Here we got another live recording to write about in this issue . This one is really special one. When it comes to Saxophone in German Jazz Heinz Sauer should be considered as a figure like , let me say for example Sonny Rollins. Presumably not so well recognised abroad as the latest ,but they belong to the same – top class – you can take my word for it. Well ,they are almost same age as well , we talking 81 here to make it clear.

Wollny is a young piano virtuoso and a pillar of already famous [EM] trio, whom I mentioned earlier many times, as one of my favourite pianist of his generation. Those two have long story behind them as well as many gigs over last twelve years and few projects. This live event had been played and recorded in Darmstad church and what makes it so special is an excellent acoustics of temple interior , which can not be compared to any regular concert hall.

Those who know famous Garbarek’s recordings of Officium project know very well what I mean. The sound is so spontaneous and unforced that it have to be heard to be believed. That’s what perfect blend of Gothic arches and ACT sound engineering can do 😉

Listening to Space Cake here and comparing to studio original reveals the whole truth in a flash. As it is always an issue with those two open mined individuals, they simply play music they like and there is no territory they wouldn’t dare to cross. So we have here not only few jazz classics ,but also few originals credited to both artists and few and two beautifully re written pop songs.

In All Blues sax articulates notes so slow that it takes time to get it. Piano response is the class of its own. Melody comes out from such a minimalist approach that really only very few could handle it. Further emphasis is nothing but the greatest tribute to this tune I ever heard. It is really not easy to simplify even more such a simple thing like All Blues is.

Prince’s Nothing Compares 2 you is another vocal piece which is deeply anchored in audience memory. Original, or further covers from Shinned O’Connor or Jimmy Smith they all have deep emotional signature related to vocal interpretation. Sauer’s one joins the club with full deserved glory.

Following Billie’s original Don’t Explain is a culmination of his virtuosity and the statement for this combo. Truly their ability to explore vocal nuances like that ,with grand piano and sax makes them pushing boundaries.

Dylan’s Make You Feel my Love is yet another example for that mastery.

Lovely Believe Beleft Below from EST’s repertoire, except of being a beautiful waltz as it had been written, here with saxophone lament intensity, it becomes immediately an epitaph for tragically died label mate and a great artist himself..

As it started with blues it ended in the same way with Kind of Blues. Apart from the obvious association this one is their original . That is a Spectacular recording that every one would enjoy ,even knowing nothing about both artist ,simply for its artistic quality. I couldn’t recommend it more.

The German Bassist Dieter Ilg is one of the most interesting figures of today’s European music firmament. His collaborators in the trio: Rainer Böhm on piano and Patrice Heral on drums are together long enough to guess each other intentions and the squad remain constant since at least 3 years when they recorded their 1^st Otello project for the host label. Verdi’s music exploring certainly gave them a lot of background in chosen approach before they came to Wagner operas.

As I mentioned in last issue ,we have got a Wagner’s year and this tittle seems to me another tribute to great German composer. But first of all it is trio’s original language the ability to express themselves by giving that personal jazzy touch into the classical scores. I also said before that it is much appreciated and I am always in a front line to listen to such a things.

Ilg ,behind playing jazz, is classically trained bassist so he is obviously living in both lands and for this reason his original language shouldn’t be so unexpected. He is also a double bass virtuoso in the same way as solo violinist or cellists are, hence one might expect these high levels of sophistication in his play. Talking here about invention, musicality or articulation would be a waste of time.

Gaining from their classical experience trio plays opening Parsifal theme beautifully. Melody blends here in such an intimate way with Evans’ Waltz for Debby , and probably many other quotes they used to bridge this conversation ,which I didn’t quite recognise to the level I can name them, but they certainly rang the bells in my memory.

Opening riff from following Glocken sounds to me right out like theme from Frisell’s Go West, part of Buster Keaton soundtracks project. I love to trace such a connections. But here obviously lovely accompanied by the same plunking piano which played an intro, it took us back to the title suite. Self titled Parsifal ,quite opposite, starts as a dense collective improvisation from which the same theme comes back in inverted modes.

Going through next scores is nothing but the master class, showing clearly how the great invention can convert simple tune into so many ways if there are some people around to keep this dialogue alive without a trace of tiredness. Musical imagination of the trio is a league of their own. From minimalist approach a la Paul Blay pianism to sparkling and vigorous complexity reminding EST trio we are still there with the same few notes written by Wagner almost 200 years back . But in skilled hands of this Trio, they cry for us ,whisper to us, scream or laugh, keep dancing or trying to seduce constantly putting spell on unaware listener.

