Drew)      
05. How Are Things In Glocca Morra? (B. Lane / Y. Harburg)     
06. Mads' Blues (Mads Vinding)     

KENNY DREW  paino
MADS VINDING  bass
ED THIGPEN  drums

Recorded November 25 & 26, 1981 at Barigozzi Studios, Milano  
Soul Note  121 031 - 2
           

KEITH JARRETT - Mysteries (1976)

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Mysteries songs Another in Impulse's extensive series of Keith Jarrett Quintet recordings, this CD isn't one of the more coherent products of the run. Mysteries album It opens on a faltering note with the hopelessly diffuse and rambling "Rotation," and "Everything That Lives Laments" doesn't really get going until a lyrical Vince Guaraldi-like statement from Jarrett sets the track in motion. "Flame" is certainly novel, with Jarrett on Pakistani flute and Dewey Redman on Chinese musette, which combined with the percussion makes for a diverting India/Third World jam Mysteries CD music. Mysteries music CDs The Coltrane-ish 15-minute title track has passages of meditative beauty and others of listless torpor. Mysteries songs For completists only. Mysteries album.  -  Richard S. Ginell

Tracks
01. Rotation
02. Everything That Lives Laments
03. Flame
04. Mysteries

CHARLIE HADEN  bass
PAUL MOTIAN  drums, percussion
GUILHERMO FRANCO  percussion
DEWEY REDMAN  tenor saxophone, Chinese musette, percussion
KEITH JARRETT  piano, Pakistani flute, wood drums, percussion

Music composed by Keith Jarrett
Recorded at Generation Sound, NYC, December 1975
Impulse!  -  ASD  9315

KEITH JARRETT - Yesterdays (2001)

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Yesterdays is the third title ECM has released by Keith Jarrett, Gary Peacock, and Jack Dejohnette (dubbed "the standards trio"). The first two -- The Out-of-Toweners released in 2004 and My Foolish Heart issued in 2007 -- were actually recorded later than this live date recorded in Tokyo in April of 2001. This also marks a first in the pianist's career: the George Gershwin tune "You Took Advantage of Me" appeared on MyFoolish Heart in a very different arrangement, making this the first time Jarrett has ever employed a single track on two consecutive albums. On My Foolish Heart Jarrett used a full-on ragtime intro to the tune. Here, he employs a denser harmonic construction based on its changes and melodic frame. When the band enters, the pop and swing in the tune become pronounced, standing in the same universe as ragtime (which is more than likely the reason Jarrett employed it before) but also much more sophisticated and harmonically complex. Other standouts on this fine set include the bop burners "Scrapple from the Apple" and "Shaw'nuff," the glorious ballads "Smoke Gets in Your Eyes" and "You've Changed," and a deeply moving rendition of "Stella by Starlight." What is most remarkable about this band is its sense of balance between eloquence, interplay, improvisational communication, and swing. This group is not only a solid link to the tradition Jarrett, Peacock, and Dejohnette all came up with, but it is a solid teaching pointer as to how to employ standards for the music in the future. - Thom Jurek

Tracks
01. Strollin' (Horace Silver)
02. You Took Advantage Of Me (Richard Rodgers/Lorenz Hart)
03. Yesterdays (Jerome Kern/Otto Harbach)
04. Shaw'nuff (Dizzy Gillespie/Charlie Parker)
05. You've Changed (Carl Fisher/Bill Carey)
06. Scrapple From The Apple (Charlie Parker)
07. A Sleepin' Bee (harold Arlen/Truman Capote)
08. Intro (keith Jarrett)/Smoke Gets In Your Eyes (Jerome Kern/Otto Harbach)
09. Stella By Starlight (Victor Young/Ned Washington)

KEITH JARRETT piano
GARY PEACOCK bass
JACK DeJOHNETTE drums

Concert recording April 30, 2001 at Metropolitan Festival Hall, Tokyo
"Stella By Starlight" sound-check recording April 24, 2001, Orchard Hall, Tokyo
ECM 2060 / 1774447

