An American vocalist is well known across the world for his extended songbooks, touching many subjects.  With the love included in it naturally. One my say that he knows enough about that to make a dedicated album. But this one goes far beyond normal love song boundaries.

It comes to passion, a much deeper layer. Harvesting from travels around the world and gathers from many cultures to complete the complexity of the human land of affection. Uses songs from around the world, sometimes with original lyrics, like Scottish Loch Tay Boat Song or U2’s Where The Streets Have No Name.

Those two are among perfect examples with their cultural context already deeply anchored in the tradition. They possessed certain mood already, but with artist’s make over they came to a completely new shape.

To complete that challenge and take things even further, he sings them often in original languages, like Portuguese Voce Ja Foi A Bahia, or Spanish Si Te Contara. That brings the listener into another territory and gives him a chance to explore the contest of the song through the specific sense of feeling that every nation posses.

I was surprised to find Pat Matheny’s Another World composition here, re-arranged and with new title and lyrics given: After the Door. Lovely melody had been kept as a core of the composition making a perfect nest for the challenging reflection on life that lyrics bring.

Another change of the mood comes with French La Vie en Rose. With the brand new arrangement it appears more like a Broadway big band hit. Famous chorus and accordion intro however keep it still in its original heritage. New lyrics expand the song’s capability of phrasing la joy de vivre with Kurt’s benchmark vocalise. Blended with orchestral glitter and Gershwin like cadences it strikes with Art Deco’s ballrooms wealth.

Nicht Wandle,Mein Licht on contrary takes us to the World of emotional depth of Schubert’s romantic Lieder with all that sublimity which belongs to that. But, again with Kurt’s unique capabilities it also refers somehow to origins of it: Bach’s Oratorios recitatives. Something that I never heard in that obvious way before listening to classical recital.

Bonita Cuba, the song which originated from Arturo Sandoval’s longing for his homeland. It is based on artist’s original tune and posses ineffable deposit of nostalgia. Choosing it confirms Elling’s ability to go incredibly deep to gain from the story once heard.

Same applies to Billie, brilliant Galliano’s tribute to The Lady Day. Kurt’s lyrics gather from exploring singers sad love story and loneliness, despite being the star.

As a Finale, Where Love Is comes. James Joyce’s poem declaimed to lovely ballad music played in the background written by Irish composer Brian Byrne. That mysterious piece has a lot in it. From first love discovery, through the routine of sadness to the mature acceptance of the life as it is.

This miraculous album is not only the journey through life and love’s twisted paths. It explores humans nature differences too. The complexity of life meets the complexity of all the music styles. All mixed here with Jazz. Too much to list them all,, but enough to show Jazz’s incredible vitality and ability to blend with everything around ,to survive. Just like Love and Life.

And he didn’t even scat once.

This title is the trio’s older recording but it tempted me to listen to it due to its electric squad. I rate Asaf highly for his versatility and bravery to jump into different territories, to explore, learn and provide even more into his vast artillery of expression.

Here we got something more minimal in concept that other music I know him from, hence it looks very interesting to me. Additionally it is not even particularly rooted in jazz only. Neither is it a fusion despite an initial thought. Careful listening however helped me to discover much more connections between the band members and I have to admit that I am still learning more and more from this disc.

On the jazz inspirations it is easy to point Zavinul’s influences in the way that Gary Husband uses his keyboard, but his own composition, The Bridge on contrary shows very classic melodic approach which clearly brakes all what happens on the set. On the guitar landscape collaboration it brings me back to Lyle Miles and Pat Matheny approach. Music I have grown on, but long time had not been listening to. It made me go back to those recordings again to find out if memory serves me well. It did indeed but again, it is just a layer on which brand new Inner Noise concept had been build. There is much more in it.

Composition wise it shows great maturity in the way it’s written. Asaf’s drumming is creating here very three dimensional structures on which guitar notes are finding foundation. It reminds me of climbing, where one wouldn’t survive without other’s belaying. Bassist Yaron Stavi, Asaf’s compatriot is supplying with his tight walking the core for these rampant rides that Greek guitarist Tassos Spiliotopoulos comes with. He seems to be very interesting musician with his roots difficult to trace. He can play like Scofield in his Blue Matter period, in the middle of eighties like on piece called The Journey Home, but switch to Dream for example or End of the Circle and all goes upside down drifting between Jeff Parker and Oren Bloedow like experiments. It blends many schools on his paths and keeps challenging listeners who are prepared for finding those loose ends and points in which they knot.