Closing theme is a quote from Beethoven’s Ode to Joy re read in melancholic and nostalgic way with bass notes talking to your ears softly and one couldn’t find better words to find out what listening to this music is. This is simply excellent recording, which I was expecting from them knowing Ottello project. But there is a difference between Italian finesse and German consistency … .

Really ? I don’t think so – certainly not at this level.

This recording keeps us close to greatest bassists ever. A subject which is worth alone a lot. George Mraz is one of them for sure. During his long career he played with the greatest Jazz artists that had ever walked on this planet. Zoe Rahman is one of the brightest stars on the contemporary British jazz scene, classically trained ,but deeply in love with Jazz. She posses remarkable technique and highly individual, vibrant style. A big part of this definitely comes from her Bengali heritage, which plays role in her artistic complexity ,and is probably responsible for this unconventional mix of vitality and temperament. These roots also blend into jazz part of her soul giving this charming personality all together.

This is a live recording of the private concert which took a place in Greville Lodge last year and now become a part of the series with the same subtitle. Material recorded comes from Mraz almost exclusively , except closing Love Theme from Cinema Paradiso by Morricone and Zoe’s own April Sun.

Let’s start from that one then, as this is a serious piece of music handled as a piano invocation with a space left here for a dialogue with other voice. It starts with a high volume and massive dynamic piano clusters bringing memories of some great piano performance, like for example Jarret’s improvised solos and has this open concept which makes it possible to expand and build in any direction , depends on interpreter imagination only. I can easily imagine myself how Zoe could possibly play it alone, knowing her other recordings, solo and in duets with clarinet.

Following two tracks are traditional Czech folk songs arranged by George. First one is a beautiful and nostalgic tuned curried on almost solo ,with just a last verse repeated as a duo conversation.

Second one turns into regular blues where Mraz’s bass keeps walking across the scale when Zoe is filling up the gaps with chunky and rich chords bringing to mind gospel intensity.

First four tunes {Mraz} are significantly different in the case of arrangement with rich modulations in the bottom octaves and showing clearly the difference between plunking four strings in rhythm section and using double bass as an equal partner for conversation with the piano and any other voice of course. Zoe is a competent partner to handle such a conversation in the way which is innovative and her very own at the same time making this venue really interesting Summit.

She is getting bassists intentions on the fly, really and responds with sensitivity enriching this which had been already written. I am not sure that but listening to this I really have a feeling that they didn’t have time to play it together and polish and rather chosen to rely on their own sensibility to make it happen. And they did.

Thanks to that this material has such a feeling of freshness and a taste of discovery. To close properly I left mentioned above Love Theme to the end. As this tune has such a different character. But also, unlike others,  that one is such a well known. Listening to how they are going through it makes me smile. It shows clearly their different approach than with the rest of pieces they presented here. It is like talking about a things we all know about in a completely honest and straight way. Just using own voices without a trace of forced creation, which could make the balance fall.

Such a lovely set , and it is easy to hear listeners enjoyment too. Those who’ve been lucky enough to attend.

C-M PR: George Mraz & Zoe Rahman – Unison:Jazz at Greville Lodge vol.3

Recorded Live in 2010 in Scotland

This recording is special for few reasons. It contains 5 pieces which might be called milestones in ECM catalogue and one coming from pretty fresh début ,but it stands up in label’s tradition. Composed by artists who established long time relationship with Mr. Eicher. For this reason The Label commissioned to write special big band arranges for them to celebrate ECM’s 40th Anniversary.

Job had been left with Tommy Smith ,who recruited six further artists to participate in it , including pianists Makoto Ozone and Geoffrey Keezer, Øyvind Brække, Trygve Seim ( his Ulrikas Dans is mentioned above one off) and Michael Gibbs. Decision to make Arild Andersen a soloist in this project is unusual either if we think about “ Celebration” as about a homage to artists who remain living monuments of the modern Jazz. Watching that from long time collaboration perspective is giving us more confidence as those two had been long enough together to know perfectly what is going to work for them and what is not. And there is no surprise then the results are superb too.

Opening Dave Holland’s May dance had been originally issued on self titled Gateway, trio’s début recording in 1975. With Abercrombie’s guitar and J. DeJohnette partnering on drums it has his special taste which had many followers. Here in orchestral arrangement the speed had been kept as a hallmark of this composition, but main voice had been given to leader’s sax and responding or counter pointing brass. It was also interesting to hear the bass line played by Arild ,who’s voice is usually more rough and not that dancing like Dave’s phrases , but not on this occasion. Despite modern orchestration the light spirit of seventies had been kept on.

