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

Nine tracks on Past Present CD make guitarist’s début under Impulse label‘s wing. Naturally it doesn’t really matter a lot for well celebrated musician like Scofield. What matters more is actually what he is paying tribute to on this recording. As this seems to have a double bottom.

First and most obvious is his come back to recordings he made for Blue Note in beginning of nineties as The John Scofield Quartet. Rhythm section was floating but Joe Lovano remained constant pillar of the group. Here musically somehow they are getting back to the same idiom, but reworking it as it goes according to latest feelings and changes life brought. Both good and bad. That also means revisiting of his roots, deeply seeded in blues. So it is still old good blues, as should be expected from Sco, but with some future facelift. Despite that blues is the Blues and it always comes to its own.

What is wonderful here is the connection between Lovano and Scofield, delivering unisono the melodic content. That’s priceless and it always will be. Bill Stewart survived in the same gentle drumming universe which he already established with the group on the previous recordings. Grenadier‘s bass lines are certainly different than Marc Johnson‘s , Charlie Haden‘s or Dennis Irwin ones and that shifts the way the quartet sounds now. His presence in the group is probably most meaning due to his history with Brad Meldhau Trio and of course Pat Matheny Quartet ,which was another most significant group of the same kind in those days.

His ability to immerse completely with the group seems to be shared with Scofield’s one. But historically he is a common denominator between past Matheny and Sko’s quartets.

Second layer is more spiritual as it is related to Scofield’s lost of his beloved son Evan. He was taken by cancer and left a breach in artist’s heart forever. It contains pieces which are written on John’s memories of his son or dedicated to him. This is very fragile tissue to discuss. I tend to believe that this reincarnation of the group despite of the organic enjoyment of playing music together has also some self therapeutic qualities. It makes a bent on the time curve and makes the Past and The Presence parallel. In sonic universe co- created with friends who were always and remain today witnesses of happiness as it is, being together means a lot.

As per blues, what can describe the sorrow of life better ? Nothing I think. Knowing that makes you listening to these tunes in slightly different way . Without this knowledge it would be still the great album which is joy to listen to.

And it is such a great to hear that the Past became the Present and the great John Scofield Quartet is back and around again.

Past Present IMPULSE PR

Scofield’s profile on IMPULSE

Scofield’s profile on BLUE NOTE

Being familiar with early recordings from the Lebanon born, but Paris based trumpeter (his 3D trilogy so called: Diasporas-Diachronism-Diagnostics only) spanning between 2007 to 11. I was really all ears when I got these latest discs. Maalouf merges his inbred oriental heritage into jazz but also dialogues with cultures surrounding him. It makes him pretty unique and interesting to me and I enjoyed his earlier recordings a lot.

Those two are sharing some how philosophical concept as they are both dedicated to women. First to the greatest and most famous singer Arabic world ever had. Second to the women living today. Common human beings which are heroes who dare to protect life and sacrifice whatever it takes to protect values they are believing in. That is beautiful and unusual tribute.

From Oum to Kathoum

Oum Kalthoum was the same to the Oriental world as Maria Callas for example , to us western people, as I just learned. And that is a value itself. But certainly her heritage influenced not just a past generation, but also following one across all Arabic spoken word, and probably not only.

Whole tribute then takes one song, the more famous, perhaps: “ The Thousand and One Night”. It would be difficult to find anything sounding more Arabic like that. Then it had been stripped down to the core, around which he developed bran new jazzy, semi improvised tissue.

With top class American line up it became multicultural automatically. Larry Grenadier, Clarence Penn, Mark Turner and Frank Woeste are instrumentalists one can really rely on. Seven pieces suite is fascinating exercise for those who are living in well tempered world and certainly brings some Magic of the East to the listener. I could not recommend it more.