Interesting view inside comes on a piece called Alone on which guest drummer Adriano Adewale takes leader’s stool. It shows clearly how important and fragile is the space based on drum frame work. The other man’s command changes direction significantly. It is like a personal space in full respect for what score says.

The Monk talks to me and touches my imagination supplying still new layers of engagement into listening pleasure and that is its strongest point I believe. I am really interested to hear more music from the trio to find out if there are any borders.

This is Blanchard’s second great project since his comeback to Blue Note two years back with the “Magnetic” session I reviewed in back in 2013. Despite the apparent lack of recordings he’s always busy and in the meantime even recorded his first ever jazz opera. I would die to hear that, honestly. Hopefully someone is going to issue this, Please!!

Here, he has assembled the band E-Collective to explore a world of groovy fusions, funky harmonies and R&B plethora. From the previous squad he only kept his keyboardist Fabian Almazan, an incredibly gifted young musician. Along with Fabian, the band features Charles Altura (guitar), Don Ramsey (bass), and Oscar Seaton (drums). The sugar-icing on this eclectic cake is soulful vocalist P.J.Morton. Right from the opening bars, their version of Les McCann’s standard Comparing to What rides straight over the unsuspecting listener’s head and takes no prisoners. With the phrasing of the trumpet howling and the band following in a damn funky manner, P.J’s vocal brings straight to mind the memory of Prince with The Revolution at their best. It’s not just the phrasing, but also his voice has a similar timbre.

I’ve not yet mentioned the choirs. These come as a surprise for the jazz fan, but after this initial shock one realises that Terence has jumped into territory he never explored before. Many of the greatest jazz icons, whose paths he is following did though: Herbie Hancock, Quincy Jones or the great Miles Davis, his most-revered Master to whom he himself is often compared. Hence I can easily understand this natural progression. And as always honest he comes after with his own See me as I am. This slows down after it’s initial fury and brings the spacious floating sound of Terence’s trumpet as we all know it drifting over the nice and groovy backdrop provided but the band. That smoothly moves into Everglades, the longest piece of the session which builds with excellent pace and passion bought about by a twisted and hypnotic interplay between the leader and Fabian Almazan.

The title song Breathless, brings us to another check point. Here it becomes clear that this rebellious project is not made for fun and dance only, but it also carries a much more serious message. The title originates from the tragic story of Eric Garner, the alleged victim of brutality by USPD and his now worldwide recognised words “I can’t breathe “. That makes it involved in an entire human movement which this tragedy triggered and which is a part of today’s American fight for equality and freedom.

Confident Selflessness which follows brings a Funkadelic-like bass stomp dialogue with Scofield-like quilter figures. It is a very peaceful tune with lovely piano interludes bringing a break after the previous tension. The following composition Shutting Down, written by Terrence’s son Jrei Oliver completes with its lyrics a menu of songs with meaning on this album. Next, to P.J’s pop-ish version of Hank William’s I Ain’t nothin’ But Time.

There are also heavier moments present a la carte, leaning towards the progressive rock genre, like the propulsive Cosmic Warrior with its wall of overridden guitar sound or the marching rhythms of Soldiers.

We also have the protest song Talk to Me, with an arrangement including original samples from Dr. Cornel West’s speeches interspersed with groovy rap poetry.

There’s even some musical slapstick on the track Tom & Jerry, where the interplay between guitar and piano voices bring to mind a crazy fight between those famous cartoon characters!

All together this is a versatile and eclectic project, which really is easy to enjoy and more time spent really listening to it reveals ever greater intellectual layers.

Still, even for the dance-floor there is plenty here that is fit for purpose. As always with Terrence I like his adoration for tradition but with the rare ability to make it sound fresh, not even getting into his spectacular skills as an arranger. The instrumental tracks need no further introduction. It is difficult to handle controversial subjects in the way they did here. To me this is an absolute revelation and the most important thing in American popular music since the Rap movement in the eighties which ultimately spawned groups such as Public Enemy.

The meaning is the same here, just with different texture.

SOUND QUALITY:

BREATHLESS BLUE NOTE PR

This incredible project co –lead by Israeli drummer and Polish vocalist brings together very warm and romantic touch of tradition with nostalgic journey from the jazz landscapes, but not only.Their International quartet completed by British keyboardist Frank Harrison and an American bassist Patrick Bettison, blends in so much more.