Garbarek’s Molde Cancicle had been gently slowed down, pure sax voice remained on the front but orchestral response made it more monumental than quiet hymn like it originally is. In 1991 such an aesthetic matched artist’s image more and having unique M. Mazur on drums partnered by E. Weber made a perfect accompaniment for his long and nostalgic voice.

C. Corea’s Crystal Silence remains one of this pieces which had been widely explored since appeared first time on artist 1972 recording in duo with G. Burton. Going on through further carrier ,it was a part of Return to Forever repertoire as well as a subject of solo performances, to be finally reborn and brought back to attention by latest 2008 The New Crystal Silence. It always had such a space that almost everything could be put there , so I was not surprised seeing it this program and I like Makoto Ozone arrangement for his respect for this space and avoiding temptation to put there too much.

T. Seim’s Ulrikas Dans ,the youngest piece among that selection ,arranged with Ø. Brække ,his band mate and trombonist gave them both nice opportunity to re-think the ideas. Originally recorded on 2000 Different River début the piece was played by quite a big ensemble too, so we have got here more like an orchestral rearrangement comparing to others. With lovely double bass introduction to motif and more room left for the other brass it now became even more dancing. On gentle orchestral cloud both voices – sax and trombone laying done comfortably dialoguing with precise and figurative bass. Contrast between smooth brassy texture and song of Arild’s instrument compliments and underlines the  brave new reading.

Following Independency, part 4 is Andersen’s original given to M. Gibbs hands to reshape. Originally recorded on Live at Bellville with Tommy Smith on tenor and Paolo Vinaccia on drums in 2008 as a simple trio, here as an orchestral arrangement gained completely independent blow ,but again without giving up natural flow and simplicity of the original score.

Closing My Song is probably the same story as Corea’s one. Recorded 1978 as a second set of Jarret’s European quartet became one of most recognisable tunes not only recorded by Jarret – Garbarek duo ,but presumably by pianist himself too. Often played in his later trios as well as honoured by other artists choice. Here, similarly as it was with previous tracks, it’s keeping again his charm completely. Remains the same simple melody with famous sax thrill now repeated by brass band and solo voices respectively. It completes almost perfect harmony which over all this years never needed any changes . I believe that I do not need to add it is “a must hear one” .

ECM PR: Arild Andersen: Celebration (ECM 2259)

Eric Schaefer is a driving force behind young German Lions Trio [em] as some might know and “ Who’s afraid …” is his début recording as a leader. Here without Wollny and Kruse, with completely different make up. Accompanying musicians are: Tom Arthurs on trumpet & flugelhorn , Volker Meitz on organ, Fender Rhodes & keyboards and John Eckhardt on bass.

In 2013 we celebrating 200^th Anniversary of Wagner’s birth  and I suppose there will be sooner or later another interesting recordings available. Her we got then Eric’s tribute to his great compatriot’s heritage. Eight out of thirteen compositions covering exactly Wagner’s operatic works, 1 is collective work, one after Liszt’s Dante Sonata and two leader’s originals .

Prelude to a Prelude, the opening one interestingly stays as co-written (Schaefer/Wagner) and appears to be an ambient version of original Wagner’s Tristan und Isiolde prelude, but completely reworked.

Starting with one of originals: Nietzsche in Disguise takes us immediately into the world of dub and reggae, both styles I never heard from Eric before. Next called Amazingly Slow brings completely different mood. It is slow indeed but not as much. Here we got lovely thrilling trumpet flying over organ landscapes and slowly building up into main chorus. Gentle percussion shimmering feeling up Rhodes approach nicely. Collective Love and Death is pure club aesthetic, art. of noise. Loops ,synthesised phrases and twisted chords finally bring gentle motif up, but it just disappears as quick as it flashed. I would say that one could describe a mystery of love this way, can not find Death there however. Dante Sonata works great with dusty electronic noises and wonderful lead of cool trumpet sound.

Jumping into the main W. Subject one couldn’t miss Valkyrie. You might know noting about W. but you probably have seen the scene from Apocalipse Now (F.F.Coppola) showing ride of furious choppers dropping napalm dead down. Here riders are more like glorious cavalry than enraged ride of female warriors. Among appears another beats from Lohengrin, Sigfrid mentioned already Tristan und Isolde and Tanhauser. They all stay close enough to originals in the case of melody and remain recognisable for those who knows these operas.

Different pieces had been given various treatments. Mostly it goes into dub~club like electronica, proving clearly that this music, re-read and revisited by sensitive souls like those chaps, still can be attractive to youngsters with no exposure to Wagner or Opera at all. I like a lot the way that trumpet arrangements cleverly mixed with keyboard sound-scapes and supported by leaders percussion background keep opening eyes for this music which has been not exposed before to non operatic fans.