KEITH JARRETT - Silence (1977)

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Silence songs The 1992 CD reissue of the Keith Jarrett "American" Quartet's last recording session combines most of the contents of the LPs Byablue and Bop-Be, omitting "Yahllah" and "Konya" from the former and "Pyramids Moving" from the latter. Silence album (Tellingly, in keeping with conservative '90s tastes -- never mind the time-limit excuse -- the deleted tracks are the ones which have an experimental Middle Eastern flavor. Silence CD music ) Still, this partial sampling of the session indicates that the quartet went out on a high note, still exciting and inventive, the old interplay very much in action, unrepentantly acoustic in an electric era. Silence music CDs Like the LP of the same name, "Byablue" brackets the CD with a group version at the beginning and a solo piano benediction at the close, which under these conditions becomes an emotional elegy for the soon-to-be defunct quartet by its leader. Silence songs.  -  Richard S. Ginell

Tracks
01. Byablue (Paul Motian)
02. Rainbow (Margot Jarrett)
03. Trieste (Paul Motian)
04. Fantasm (Paul Motian)
05. Mushi Mushi (Dewey Redman)
06. Silence (Charlie Heden)
07. Bop-Be (Keith Jarrett)
08. Gotta Get Some Sleep (Dewey Redman)
09. Blackberry Winter (Alec Wilder)
10. Pocket Full Of Cherry (Charlie Haden)
11. Byablue. Solo Piano Version (Paul Motian)

KEITH JARRETT piano, soprano sax (on 10)
DEWEY REDMAN tenor saxophone
CHARLIE HADEN bass
PAUL MOTIAN drums

Recorded on September 9, 1977 at Generation Sound. New York City
GRP / Impulse!   GRP  11172

KEITH JARRETT - Personal Mountains (1989)

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It is very much out of character for the prolific Keith Jarrett and his producer Manfred Eicher to hold anything back, yet they've done it here, releasing these live tapes of Jarrett’s European quartet ten years after they were recorded. Presumably, they did it in order not to distract attention from Nude Ants, which was recorded a week after these concerts, but that never stopped them before from just piling on more discs. In any case, these Tokyo recordings were too good to hide; the quartet had reached an interactive creative high around this time, often burning at the rarified level that Nude Antsreached. Jarrett is both lyrically effusive and able to ignite his European colleagues into giving him more swinging support than on earlier sessions. In particular, the title track has a lot of the exploratory fervor of "New Dance" from Nude Ants, and "Late Night Willie" gets down deep into the Jarrett gospel feeling. Jan Garbarek is especially forthright in Tokyo on tenor, while his soprano pierces like a beam of sunlight, and Palle Danielsson (bass) and Jon Christensen (drums) are loose, relaxed, and impeccably recorded. Clearly this is one of the peaks of the European quartet's discography.  – Richard S. Ginell

Tracks
01. Personal Mountains
02. Prism
03. Oasis
04. Innocence
05. Late Night Willie

PALLE DANIELSSON  bass
JON CHRISTENSEN  drums
KEITH JARRETT  piano , percussion
JAN GARBAREK  tenor saxophone, soprano saxophone

Music composed by Keith Jarrett
A concert recording, April 1979, in Tokyo
ECM  1382  /  837 361 - 2

KEITH JARRETT, JACK DeJOHNETTE - Ruta And Daitya (1973)

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Splitting his time between the electric and acoustic pianos and a bit of organ, Jarrett teams up with drummer/percussionist Jack DeJohnette in a series of experimental duets, his only electric session for ECM. The all-acoustic title number ranges all over the lot, from tootling on a bamboo (?) flute to the energizing barrelhouse gospel riffs that would bloom in the solo concerts. Tellingly, there is little in this collaboration that predicts what Jarrett and DeJohnette would do in their Standards Trio of the '80s; rather, it anticipates the exotic Third World side of Jarrett’s American quartet immediately in the future and adds a finishing flourish to his jazz-rock period. Indeed, the most memorably percolating playing by both musicians turns up in the electric numbers, where Jarrett utilizes the distinctively funky, wah-wah, fuzz-tone approach on electric piano that he developed with Miles Davis. As such, this is a valuable, underrated transition album that provides perhaps the last glimpse of the electric Keith Jarrett as he embarked on his notorious (and ultimately triumphant) anti-electric crusade.  -  Richard S. Ginell