The core of co-operation here is mesmerizing connection between Sylwia and Asaf. They are listening to each other very close and carefully and results of this attention are gob-smacking. Lyrics are here all written in Polish (translation available in linear notes) and they are in fact more like a short poems than like songs. Such a contents demand more sublime treatment and very personal touch to expression .

As it is my native language I am swallowing meaning of words by heart, but I am very curious how they would appeal to an international audience. By that I understand romantic nature of the poems coming straight from Polish folk. Or classical music connection with songs alike Schubert’s Lieders for example which mood can be claimed international heritage nowadays.

As are feelings and emotions. They don’t belong to a particular nation, but to every human being.

Her gentle Alto is creating very intimate structure and trio is accompanying with great sensitivity. This applies to songs which are actually sung or mono declaimed in a verbal manner like Come to Me and Dreams Dreams, but those are covering a part of the recording only. These pieces are very nostalgic and heading towards usual ECM-like territory. Think alike Norma Winston, Lena Willemark or Sidsel Endresen.

Another part is even more challenging as She is using her voice  there in purely instrumental manner. She is dialoguing with Asaf’s drums as well as with Bass and Piano, often closely repeating her lines.

Piece like Vortex brings reminiscences of jazz fusion with Latin music, with impetuous piano a la Chick Corea from his Return to Forever period, with vocalize alike too. Gentle ballads like A Hymn or Mandragora are challenging listener again with culmination build by Sylwia’s scat dialogues with piano or drums, often both.

Spacious character of the music and huge volume on climaxes are giving good view in both, her vocal skills and voice volume. Nostalgic mood is constantly present on this recording.  Together with bass lines it often sets mood of the recording close to feeling which reminds me music universe of the seventies. But we are leaving now 40 years later and nothing is the same. Hence this modern approach and all what artists inherited from the past and present had been incorporated to the project too. That’s what made it significantly different.

Influence in music comes back in a bit similar way like in fashion. Means that old is never completely lost and so called new is always harvesting from the fertility of the past. Show must go on just like a  replacement of human generations. Most important thing is to find this seeds inside his own soul and they certainly did it. Touch it and I promise it will touch you back.

An Austrian trio Interzone run by trumpeter Mario Rom is complete phenomena to me. Six out ten pieces on the disc came from leader, three from his band mate and bassist Lukas Kranzelbinder. Closing Blue Velvet is Bernie Wayne’s classic. Sound is fresh and vivid and artists’ imagination truly has no boundaries.

Opening trumpet solo knocks out from the first note with its straight forward bright tone taking no prisoners or objections either. Section working hard behind with the same unstoppable vitality. It is hard to believe that all this wall of sound really comes from only three musicians. Bassist’s outro solo with closing rocket rock hi-hat’s punches leaves you with mouth wide open and a head dazzled.

Coming after Pain & Sorrow is a beautiful ballad slowing down opening bravado. That’s giving listener a chance to listen to almost hymnal repetitive theme building up emotional congestion with incredible skills.

Next, crazy titled Shooting Wild Bill Edwards piece builds up on the same highly driving bit as a 1st track. It is amazing to listen how many shades his trumpeting posses. He is changing faces like a Chameleon and the band follows closely keeping the same sense of humour and the feeling of unexpected to happen all the time. With moods changing and style constantly challenging it really is an emotional roller-coaster.

Acrolein coming after has more connection with tradition, but keeps flirting with klezmer sound and drumming patterns reminding some of well known pieces from rock music approach. A la Nirvana or Rage against the Machine. Mostly it is a dialogue between the Trumpeter and Bassist what keeps things building up. Their connection is constant and highly sensitive. Drummer Herbert Pirker has a specific talent to be equally present in trio’s tutti when it’s needed and fade into the background where he is shaping piece quietly, without aiming place in the first raw. Priceless.

Therefore there is enough room given in slow compositions for every band member to show their skills, and they are doing it brilliantly and without leaving any trace of showing off. Just like in Nova’s Revenge for example. Title piece mixes lovely Balkan harmonies with heritage of the traditional Jazz in its best. This piece reminds me so much Miles blowing on Lift to The Scaffold recording. It holds the same madness lurking in following rhythm section and the feeling of something suspect to happen, just behind the corner.

Upcoming Bill Lee with spooky percussion sounds and drunken trumpet brings memory of another excellent dark movie soundtrack, Jarmush’s Down by Low, with mood somehow between Lounge Lizards and Tom Waits’ sonic universe.

