The Fire! recently active as an 18 musicians Orchestra incarnation, still downgraded from 30!, somehow – don’t ask me HOW? – found the way to make that trio recording possible. But bless them they did as an album is remarkable. As I head a pleasure recently to hear the Fire! on stage in their furious Orchestra-charged ride. With a number of gigs and rehearsals taking place plus few Fire! Orchestra recordings made meanwhile it is simple a miracle to me.

Getting back to the subjects it starts with Fire! as one should expect. But Rock alike energy here is just a surface layer. This LP is only four tracks but each has its own significance. She owned his voice is an opening one. From the initial energy escalation and Walkerian ride it moves slowly but firmly towards more modal jazz improvisation, with the lovely long lines played by Mats fulfilled by equally stunningly working rhythm section arm in arm.

Tittle She sleeps, she sleeps is my favourite one here. It contains in the mix the guitar of Oren Ambarchi. The sleepy, almost somnambulist feeling which comes from the monotony of the percussion framework that Andreas developed here is captivate. Hypnotic guitar loops are heavy and hanging around like a foggy cloud. Matts’ tenor lament builds around that and gives piece a drive. Emotional intensity makes you feel like you are dreaming one of those dreams which paralyse you but in the same time fascinates to the degree that you won’t to wake up. Ringy sounds of tortured strings are counterpointing lovely with a long decay of bells strongly hit at each brake. The piece dances in your head like Bolero as it counts alike on 3/4 too. It is like day after night, all over again. You don’t want it to stop. I do not want it to stop.

She bid a meaningless farewell which comes after starts with ascetic drumming with a massive gravity. Handled mostly on snare and toms it makes almost tribal appearance. Matts lines are drifting on the waves in silent natural way. The brake comes with cello pizzicatos added to the mix, played by Leo Svensson, which naturally blends with the drums into gentle harmony, to merge into the silence at the end.

Closing, she penetrates the distant silence. slowly, is a show of Johan Berthling’s pace keeping capabilities. Specially interesting giving his reputation of the rough sound making player. His opening riff, keeps it pace perfectly from first to last note and creates a core of the tune. Matt is swinging around that with his sexy rounded, alluring lines like fallen angel in a go go bar. The music is dark and viscid. Smoky thick and full of suspense. It sneaks like a darkness and in the same time steps light like a temptation. Cello Arcos, present in this tissue as it comes closer to the end, makes it fuller bodied and harmonically rich. It comes into gentle choruses with airy sax at some points when their paths cross. I love that recording madly and sure everybody will! Not just a trusty Fire! fans.

RUNE GRAMMMOFON PR:

SOUNDCLOUD:

So, here is a deal. I got the record which suppose to be 3rd for the leader saxophonist and in the same time his début for the prestigious Blue Note label. Never heard previous two or an artist either , so it is a proper first contact and first impression situation. That is what I like about it.

Ian Show is a man of many talents and professions and had been already crowned The Number One Jazz singer in the UK. Despite of the fact I have my own king chosen already to put on this position it doesn’t change the fact that he belongs to the absolute top few indeed. His output has a quality which most would be jealous for and remains consistent for years on.

This latest songbook is a tricky one. On one side he departs from his Single mode and brings the piano trio to build the set. And the choice of instrumentalist. It is the premium one as well . Repertoire is a mix of songs of different origins. Some of them have been long time along. New make over however given to them as well as the new context brings sometimes very surprising feelings.

An opening Small Day Tomorrow (Bob Dorough) for example has given very fast tempo and modern approach. Piano accompaniment is very well arranged and I like it personally more than ex. recent Jamie Cullum version.

Blossom Daearie‘s You fascinated me So , again speeds up comparing to the original and many other covers too. But phrasing is very motoric and I like the way like an old song fits into the modern life speed.

Joni Mitchell‘s classic In France they Kiss on the Main Street has a nice drive too after jazzy arrangement’s touch with very nice piano culminations and Ian’s story telling like narration with lots of rubatos and rich voice modulations.

