Norwegian relase April 12, 2019
International release June 7, 2019
Norwegian relase April 12, 2019
Release date 24.05.19
Five years already past since I last time have seen the whole orchestra on the stage: The Large Unit – 28 musicians. Seeing first big squad realise again makes my heard thrilling.
Their first two albums, Exit (2013) and Enter (2014), presented us with sizeable and ambitious line-ups of 28 musicians. Ritual (2016) saw it reduced to 21 and with Arrival it´s been trimmed down to a “mere” 14, with the core trio of Fire! (Mats Gustafsson, Johan Berthling and Andreas Werliin) and the two singers Mariam Wallentin and Sofia Jernberg being the only constant members since the beginning. Apart from this reduction, the main line-up difference is the introduction of a string quartet.
An intergenerational union calling on the legacy of Konitz, Marsh and Tristano
Available May 17, 2019 via Capri Records
“The saxophonist Mark Turner, has been one of the most productive and vital artists of the last dozen years”
– Nate Chinen, The New York Times
” They should name a river after Gary Foster. The alto saxophonist has a natural, flowing style that’s as wide and compelling as the Mississippi itself.” – Bill Kohlhaase, Los Angeles Times
Jazz piano maestro Larry Fuller releases Overjoyed
A treasure of stylistic flair and diversity featuring Lewis Nash and Hassan Shakur
Available May 17, 2019 via Capri Records
“He brings a vitality. He swings hard, and I like that!” – Ray Brown, master bassist
“In his amazing gossamer piano solos, he sprinkles stardust on whatever song he plays. You hold your breath in wonder.” – Stephen Holden, New York Times
Hungarian Duo remains on my Hot List since they signed to Traumton and the first time I’ve got in touch with their music. Those who follow do know that two previous recordings had been also reviewed here. This one is different however, as they now expanded to the regular Quartet. Newcomers are bassist Nicolas Thys and drummer Antoine Pierre. Saying that it was just about time as like I said before, as a duet they reached the threshold and I could not see them going any further. Adding a rhythm section made an extra space and enriched the arrangements, giving in the same time a different context for Veronica, which She made a good use of immediately. Paradoxically I am finding this new expanded squad sounding much more intimate to me. The reason for it is that She has got much more headroom for her vocal.
Therefore, this recording is showing her vocalise in completely new perspective. Straight from an opening Listen to Me Now, you can tell that it all gained a different pace. She might now articulate the lyrics with longer decays, that alone makes a difference to the surrounding silence. As the rhythm is looked after, Bálint as well can focus even closer on accompanying her and his playing became more modal, when previously it was faster, more percussive and drive – giving. This makes her sing almost like an operatic Diva, when she can finally unveil the charm of the long lasting high notes and focus on finishing them in the silky fading way.
Another ballad San Francisco, brings again a lot of beautiful thrills, this is probably most reminding the previous recording one, as her connection with guitarist remains very close and she uses loops with her own vocals as well, when section makes it only to the little breaks.
First Night is something which introduces a new aesthetic into Veronicas expression artillery. It is very cold and Nordic song, in fact is even articulated in the way which reminds me what Sidsel Endresen used to do with Bugge Wesseltoft. Or territories occupied by Lena Willemark alike. Double bass solo making an outro from that nocturnal space is beautifully fingered, woody and full of melody.
Second Night in comparison is like getting back to bed with the girl you already know very well. This is Veronica at her best. Shaping phrase with a great attention. Jazzy guitar aliquoted passages enriched with a gently brushed Toms, brings a similar mood as Pat Matheny and Paul Wertico used to create.
But then the Last Night is coming and it all breaks and turns upside down. Veronica’s recitative – descriptive voice takes a lead and builds a drama. She does a phenomenal input here, especially the part sung over the rolling rhythm. Her different lines looped into a single tissue creates something which might be best described as a tribal ritual with the emotional intensity it builds. This cannonade finds the way out in the psychedelic gallop, like from the best Gong days.
This three nights makes me emotionally fulfilled and I could marry the girl blindfolded, but would you believe me if I tell you that there is still lot left to explore. There is , as we are just in the middle. Isn’t life beautiful.