Keith Jarrett and Jack DeJohnette, who continue their formidable partnership to this day, join forces for an early and unique collaboration. This being the tail end of Jarrett’s electric period with Miles Davis, Ruta and Daitya marks an archivally important transition into his imminent acoustic pilgrimages. “Overture Communion” captures our attention from the start with a funky, wah-wahed electric piano, warmly guiding us into the album’s exciting, yet somehow always plaintive world. The title track shakes things up with a spate of hand percussion as Jarrett flutes a more abstract improvisation than the one that began the album, though to no less captivating effect. When Jarrett abandons flute for piano, a markedly different shape brands itself into the foreground. In doing so, something gets obscured. It’s not that instruments from such seemingly disparate geographies cannot tread the same path, but simply that they don’t speak to each other as complementarily. Thankfully, Jarrett’s return to flute, this time of bamboo variety, puts us right back into the conversation. DeJohnette takes up a standard drum kit for “All We Got,” a cut that runs around in circles, even as it rouses us with its gospel-infused aesthetic. Jarrett finds himself acoustically redrawn in “Sounds of Peru.” Piano and hand drums work magically this time around as the duo hones further the groove it has been searching for. Jarrett opens up his playing, giving DeJohnette a wider berth in which to lose himself. No longer do the drums skirt the periphery, but frolic in the territory proper. There is even what amounts to a percussion solo as Jarrett coos in the background with delight, thus preparing him for an inspired passage that grinds bass notes in counterpoint to his running right hand. In “Algeria,” Jarrett sings into the flute again, leaving me to wonder why we don’t hear him on the instrument more often, though perhaps its linearity is somewhat limiting to a musician with such expansive hands (hence, his propensity for polyphonic playing). “You Know, You Know” brings us full circle to the electric piano for a more laid-back coolness before we end with “Pastel Morning,” a beautiful meditation on the electric piano. In the absence of punchy distortion, it sounds almost like a vibraphone, its gentler capacities allowed to float of their own accord.
The album’s title is a curious one, and offers at best a rather opaque X-ray of the conceptual skeleton it sheathes. Ruta and Daitya refer to two island-continents, remnants of the second cataclysm to befall the great island of Atlantis. Both were populated by races of titans, known as “Lords of the Dark Face” as a means of indicating their ties to black magic. If we are to believe Madame Blavatsky, who in her second volume of The Secret Doctrine outlines their genealogical significance in her mystical, albeit highly racialized, account of creation, the Egyptians inherited the cosmological legacy of the Ruta Atlanteans, as supposedly evidenced in the similarities of their Zodiacal beliefs. Whatever the origins, there is much to ponder in Ruta and Daitya. The sensitive pianism for which Jarrett is so renowned is in full evidence throughout, though for me his flute playing really sells the album. Jarrett proves himself more than adept and plays with an addictive sense of abandon. DeJohnette, meanwhile, enchants with a melodic approach to his kit, especially in his use of cymbals.
This isn’t an album I would necessarily recommend to those just starting their Jarrett or ECM explorations. For what it is—a meeting of two consummate musical minds—its importance is a given. While perhaps not as consistently inventive as other likeminded projects (see, for example, the phenomenal Charles Lloyd/Billy Higgins effort Which Way Is East), it is certainly more hit than miss, and strikes this listener with the ambitions of its musicians’ reach every time.