Red & Black Light

On contrary modern homage spins around fusion with pop and dance music. A different line up suits purpose very well. It’s easy going and catching up young people. It has all sort of influence from Oriental, through Balkan, to jazz like. As a result it is more world wide and even spiced a bit with rock like trance influence. Clearly written with an intention to reach as many as possible. I appreciate an idea that it became easy listening without sacrificing the quality. The best way to describe the intention will be quoting an Artist himself :

“… The women … have had (and still have today) immense influence on all my work in music. Especially due the considerable inspiration they give me through the way they cope with their daily lives and that on their entourage. Despite having lives like labyrinths. Complex and often dramatic, these women have inside them a strength and stability similar to a kind of unshakable trance. They give me the impression they never loose sight of what’s essential.”

I can say no more or any better. I can only agree.

Kalthoum IMPULSE PR

Red & Black Light IMPULSE PR

Ibrahim Maalouf’s profile on IMPULSE

What a pleasure it is to see another outcome coming from those two well known to me musicians ,long time friends and collaborators. Both of them are also most fresh and well recognised personalties on the German music scene.

This set up however is much different that any other before. First of all it is the 1st duo session those two recorded together. Secondly also conceptually,  in regard to the fact it was registered in Canada, some touch of melancholy had been in-printed into this project.

Set contains 10 tracks, eight of which are artists’ originals and remaining two are tributes to artists they both admire and cover music written by them First is Kenny Wheeler (For Jan). Furthermore Joni Mitchel (A case of You). Worm and melancholic trumpeter’s tone shows long time admiration for his master and these inspirations remain present in his music today. Joni, equally demands similar attention from anyone who values highly poetic virtues in her songs lyrics.

In fact it all took place just a jump from where she was born and grown. In addition both artists learnt making a trip there, that she remains completely unknown and forgotten. That experience significantly added ingredients to the touch of an isolation that this music possess.

Strike of the nature’s vastness in its unrestricted glory makes a main motive of this sensual dialogue. Cover picture equally speaks for itself. One can imagine the feeling of an open space. The scale of the mountains around. And the quietness which surrounds you once you leave our noisy civilisation with its constant urban traffic.

Even the way that music sounds in an open air and fades undisturbed. That describes the best to me the level of concentration there. Even without pointing particular tunes. There is no rush. The notes are all well respected and there is a lot of silence and reverie.

Tune like Calgary, which I remember from Sternal’s Symphonic Society I reviewed for you earlier this year have completely different feeling. I can sense the higher level of meditation in the conversation with trumpeter. There is no tension at all. Every single note comes so enforced that an overall balance of the piece appears completely different. They both communicate really close here and are listening to each other carefully. Sternal is exquisite accompanier, and he puts wonderful sonic carpentry under trumpeters invocations. On the other side the way Koster sounds here is mesmerizing too. He controls his expression beautifully and sounds fully and reach all the time, with the same blossom on the long notes as well as on the edgy blasts. Just listen to his trumpet on wonderful Lullaby to understand what I mean.

Pieces like Into the Wild and Prayer have an incredible emotional density and inevitable fire-power I would say. I simply can not stop listening to them all over again. There must be some therapeutic properties spell into this music and it makes me immediately feeling great.

CANADA Traumton PR

Rantala’s tribute to John Lennon, entitled after one of his most known songs is something special. I know Rantala’s music well and I am familiar with his other recording for ACT and before. That includes his previous solo piano recording lost heroes, which also is a tribute, but dedicated to many, not single personalities.

With his eloquence, classical education, and flirts with a pop music over two last decades he clearly established his reputation as a man who can play everything. From concert with heavy metal band to classical repertoire, from Bach, through Mozart to Sibelius. He has specific talent to merge to other people music unlike anyone else. Or simply adopt his playing to whatever comes as music is simply MUSIC for him, despite the genres. Those are for critics, like me.

As he proved himself so many times before I had no doubt that this recording will be nothing but sensation. And it simply is. What makes it special, on every occasion, not just here is his respect for the music he plays and adores. This is where his special talent comes from. He simply does not want to change anything. He has this rare capability to drop his EGO and adopt himself to the music endlessly. The rest just comes naturally.