Where are we Now first time appeared on Bowie‘s The Next Day, pretty recent album. I like the song a lot as it refers to my favourite Berlin period memories. Lyrics bring mature reflection on life that Bowie nicely bridges with memories from his youth. Shaw kept that feeling perfectly present all the time and somehow enriched it with his own lifespan experience.

This tune mirrors an emotional plot we are entering in My Brother, the piece with an obvious dedication. How Do You Keep the Music Playing ? stays in the same camp mood wise. Beautiful ballad written by Michel Legrand is one of my long time favourite. Even it’s not as long time as some of the other pieces of this puzzle.

The most surprising choice to me is song from Olivier musical You Have got to Pick Up a Pocket or Two. Funny enough it fits the mix quite well. The lyrics after Show’s treatment are coming in such a natural way like it was always the only purpose for them.

Ian’s own All This and Betty Too definitely is a top pick of this recording to me, showing him at his best and clearly explaining why he belongs right to the top. Traffic‘s hit The Low Spark of High Heeled Boys is next in row. Give it a listen and you soon find out why.

Brel‘s Ne Me Quitte Pas is an perfect outro and it frames it all beautifully.

Nothing works better than the surprise especially in a show business That’s probably why on their latest 10th album the band came with the project like that. Following their leader’s , Micheal League, confession “…it expresses band’s desire to work with vocalist/composers whom they greatly admire”. Choice of the guest vocalist is quite vast and covers different genres. From Gospel , Soul ,Folk to Jazz and even Pop, which can be equally enjoyable if only served well.

Opening bit, I Asked featuring Becca Stevens starts with stylish Appalachian scent like intro. With the gentle touch of folk and soul accompaniment it blends with slightly pop-ish arrangement in the vocal parts. But piece holds on to its folk core in choruses. Instrumental part of the tune is more rooted in jazz tradition and I am pretty sure that is partially improvised.

Argentinian singer’s Susan Baca appearance changes the mood into more Ethnic-funk structure with strong Latin American / African rhythmic accents. Additionally Charlie Hunter‘s guitar, which is unique on his own rights makes a special signature too. Hunter , just like Mark Ribot posses his own very distinguish technique. Molino Molero is one of the best on that LP to my ears.

Coming after Liquid Love with lead vocal of Chris Turner is a classic fusion with call and response which defined 70’ties soul from which Prince learn such a great lot.

Afriki, with Malian singer Salif Keita , as expected takes as to central African sonic universe. Lead vocal and female choir make vocal lines, supported by Brazilian percussionist Bernado Aguiar and his colleague Carlos Malta, flautist. All this merge of different folk traditions comes together really nice. Due to general competence of the band which is actually well familiar with that sort of music. As musicians often appears as a session players with Erika Badu alike artist to give just one example. For this reason there is no surprise that Birmingham’s Gold , singer Laura Mvula fits the bill perfectly with her deep and silky smooth in the same time voice.  Duet with Canadian vocalist Michelle Willis is fulfilling tissue with her fruity girlish timbre comes really tasty and charming.

Literally each collaboration making this blend comes to its own rights. It really establishes some organic qualities deeply rooted in artists origins. Family dinner title then makes great sense as this recording is like a fest with kitchen full of different ingredients. Therefore it is up to chefs to create unbelievable testy dishes for listener’s enjoyment.

All this project speaks quality as should be expected from the line up like that. Musicians with such a vast experience and interests. Listening to this is a great pleasure and results in multiple discoveries. Once you are digging to dipper layers and getting familiar with material you starting to discover more and more stubble flavours drifting in the air. I am doing it almost a month and I still do so.

Mette’s double bill comes out as an unusual debut. Not often happens that someone so young as her comes out with work as mature as she did. First disc is performed in a trio, again unusual with piano and the cello played respectively by Johan Lindvall and Katrine Schiott. This is a word of the miniatures. With space carefully arranged with sounds and silence being next to each other on the equal rights. Some of the pieces only last less than a minute but the charm they possess leaves a lasting impact on the listener.

One might ask suspiciously if a 73 years old Hammond B3 Giant can make any Evolution yet after all these years of being around. Certainly a good question with surprisingly big YES answer. Coming back to Blue Note after 40 years is an unusual move as well. The set starts with Lonnie’s long time hits.