Tracks
01. Overture (Keith Jarrett)
02. Ruta And Daitya (Keith Jarrett / Jack DeJohnette)
03. All We Got (Keith Jarrett / Jack DeJohnette)
04. Sounds Of Peru (Keith Jarrett / Jack DeJohnette)
05. Submergence (Keith Jarrett / Jack DeJohnette)
06. Awakening (Keith Jarrett)
07. Algeria (Keith Jarrett / Jack DeJohnette)
08. You Know, You Know (Keith Jarrett)
09. Pastel Morning (Keith Jarrett)

KEITH JARRETT  piano, electric piano, organ, flute
JACK DeJOHNETTE  drums percussion

Recorded May 1971 at Sunset Studios, Los Angeles
ECM  1021  /  531 776 – 2

RYAN KISOR QUARTET - The Dream (2001)

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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

HAROLD MABERN - Stright Street (1990)

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This trio date by pianist Harold Mabern, bassist Ron Carter and drummer Jack DeJohnette has Mabern originals dedicated to Sonny Stitt and Wayne Shorter, plus some offbeat standards and a pair of rarely performed John Coltrane tunes ("Straight Street" and "Crescent"). The interplay between the musicians is impressive and Mabern is heard throughout in excellent form. He closes the set with a piano solo that he titled "Apab and Others," after Art Tatum, Phineas Newborn, Ahamd Jamal and Bud Powell. This will be a difficult CD to find.  -  Scott Yanow

Tracks
01. Mr. Stitt (Harold Mabern)
02. It’s All in the Game (Carl Sigman / Charles Dawes)
03. To Wayne (Harold Mabern)
04. Afterhoughts (Harold Mabern)
05. Straight Street (John Coltrane)
06. Don’t You Worry ‘Bout a Thing (Stevie Wonder)
07. Crescent (John Coltrane)
08. It’s You or No One (Sammy Cahn / Jule Styne)
09. Seminole (Harold Mabern)
10. Apab and Others (Harold Mabern)

HAROLD MABERN  piano
RON CARTER  bass
JACK DeJOHNETTE  drums

Recorded at A & R Recordings, NYC on December 11, 1989
DIW – 608  (Japan)

MARK GROSS - Riddle Of The Sphinx (2000)

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Heavily inspired by ancient Egyptian culture, alto/soprano saxophonist Gross has constructed a musical theme park for this recording, one evoking images of wind-whipped sands and desert caravans. The meat of the music is clearly Gross' literate and even-keeled sax playing, but much can be said about Joe Locke's shadings on vibes and (especially) marimba and the incredibly sensitive and commanding presence of the great pianist Mulgrew Miller. Bassist Darryl Hall, drummer Brian Blade, and percussionist Khalil Kwame Bell add their fair share as well, but the cherry on top is the oud playing of John LaBarbara, who contributes the perfect amount of spice to this Middle Eastern jazz gumbo. Gross wrote half of the CD's ten cuts. "Valley of the Dry Bones" starts with a Coltrane-like free-burning fire that eventually gives way to a camel-strut pace propelled by alto sax, oud, and marimba. "Moses in Egypt," a quietly urgent, modal 7/8, is an interesting concept, while the title cut is graced by Gross' soprano, Blade's brushed jungle beat, and Miller's cascading piano. "The Desert Sands of Cairo" is a sunny stroll, and the "The Red Sea" features Miller's lush piano and Gross' forward-march alto. The other half of the recording showcases well-known jazz pieces. On an alto-driven version of Wayne Shorter's classic "Black Nile," Blade works the tempo like a mad puppeteer. Cannonball Adderley's "Marabi," adorned here with soprano, oud, bells, and bowed bass, flows into a neat Caribbean groove. A rendition of Miller's "Eastern Joy Dance" starts much more patiently than the original, but the song's familiar alto/vibe melody is there through it all. Also included is Kenny Garrett's beautiful "Lullaby of Isfahan" (highlighted by Gross' soprano) and an alto/piano duet treatment of Billy Strayhorn's "Isfahan." As a concept album, this stands as a refreshing reminder of how the ethnic jazz combinations conceived by John Coltrane, Yusef Lateef, and Joe Harriott can be built upon in current-day jazz. Gross should be commended for making a go of this.  -   Michael G. Nastos