Once he is in he starts to explore the theme, finding ways to show the best of it. And this is it. Hence natural beauty of the melody and honest simplicity of Lennon’s tunes are treated with an incredible respect. He is building up between melody lines, like in Norwegian Wood, before bringing the theme to your ears and makes it recognisable. Shows what no one else have seen before.

You want another example? Help, everyone can hum this, but not many can find entire blues and buggy scales between the lines and bring it to people’s attention, still didn’t dropping single note from the song.

Another? Woman: this other way naturally dance track makes you swing. Here it starts from heavy left hand clusters which are showing that the tune is nothing but the blues. Step by step it takes listener to the dance-floor without scarifying anything.  More of that he is showing such a lot between that it is fascinating to listen to the way he delivers it.

Or Imagine, to take it to the extreme. This is sacred tune and for many equally important as religion. Here main theme again comes veiled in little fiesta rhythm, from which the tune just blossoms in the blink of an eye into fully grown flower. With a bit of Jarrett-ish expressive intro, which still gets back to the core, just after raising culmination.

No point describing them all. That would be just boring and listening to this project is anything like that. That’s the music which needs to be experienced, not just heard, to be understood and fully appreciated.

Bite by bite, tune after tune. And over and over again. There is enough capacity in it to keep you entertained for long. And winter did not even started yet.

My working class hero ACT PR

After his cracking Follow the White Rabbit début on ACT Music and following Alter Ego which established his reputation of one of the most interesting young personalities in music it is Yaron’s time now to début again, this time under legendary Blue Note label.

Given his late approach to the instrument and mind-blowing progress he achieved it was a matter of rather short time to him to move to the Big Apple. With his every day hunger for new music, this is a melting pot and the place to be. Herman’s approach raises on fascination in classic piano trio and one can clearly hear that he researched the paths his masters followed before.

You can hear in his music open organic improvisation core, like in Jarrett’s recordings, but also intellectual twists ala Paul Bley. All put cleverly together. But there is a  tad of Meldau’s and Mcoy Tyner’s  touch in his lines, too. The more you listen the more you find. On the top of this comes parallel fascination in classical piano and deep studies of the harmonies as well as research of the instrument boundaries.

Here he comes however with a DUO set with his equally talented colleague Ziv Ravitz behind the drums. He is a crazy capable musician and we still have a lot left to hear from him. It won’t take long as he is already signed to Swiss Intact. That suits his spirit for an improvisation well. This way Herman makes a comeback to his beginning.  All due to the way he started. Some twelve years back on his début for Sketch it was a duo with another percussionist Sylvain Ghio.

This recording wins my heart with its intensity. From the first notes of opening Fast Life , it takes control and literally glues listener to the melody. Here is where Yaron explores Jarrett and Bley to the bottom, but still includes his own tissue to the piece. His left hand is operating with knocking out authority.

Coming after Vista is an extraordinary layout built on drum and piano conversation. It starts slowly and builds up on amazing connection between two players, but this is in choruses when culmination riches climax in quickly changing tempos. Intensity is so great that the piece seems to be much faster than it really is, and the piano clusters with last accord coming from the triangle is simply marvellous.

True Tour de Force comes on the piece called Nettish. Intensity of the dialogue which is happening here puts highest demand on the listener. One can’t listen to it in the background. But seriously, this power and passion just keep blossoming in every single piece. And they get you back just within seconds.

The only exception here is Volcano, a piece involving Islander vocalist Helgi Jonsson. That reminds me strongly Bjork’s universe and it comes out quickly that it was in fact produced by the same man.

This recording is psycho -motoric trip inside your mind. Driving you fast and keeps in your memory just a glitter of passed by lights. It is romantic and furious. So honest that any open soul can’t avoid it.

This is most fascinating piano & drums recording I heard since Mal Waldron and Max Roach. And it shares the same inner soul connection.