Norwegian release April 5, 2019
International release 25th of May 2019
Cinematic C&N (Country & Northern) goes Pacific as West Norway chapel grooves encounter Polynesian-influenced steel and slide featuring the amazing Geir Sundstøl on pedal steel.
release date: 17 May 2019
The Akku Quintet was founded by drummer and composer Manuel Pasquinelli. Says renown writer Sid Smith, “Best-known for his work in Swiss post-rock minimalist outfit, SONAR, Pasquinelli’s writing contains an almost cinematic dimension that encompasses bittersweet moods and moments of unfolding drama.” The band is based in Switzerland, from where they dispense a minimalistic jazz groove to great effect.
release date: 10th of May 2019
Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang’s silken delivery of Erik Honoré’s acute lyrics.
The Latest Made to Measure realise No* 44 presents The Stubbleman. Stubbleman is the alter-ego of maverick composer and producer Pascal Gabriel, who to me- till now, was completely unknown performer. But as a great admirer of Crammed M2M series from early 80s and still dedicated fan I had to check it out and I am glad I did. If you like the Ambient music of 70s, 80s and 90s. Brian Eno, Tuxedomoon, Bang on Can, Hector Zazzou this is proposition for you !
Ukrainian Singer, and now also long time German resident, Tamara Lukasheva is the most striking new discovery and an incredible talent I recently came across and given her quality it might easily stay like that the whole year long. First, her vocal skills are phenomenal, then add to that the Voice, which is capable to surprise you anytime she would feel like taking a little part improvised. And, if it wasn’t yet enough for a single artist, on top of that you are getting a sensitivity which crosses between the usual heritage and cultural background. That last point is possibly most responsible for the freshness of that recording to the greatest degree.
From an opening Night and the Moon, sung half in Russian half in English, she sets an incredible romanticism over the entire piece. Music alone, but also her lyrics which had been balancing between an oriental ballad and melancholic Dumka, trying to describe the sense of loneliness.
Then comes tittle song, the Homebridge, lovely romantic ballade with fantastic piano accompaniment by Sebastian Scobel. Very touchy composition of her own, showing an incredible versatility.
But nothing would prepare you to what comes after with a song called Alte Hauser, which a nothing but sensational tour deforce balancing between folk spirit of the village song and TNT loaded Boss nova, with counter points that someone would suspect Laureen Newton about singing it. Clarity of her voice and theatrically – architectural structure is absolutely innovative and mesmerising with its thin balance between incredible infantilism and fully mature psycho – drama. This song is one of 3 on that recording which are refering to the poetry of prematurely died, autistic poet Asja Klimanova, Lukasheva’s friend to whose memory this recording is dedicated. Let’s focus on them for a while then as they are sort of sub-chapter for what is happening here in general.
Where are you going Yanichku is another one, with brings that feeling of naivety and the way she sings those word s to challenge our sensitivity and ability to understand something what clearly stays alive in her memory but reminds sacred for the listener to whom only artistic Tamara’s translation is available.
Last one, called I will stop disappearing, comes after her own titled Awake, which creates wonderful emotional platform between her own expression and the magic hidden in the little poet’s thoughts. It is sad and more epitaph than the others, with both lyrics and the nocturnal piano and double bass inclusion framing it. It is sung, as others in original, but transcriptions are available for listener to unknowledge the meaning of the words. That is just the right choice as the natural melody of the Russian language is inseparably integrated with the whole tissue.
Another person mentioned in dedication is Lukasheva’s great master and friend, Yuriy Kuznetcow, the great worldwide recognised Avantgarde pianist, Band leader and animator of contemporary music movement in his and her native Odessa. His composition, The Moon is Clean is very nostalgic and healing and the accompanying lyrics are bringing the same feeling of Russian nostalgia, so well understood and executed here.
The most vigorous pieces are two interpretations of the traditional songs. First, titled In As moll, is probably the most technically difficult song here and I do see very few vocalists who would have tried to do so. She puts all she’s got into it with the range going way above 3 octaves and high notes sung long lasting and kept perfectly clear. This is enough to fine line top class singer and she is already there on the beginning of her carrier, which I am going to watch carefully.
Closing Marisija is more conventional alike composition for piano Trio arranged with space given to the singer, but her, here keeps mixing scat with the same propulsive, shortly accented way of singing she introduced earlier in a mentioned Triptych opening additionally enriched with syllable-tonal patterns playing with the rhythmic frame of the composition.
It is congenial and breath taking, what more can I say.