Closing classic theme again stays inseparably with movie memories. While Angelo Badalamenti’s sophisticated arrangement will keep forever Isabella Rosselini’s face in my mind Mario Rom’s approach will do pretty opposite. It would make me asking for Julliete Binoche to come to the dance floor of Transatlantic ship from Giuseppe Tornatore’s : iconic ”1900: The legend” and dance waltz with me.

EVERYTHING IS PERMITTED Traumton PR

I looked very much forward to hear this recording since I first heard about it. There is something special in orchestral projects, something that carries on with both tradition and avant-garde.

Always orchestral work is a perfect apparatus for making discoveries, working things out and of course daily hard work polishing skills duty. There is a reason for that the all great names in Jazz, after all always came from Big Bands. The bigger the better. Thankfully a lot’s going in here and one interested might face a lot of challenge.

Sternal’s achievement if comparing to others whom I experienced on the German young Jazz scene is one of the most interesting. The others are Daniel Riegler’s Studio Dan or Glatzel’s Andromeda Mega Express Orchestra. Although it is completely different approach. Of course the first formation is Austrian to be precise, but it is still the same cultural plot.

What Sebastian did comes from a simple concept to connect classical string quartet with improvising jazz musicians. Respectively piano trio as a core assisted by brass section of influential soloists. Project has as well very social aspect as young pianist and composer simply wanted to play with particular musician friends.  In respect for their qualities which he would like to weave into his score knowing that their personalities WILL really make it happen the way he wishes. He respects jazzmen ability to improvise as well as he admires discipline and reach articulation of classically trained instrumentalists. Therefore he wants to have them both here to do their best.

Hence repertoire becomes very specific. The core of the recording to me is the three part suite for strings and piano (Orbit, Snow, Run), in which Sternal takes part leading orchestra and playing piano part.

Then pieces based on classical tradition come entitled as Symphonic and contain 7 movements in opposite to another six, titled individually and based on Pablo Held‘s contribution with his regular trio members: Jonas Burgwinkel on drums and Robert Landfermann on bass.

It starts with Magnolia, lovely nostalgic piece hold by alto accompanied by trio with nicely textured glissandos from strings. It certainly shows that concept works brilliant and proofs Sternal’s quality as a composer, improviser and conductor, equally up to the same high standards.

First Symphonic coming after nicely brakes traditional somehow opening. With a lot of space however left between the bars to feel for brass musicians. Here strings and brasses keep dialogue nicely bringing both. A touch of classical modernistic arrangements with freedom of winds voices hold on by improvising brass players.

The way Held’s trio holds his own here is mesmerising to listen too, especially the way Pablo reads the score. In opposite to it in the Suite, when Sebastian takes over entire world changes within a second and listeners experience romantic tradition concerting piano sound building through cascades of passages.

It is very interesting piece as dialoguing piano parts are counterpointed with strings. They brings to my mind Shostakovich, Stravinsky or Vasks like composers. String textures vary from Kronos Quartet like to more traditional forms rooted in romantic tradition. Again it all shows a unique quality of all musicians constituting string quartet here.

Too much is going on here to cut it short , hence I can only have hope that this meagre analyse hit your hunger enough to tempt you to bite it and grasp for more, as it really taste so good.

SSS vol.2 TRAUMTON PR

BUY IT here !

I was lucky enough to be aware of this Swiss rising star at the end of last year when I had a pleasure to hear first takes of this brilliant album which is just about to see daylight right now when I am writing these words.

She is a lucky one too, having on her début recording such a great musicians in her trio. Israeli drummer Asaf Sirkis is well recognisable figure on UK scene after he co-formed The Orient House Ensemble with his compatriot, saxophonist Gilad Atzmon .They made 7 albums together which won them few rewards and international recognition. About Yuri Goloubev I had opportunity to write before too, on occasion of Gilym Simcock’s review. In short, one would struggle damn hard to find more eloquent and better educated bass player than he is.

Let’s start from the begging then as all 13 tracks here are Fabienne’s originals with single Hang on piece being co-composed with Yuri. This lovely melody comes after opening three parts title suite and with a drummer opening theme played on hang shows a title in factious way. Her piano reminds me here Brad Mehldau’s early trio recordings.

Opening Glitterwoods however is much more interesting one and makes strong first impression. Solid piano repetitives are followed by gentle section set up which makes lovely intro. Vocalise opening on 2nd part is surprisingly sounding more like psychedelic rock ballad. Her singing brings strong reminiscences of early Pink Floyd sonic universe. Section of course makes rock solid effort to deliver the right mood. Drummer’s rocket rapid solo keeps an open dialogue with piano introduction. Vocal attempt in closing part isn’t narrative at all and is more like non verbal extension to leading piano harmony than a song alone. It is brilliant composition and I love it a lot. It shows young composer’s ability to merge musical influences coming from many different directions into her own vocabulary. With voice good enough to make proper songbook recording if she would feel like that any-time soon.