Tracks
01. Valley of the Dry Bones (Mark Gross)
02. Moses in Egypt (Mark Gross)
03. Eastern Joy Dance (Mulgrew Miller)
04. Lullaby of Isfahan (Kenny Garrett)
05. Riddle of the Sphinx (Mark Gross)
06. Desert Sands of Cairo (Mark Gross)
07. Black Nile (Wayne Shorter)
08. Isfahan (Ellington / Strayhorn)
09. Marabi (Julian “Cannonball” Adderley)
10. Red Sea (Mark Gross)

MARK GROSS  alto & soprano sax
MULGREW MILLER  piano
BRIAN BLADE  drums
DARRYL HALL  bass
JOE LOCKE  vibes, marimba
KHALIL KWAME BELL  percusiion
JOHN LA BARBARA  oud

Recorded at Sear Sound April 19 & 20, 1999
J Curve Records  jCR1011

FRANK FOSTER'S LOUD MINORITY BIG BAND - We Do It Diff'rence (2003)

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JazzTimes:
reviewed by Larry Appelbaum

Sometimes you just want a big band that'll knock your socks off. That's when you look for Frank Foster and the Loud Minority. Their 2002 date at the Jazz Standard in New York City was recorded by Pierre Sprey, and it's been released as We Do It Diff'rent (Mapleshade). The repertoire is a mix of standards and originals, all but one arranged by Foster. They get things started with a gospel-tinged shouter titled "G'on An' Git It Y'all" loosely based on "Down By the Riverside" and featuring solos from pianist Danny Mixon and trombonist Clark Gayton. One of the up-and-comers, trumpeter Jeremy Pelt, takes "Stella by Starlight" for a ride but then gives way to a breathtaking orchestrated saxophone section solo, complete with a quote from "The Daring Young Man on the Flying Trapeze." Daring indeed. Vocalist Dennis Rowland steps to the spotlight with his shuffle-based arrangement of the Ida Cox classic "Wild Women Don't Have the Blues" (here titled "Wild Women Don't Worry") complete with stratospheric trumpet work from Jon Faddis. Both Rowland and Faddis get the crowd shouting and responding to their calls. Foster's arrangement of "Lover" includes an introductory interpolation from the bebop classic "Shaw Nuff," and Sylvia Cuenca's ambidextrous drum work on this tune elicits whoops from the band. It's hard to believe this was her first gig with the group-there's so much feeling and spirit in these performances.  -  Larry Appelbaum

All About Jazz:
reviewed by Jack Bowers

Frank Foster’s Loud Minority Big Band is more limber than loud -- although it doesn’t shrink from shouting whenever that’s appropriate on this persuasive in-concert album recorded in June ‘02 at NYC’s Jazz Standard, when the seventy-three-year-old Foster was recovering from a stroke that immobilized his left arm and left leg and limited his role to that of emcee.
As one would expect from an old hand who joined the Count Basie Orchestra half a century ago and fronted the band for nine years (1986-95), Foster salutes the Count’s buoyant spirit in almost every way save repeating well-traveled numbers from the Basie book (with one exception, his classic “Shiny Stockings,” handsomely renovated for the occasion). Foster’s other originals (“G’on an’ Git It Y’all,” “Fos’ Alarm,” “Cecilia Is Love,” “Skull-Doug-Ery”) were written especially for the seven-year-old Loud Minority ensemble. Completing the program are four standards (“Stella by Starlight,” “Lover,” “You Go to My Head,” “Where or When”) and one blues, “Wild Women Don’t Worry,” the last three featuring the seductive baritone of special guest and ex-Basie vocalist Dennis Rowland.
Foster’s other guest, trumpeter Jon Faddis, shakes the rafters on “Wild Women” and “Cecilia,” and trumpeters Jeremy Pelt and Cecil Bridgewater glisten and glow on “Stella” and “Stockings,” respectively. Baritone saxophonist James Stewart is showcased on “Fos’ Alarm,” tenor Bill Saxton and drummer Sylvia Cuenca (a last-minute replacement whose forceful timekeeping earned her a permanent gig with band) on “Lover,” tenor Keith Loftis on “Skull-Doug-Ery,” while pianist Daniel Mixon has a number of engaging ideas to impart on “G’on an’ Git It,” “Cecilia,” “Skull-Doug-Ery” and (uncredited) “Shiny Stockings.” There are some other minor errors on the playlist, with trombonist Clark Gaton listed as trumpet soloist on “G’on an’ Git It,” trumpeter Derrick Gardner as trombonist on “You Go to My Head,” Rowland as vocalist (he’s not) on “Shiny Stockings.”
Echoing Basie’s philosophy, Foster writes that “you can’t keep a band of brilliant players together and burning without challenging them with a constant stream of fresh new music.” Let’s hope that Foster keeps challenging the Loud Minority for years to come.