Opening Play It Back strikes straight forward and takes no prisoners with two drummers on set and guest appearance of Robert Glaspar on piano. The tune knocks out with its energy and dense rhythm structure. It stands out when compared to original Live At Club Mozambique recording made 45 years back. From pure funk piece, driven by usual 4/4 beat which sounded close to James Brown or The Headhunters like sonic universe it moved into rich two keyboards dialogue.  Full of chunky , percussive B3 chops and piano walking on the melody lines.

Afrodesia another 40 year old tune goes through the similar makeover. Here the leader invited to the session his old band mate Joe Lovano, who also was a part of the original recording. It keeps almost the same tempo , but unusual change to soprano sax makes the bit sounding at least 20 years younger. What stands out here are great brass interludes played tutti by two drummers with soprano sax and trumpet on the top. Brass solos are very well weighted and tasty as well.

In the For Heaven’s Sake Lovano gets back to his main weapon. It suits a gentle ballad better. Also it comes in quite a contrast to fast tempos which are mostly sketching this recording. Then we have the mix of old good standards and new compositions played in the regular trio set up .

Straight No Chaser surprises with its fast tempo and modern approach. Doctors’ touch is gentle here and distances itself from the opening cannonade. Similar , made of muslin like mood comes with opening notes of My Favorite Things. Melody develops gently and somehow shyly, before the break from the drums pushes it back into vivid and more dancy territories. Talk About This is modern funky bit with striking trumpet solo floating over . These trumpet lines alone are worth having the record. It’s the peak of the project to me. Closing African Suite makes nice outro with its ethnic touch and lovely chunky chorales. Flute solo travelling through the main rhythmic corridor is a wonderful show from multi reed instrumentalist John Ellis.

Summing up then here we got a few Evolutions. First is transition of young lion who left the label as a cub and got there back with the crown on his head. Second is matured life achievement of the Hammondist who made his way through the Funk era, co- creating the movement, and at his late days is still proving that there is a bright future for the funk waiting to be discovered. Certainly this is The Evolution at its best.

EVOLUTION ~ BLUE NOTE PR

After three years of silence the most recognised French trumpeter is back! His new quartet features old trusted friends. Bass-man Marcello Giuliani with whom he is playing from the beginning. Long time collaborator Benoit Corboz on piano and keyboards. He replaced Patrick Muller after first decade. All this changes re – tuned quartet’s sound in a natural way. But the latest facelift seems to be even more significant. With Arthur Hnatek taking over on drums Truffaz rhythmic approach comes to the new life. Inviting special guests to the session has a long tradition as well since Manti.

Here we have got two leading Malian musicians: Rokia Traore (on 4 tracks) and Oxmo Puccino on the closing bonus track. Opening Comptine, a Nursery Rhyme is an unusual intro but thanks to Rokia’s vocal it takes us straight to the polyphonic universe of the centre African folk. Coming after Kudu with leader’s trumpet up front takes us to well recognised sonorous territories,. However the usual trance like character of Eric’s music comes strongly influenced by repetitive framework structure build by rhythmic section and echoed by following organs. It keeps building up with vocalist’s come back in the following Djiki’n track.

Truffazz’ s sonic universe is strongly built on long melodic phrases like Miles Davis’.  So when it comes to blues it always hits the surface nice with following culmination which is his very own and recognisable signature. Pacheco is a spot on example of that with such a typical Trufazz sound. Szerelem is another one. With long notes playing beautifully written ballade lines, lying comfortably on silky smooth carpet weaved for him by Corboz. Together with the Fat City they create kind of suite. With Erik’s traditional groovy approach it is creating a dialogue with African influenced tissue delivered by Malian musicians. It also  brings to the table a more poly-rhythmic approach.

With Doni Doni ( Malian step by step ) this recording builds up. The trumpeter’s response to Rokia’s vocalises keep building bridges which makes this sonic land vital. Rokia’s singing here although inconceivable to me brings the same feeling as David Sylvian‘s Camphor project. Purely based on onomatopoeic language of sounds and emotions. Despite of the original sense which remains hidden to me it delivers clear emotional message. Instrumental version of the title song nicely explores the background of the melody blended with an African folk’s influence. Here Hnatek again shows what a versatile drummer he is whenever music demands it.