Coming after Was with drummers glittering opening solo enriched with Fabienne’s prepared piano tickling shows both artist improbable connection and ability to listen to each other. When Yuri’s walking grabs drummer back into his rhythm duty, she is left with a lot of space to sketch her romantic landscapes in front of listener’s ears. Arco solos which bassist supplies to counterpoint her melody lines are both sensually accurate and musically charming. They clearly uncover his first probe articulation qualities rooted in his classical education.

The music trio delivers offers a lot of space. Passages are vast and giving a deep breath. All comes absolutely unforced and so natural like the blink of the eye. Fabienne’s piano language spins somehow McCoy Tyner’s melodic spine with Mehldau’s romantic reverie. But this is just a base from which all revolved. Modern dynamism ala Nick Cowley or Ethan Iverson can be also heard here. Same as deep to the bone romantic aspects as they exist in Pablo Held’s or Benedict Jahnel’s pianism.

She must be in deep love with Romantic music, that’s same clear as her admiration for undaunted nature. Fantastic début leaving the great expectations for the future.

GLITTERWOODS TRAUMTON PR

It is not a secret that I simply adore the music of Anouar Brahem. I know all his recordings by heart, but I never reviewed anyone here. Six years already passed since his last recording The Outstanding Eyes of Rita had been made. I honestly believe I wasn’t alone among all us waiting for that one to come.

As an orchestral Suite spanning on two discs (thanks GOD for that) it came as a surprise as Anouar usually appears in trio or quartet. The music is hypnotic and unavoidably charming and after many sessions I found my way to understand it.

The core of the group relays on the same pillars: bass clarinettist Klaus Gesing and bassist Björn Meyer, both most recent collaborators present on Anouar’s previous recording and in his quartet. The biggest and most welcome challenge is however returning to the group pianist Franҫois Couturier. He is the one who is responsible for an excellent deeply romantic intimacy present on albums like Le Voyage de Sahar or my favourite Le pas du chat noir. The way Couturier and Brahem do understand each other and hold their musical dialogue becomes a core of the entire emotional balance deposited in this music. It always was like that in the past and those who are familiar with these old albums mentioned know well what I mean.

There is no point in going for titles here, this music just flows and titles are for musicians more than for the listeners. Everyone who switches this on will be immediately dragged into another world. Outstanding beauty and the fragility of this masterpiece is made around the same well known hypnotic cooperation. Couturier makes a core around which Brahem can weave his tales, frequently joined by clarinettist and accompanied by string section or whole orchestra.

Completely separate pleasure on the top of all is following what builds up between pianist and bassist. François’ deeply touching dark notes tend to sunk into listeners soul and simply take over his emotional core. With bassist support every single note comes stepping on the red carpet. Pianist’s interactions with orchestra are other parts of this congenial project. He builds tension and drama of every single piece with precision of charlatan watch maker who sold his soul to Devil for the promise of winning every single human being with his Tic Tac every step. It shows his versatility and the central place Brahem reserved for him in this project says it all.

Leader himself stays a bit in a shadow here with his instrumental presence, counterpointing rather piano’s parts and hardly soloing. But the whole music here is naturally so Brahem that it makes my heart smiling wide and my ears crying when it stops. All intuitive and fragile like the smoothest silk. All so beautifully balanced and gently painted that the landscape it brings is always elusive like a quick thought which just passed your mind and disappeared if you didn’t care enough to hold on to it. Like a bit of the heart which followed your most intimate feeling and changed your mind into waterfall of sparkles.

This is not a music – it’s the prayer. Amen.

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The two discs set covering Dolphy’s discography had been recorded a few years earlier, but to me they are a part of triptych. German saxophonist Silke Eberhard recorded it with her quartet of young lions – Potsa Lotsa to show her adoration for Erik’s musical heritage.

With reviewed above reconstruction of his unfinished Love Suite  which crowns it she became the only one who completed entire Dolphy’s repertoire. All here shows this worship: with the group name taken from Giant’s historic recording at the Five Spot to start with. Hence it couldn’t be left alone.

What She shaped working with her quartet during these recordings to my ears clearly cleared the path to the one I mentioned above. I also believe that it gave Silke great deal of confidence and deep understanding of Spiritual concept behind the notes which finally led her to finishing his last work.