Audiophile Audition:
reviewed by John Henry

Saxist, arranger and leader Foster led the Count Basie Band for a decade and organized the Loud Minority seven years ago. His big band swing arrangements for the new group are just a excellent as his charts for Basie but this aggregation has its own special sound that isn’t just emulating the Basie sound. A lot of effort and courage went into makeing this CD. Foster - in his seventies - was recovering from a stroke and this was his first live appearance since it occurred. Mapleshade’s Pierre Sprey had to haul and set up a lot of gear to record the band live with a similar audio fidelity to the hundred or so sessions he has recorded in his own home studio. Vocalist Dennis Rowland is a standout, and the drummer was a petite woman called in at the last minute when the band’s regular drummer was out of town. It all jelled and the result is one of the most enjoyable big band recordings I’ve heard in some time.



Tracks
01. G’on An’ Git It Y’all (F. Foster)
      solos: D. Mixon, piano; C. Gaton, trumpet; arr: F. Foster
02. Stella By Starlight (N. Washington / V. Young)
      solos: J. Pelt, trumpet; arr: F. Foster
03. Wild Women Don’t Worry (I. Cox)
      solos: J. Faddis, trumpet; B. Saxton, tenor sax; arr: D. Carley
04. Fos’ Alarm (F. Foster)
      solos: J. Stewart, bari sax; arr: F. Foster
05. Lover (L Hart / R. Rodgers)
      solos: B. Saxton, tenor sax; S. Cuenca, drums; arr: F. Foster
06. Shiny Stockings (F. Foster)
      solos: C. Bridgewater, trumpet; B. Saxton, tenor sax; arr: F. Foster
07. Where Or When (L. Hart / R. Rodgers)
      arr: F. Foster
08. Cecilia Is Love (F. Foster)
      solos: J. Faddis, trumpet; J. Stewart, bari sax; D. Mixon, piano; arr: F. Foster
09. You Go To My Head (J.F. Coots / H. Gillespie)
      solos: D Gardner, trombone; arr: F. Foster
10. Skull-Doug-Ery (F. Foster)
      solos: K. Loftis, tenor sax; D. Mixon, piano; arr: F. Foster

BRUCE WILLIAMS  lead alto sax
JOHN FORD  alto sax
BILL SAXTON  tenor sax
KEITH LOFTIS  tenor sax
JAMES STEWART  baritone sax
VINCENT GARDNER  lead trombone
CLARK GATON  trombone
STAFFORD HUNTER  trombone
BILL LOWE  bass trombone, tuba
JON FADDIS  trumpet
FRANK GREENE  lead trumpet
DARRICK GARDNER  trumpet
KENYATTA BEASLEY  trumpet
JEREMY PELT  trumpet
CECIL BRIDGEWATER  trumpet
DANIEL MIXON  piano
EARL MAY  bass
SYLVIA CUENCA  drums
DENNIS ROWLAND  vocals
Recorded live at New York's Jazz Standard
Mapleshade Records  09532
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