Outro rap alike Le complement du verbe with Oxmo’s lead vocal rightly comes as a bonus as it has no connection with entire recording as such. His interaction with the band reminds Truffazz’s previous episodes with Nya, French rapper he was performing with at the initial period of his carrier well documented on artist’s early Blue Note recordings. Period I always liked and still do and keep listening to hence I liked that one as well. Oxmo voice much more silky than Nya’s sets a bit different balance for whole lot. Sounds less street like , more tamed.

To sum up then – it is another great album which I am sure will be warm welcome by trumpeter’s fans , including myself .

What comes here is a uber unusual recording. Created by one of the most unique musical personality I ever came across. Matthias is a rare creature with its vast musical interest and abilities to master his skills of playing hurdy – gurdy up to Virtuoso level.

He is also inventive and basically keeps discovering new lands for using it. In similar way that Jordi Savall did to gamba. This approach means permanent dedication and kind of self sentencing to the absence from the main stream. Think alike Michel Godard for example. But it also says hello to never ending challenge and that is worth more than anything else to those who dare. Artistically it merges entire musical tradition , from medieval to contemporary. As well as it brakes boundaries between the genders.

Pieces like an opening Eyesofsea or Haut take from Celtic and Gallic folk. But it also has some Appalachian note in it. It brings to your mind strong historical contexts. Following Glutsbruder is a lovely Oriental and Mediterranean inspired tune. It mixes scales and origins in the way as the World is exactly culturally cross influenced today. Despite of imagination it is simply exquisite. Full of melancholy and touching composition. Close to the mood I remember from Gabriel’s Passion tune. Folhas Citiliantes is like a dialogue between Renaissance Sarabande and Baroque Fugue. Beautiful and focused. L’Eau Dans La Mer puts together the beauty of the Medieval Laud with Antiphonal accompaniment. All again comes as a conversation with himself, as despite what you believe you are hearing it is still a solo performance.

Kitchen Rain drains me back to musical Impressionism. With it’s simplicity and slightly faded, as if shy Piccicato dancing on the bass reef. Sons De Carrlhoes is as unconcern in feeling as Follies Bergere melodies of Belle Epoque. It all sounds Parisian Joy de Vivre, with all it’s raptures and draw backs.

Each piece there had not a depth only, but an Abyss to explore. The more you listen ,more you will discover to enjoy. One could keep finding connections endlessly, but is always the truth about the great music. Instead of that I would leave that to explore to listener himself if those few paths I left are pressing your soul.

I keep listening to this music second month right now and despite of the fact if I want it or not I can not separate it from the flood of news we are all receiving. Watching the biggest human traffic since WWII and exodus of different nations together. Blend of cultural backgrounds, the raise of hate and challenge for trust and our humanitarian qualities. I can’t stop thinking that this recording makes a perfect soundtrack to this documentaries. It merges our entire historic and artistic heritage. Brings to life what pre-defined us and made us as we are today with what we can be next. Depends on what our choices will be like. I am speechless.

RECORDING QUALITY :

LICHTUNGEN ~ TRAUMTON PR

Bollani is mighty pianist and well established figure on the Jazz firmament. His discography is same hugely impressive as is his versatility. This is however only 3rd artist’s solo album and definitely not on many before he was singing too. Artist claims that it was his love for singing what made him the pianist. That sounds like a decent explanation to me , given his Italian origin.

This album will take by knock out those who prefer Bollani’s ECM recordings. But will certainly get better reception from those who fall in love with his late year Shake Yer Zappa project. Therefore the same quirky sense of humour I loved so much on there is still present here. It also shows more of Bollani’s own nature , as covering freaky Zappa’s song will merge one deep into specific Zappa territory.