Here it is where it all started. One can hear it and everyone who goes for that will immediately be rewarded. All the band members are well matured musicians with the leader itself being not only charismatic multi-instrumentalist, but also a great teacher with significant scholar achievement in her portfolio. To put it right then let’s stick up with the same tunes I used to analyse Aki/Alex piano duo arrangements. This massive achievement goes far beyond frame of this review anyway.

Having only the four voices to use with no rhythm section at all she had to jump to the pond from the different angle. Automatically it became  the brasses  duty  to keep an order and rhythmic discipline themselves to not to get lost and HELL. The way they did it is the first think which  just strikes. Here the less is more proves his sense more than enough.

Their Hat and Beard takes its drive from cascades of repetitive motives set up by all the instruments. Walking trombone sets up the intervals for trumpet solos which are holding main theme firmly. With  shift changes given to all soloists or unison, after announcing brakes. Wonderful and clean with a brilliantly vital tutties.

Prophet, with its all lyrical layers comes with slightly slower metrum , but that helps to increase the accent on the expression. Solo voices however keep talking to each other in fast tempos without giving up for a single moment and paying an immaculate tribute to those onomatopoeic rhythmic figures that Eric’s music is such a full of and famous for. Here it becomes even more audible as an arrangements are naturally less thick and rich.

On 17 West choruses and unisons played by every single brass in the group are building up an amazing rhythmic structure, holding melody with an incredible variety of textures and shades that makes it hard to believe that this is played just by the quartet. So it is true during entire recording of course, but those examples had been picked up for the reason.

Additional value of the recording done as such a small combo is making melodic aspect of Dolphy’s compositions more clear and obvious. Priceless for all those who might get lost trying understand that music for the very first time. This performance is charming by its mastery, entertaining due to its virtuosity and intellectually challenging. Kudos to Silke and Potsa Lotsa for showing such complicated music structures in such an easy and clear way.

This fabulous recording made for Swiss Intact Records famous for their improvised music catalogue is not a first affair for the artists above. Both pianists are leading figures in the World of improvised piano music. More of that most of a brass players here are a long time collaborators too.

That makes the project mature and well thought out as the seeds of Eric’s soul had always been present in their music vocabulary. The nine composition which had been chosen from the Eric’s portfolio are all well known, but the touch of genius given to arrangements by both artists (privately they are married couple) gives them a new life.

Knowing Aki’s and Alex reputation one could expect something put completely upside down, with the glimpse of the melody hardly traceable. Nothing like that had happened here. In fact they used exactly Eric’s techniques to build up the momentum.

Wide intervals played by both pianos with an addition of preparation sometime, changes of tempo and metric aspects brought back an entire layers of vitality so present in Dolphy’s music. Using Karl Berger’s vibraphone they managed to anchor the concept somehow in the sound of 50’s and 60’s. Just as it has sounded there with a rapid feeling of authenticity.

Hat and Beard is one of the perfect examples here. Multiplied brass section which is playing pieces with tempos frequently changed , in chorus or unison was like bringing the band of Eric’s clones back on the stage. Kind of a musical joke referring to his multi-instrumentalist skills. He didn’t play trombone or trumpet of course, but it is not a point here.

Multi layered brass has a power of much bigger combo than the squad might suggest. Listen to Prophet and you will know immediately what I do mean. Additionally the co-operation between Rudi Mahall on clarinets and Nils Wogram on trombone brings back Eric’s onomatopoeic trips to my memory, something what attracted me to his music back in time so strong. Both musicians posses an extreme sense of humour, with Rudi being really the one of his kind.

His bass clarinet solo on 17 West makes a great afford to reconstruct Dolphy’s sound with phrasing so close to the original that only different tone proofs that it is not. In this piece all the tradition is present. The Fats Waller’s rags,  Mingus’ twisted harmony. It all shows not only Eric’s music itself but also prevents a context grown in and reaped from before matured to its own. As such this brilliant recording becomes not just the Dolphy’s tribute. By the prism of its well shaped respect for the tradition it is also a homage to entire jazz heritage with the be-bob music particularly.

It never ceases to amaze me how the greatest improvisers in fact always stay in a circle of the tradition. I believe that it is nothing but deep understanding of roots which bring the steam to the wheels of the avant-garde and give them that drive. Other way nothing ever grown without the seeds being put into the ground first and this 67 minutes of music is the best proof of it.