Like on previous he plays both the piano and Hammond organ again. Chunky theme opening LP is played on that and it comes like a funky hybrid of Italian movie tunes from fifties merged into jazzy universe of seventies. Coming after Quando,Quando,Quando fits to the same sense of humour . Personally I hate Italian pop and that one is no exception, but it have to be said that is still lovely Bossa , and with pianist’s treatment extract from the tune played up tempo comes very pleasant. Barroso’s Aquarella de Brasil catches up with that nicely. Stefano’s Hammond playing is lovely gentle. Never harsh or edgy. Despite of the material I am sure that organ lovers gonna love it!

Chunky bits he produces are painting melodies with the wide , but soft brush . Rich and meaty. He also covers Silver’s The Preacher and Duke’s Mount Harrisa. First completes funky chunky feeling of pop songs. Second performed on piano holds its own quality. Much more contemporary it shows Bollani at his best, getting into the theme with surgeon precision. The way he keeps balance between the melancholy touch and the natural drive of the melody makes it immediately recognisable. That is his benchmark. Still underlining it with the same wilful jolly feeling he keeps it inside recording’s universe. Dancing tune El Gato sound almost like piano etude and it jumps from one mood to another just like the quoted Cat.

The core of the madness comes with Microchip. It starts with funny mono recited dialogue intro which turns into silly cabaret like song with quirky sense of humour showing Bollani’s theatrical and vocal talents in pretty convenient way. It really is a fun to listen to the lyrics which come quite opposite , calibre wise to seriously expressionistic piano music illustrating the story. The same slapstick charm comes from two remaining songs : Un Viaggio and tittle Arriviano Gli Alieni. Just check an official video for that one and you will see. Therefore I don’t want to reveal all the cards and leave the challenge with you.

SOUND QUALITY:

ARRIVANO GLI ALIENI ~ INFO

Latest Scott’s recording is his 3rd since Oracle band came together and it is also his Blue Note début. Cast spans the same musicians who had been recording with him on his previous realise: Conviction, issued by Concorde Jazz.

So we have here a group of young but already well established musicians. Taylor Eigsti on piano, whom I remember from Gretchen Parlato‘s group. He is excellent team player and very sensitive accompanier. He proved himself great deal as well in Eric Harland‘s trio recently. The same can be said about guitarist Mike Moreno, who collaborated with artists mentioned above together with his pianist colleague. Saxophonist John Ellis shared with two above many recording sessions and almost entire band, except the leader share the line up of his latest Mobro recording. A wonderful composition for Nonet with five singers. Many can remember him replacing Eric Marienthal in Pattitucci‘s group as well as being a part of Charlie Hunter squads.

It comes with no surprise then that those gentlemen are supplying mature jazz with the consistency based on long well being together. They clearly can sense each other’s intentions. Opening Kendricks’ intro makes then more like an invitation into playing together than sets up the framework for whole recording. Let alone trying to dominate it. In this regard entire concept reminds me Conviction, but the music here is completely different.

Except This Song In Me, the only song on the record, which has very melancholic mood and is beautifully sung by guest vocalist – Lizz Wright. Its roots are deep in Soul tradition with the band being serving rather tasty fusion tissue on which dark are warm Lizz’s voice floats.

Mantra , just like tittle bit We Are The Drum show drummers architectural skills. On first it is the saxophonists who leads the band to the culmination weaved around the drumming patterns. Closely followed by piano supplying harmonic base. On second guitarist’s gentle phrases are giving direction to the others, again with piano and sax following.

What is really marvellous here is how the rhythm section operates. It keeps its timing duty steady but manages somehow to keep it in the background. In never comes to first plan unless you focus on that and enforce it listening to bass lines. Other way it merges with the melody lines in pretty unexpected way.

The Long Shadow is the best example to observe that. Sonically it is quite unique despite of reminiscences to the fusion sound of nighties.  Reminding me some of GRP recordings in particular. Hence I am surprised that this material had been issued by Blue Note. But Kendrick’s drumming has no connection with mentioned above at all, taking lots from Billy Harts ‘tradition. That’s probably why himself and Harland are remaining Lloyd‘s most regular collaborators.

This is certainly very good début and very moody and romantic recording which comes well together with modern feeling as well as with a tradition.

WE ARE THE DRUM ~ BLUE NOTE PR