Those last might also not like this. Base work is as discrete as you would never expect thinking about W. What touches me most is overall dancing character of this music, and it’s not because clubbing aesthetics, but because of what they found in those scores. With great sense of humour and without unnecessary populism they really manage to bring this music to masses and this is a fantastic achievement.

Listening in the past to Uri Caine’s re-jazzed classical music, just to find something to compare it with, this here is same individual and non compromise. Simply voice of generation. Caine’s surgeon reworks had been heavily criticised by purists at the time they hit the market ^1st time and oppositely deeply phrased by those without any experience. Here again I can see the same dilemma, however not for myself. I can be also wrong.

Over ten years passed since Uri “profaned “ Bach, Vivaldi or Wagner daring to use mixes , loops turntables and DJ’s. Habits got changed and people become more familiar with such modest ideas. For this reason I like to see this album to be a great success as it truly deserves to be one. As always with ACT recording quality is astonishing and the way that live music had been mixed with synthetic sounds to create the complex image is smashing and joy to listen for stereo fans.

Songs of the Metropolis is Gilad’s latest recording with OHE , band he co- founded in London in the 2000 together with Asaf Sirkis (drums), Frank Harrison (piano) and Oli Hayhurst (bass). Only pianist and leader survived from original quartet , which is now powered by new section (Yaron Stavi – bass ; Eddie Hick – drums) since at least 4 years and this seems to be their 8^th album as far as I am aware.

It is very interesting concept. Specific tribute to Cities. Places with soul ,which used to have some “Meaning “ in the past musician says. Hence every song is dedicated to One. And every song , what is not so usual in Gilad’s post bob repertoire, is a ballad.

It starts with Paris. Lovely played on soprano tune immediately brings to memory of a cinematic like scenes. Very nostalgic and full of pictures which everyone have seen million times before. Waltz gently shaped with percussion shimmers and piano invocation makes perfect opening.

Following Tel Aviv ,Gilad’s home appears as a marriage of funky rhythm with a Jewish dance theme, but as always with Gilad’s untoward sense of humour, some blues brakes and rich phrasing dialoguing with piano and drums make piece a challenge. Never being in Tel Aviv I can’t comment on how it tastes as I can do with Paris or Berlin, but it certainly sounds like invitation to me.

Following Buenos Aires with dark opening chords on piano and bass Arco bring instantly deep scent of passion to listeners mind. Sax leads melody gently and every note is full of thoughts. This is like looking back notes marching step by step into most intimate memories. Gorgeous melody.

Coming after Vienna seems to be sound almost trivially predictable after such a deposit of emotions we already heard before. But wasn’t it always a city of charm and sweetness ? It is all there. Candy like sweet notes of leaders reed underline it pin point with sweet repetitive motif.

Manhattan brings back memories of America. Not just by order but literally ,being so close to quoting original band’s project holding same title , just without string arrangements which had been a part of it.

Scarborough itself doesn’t bring any images to me, but its leitmotif brings to my mind long forgotten melody of lullaby from my childhood. But meditative score quickly turns into fervent convocation bringing Coltrane like passionate sound to my mind and section and pianist are so close to Trane’s latest quartet like they possibly were never before.

After that Moscow , heavy piece with a serious meaning seems to overlap previous trivia with crush, showing triumph of rich culture and long history over “the unbearable lightness of being” with closing cadence saying that you have to remember it.

After that Somewhere in Italy is like steppingstone. Quiet place where no one can find you .One to dash in and disappear to enjoy life without burden of the past. Sweet promise of freedom with light piano notes and sparkling cymbals shining like sunset just happening in the front of your eyes.

Berlin theme after lasts only a couple of minutes but it brings to your eyes all enjoyment of simple life enchanted in simple gasthaus like feast song with cabaret piano dancing around simple Polka rhythm and sax notes laughing around the silly choruses.

Who said that simple is not most beautiful. But it sounds a bit like Rota’s themes for Fellini ‘s movies and like Ennio Morricone’s monumental scores as well. A bit like John Lurie’s lunatic soundtracks to Jarmush’s crazy stories and like Zorn’s pastiche radical Jewish Culture projects. This makes Gilad’s tribute so unique. As it shows how cultures influenced each other in the past, how ideas were travelling and blending. How everything able to bring enjoyment to people’s life spreads like chicken pox.

French pianist Thierry Maillard is a completely new discovery to me and listening to this music was a complete challenge. But it is not 1^st time to me when I am coming through the kitchen door to join the party.

Knowing his partners: drummer Yoann Schmidt who previously recorded with Birelli Lagrenne and Sylvain Luc and Hungarian bass men Gabor Gado whom I heard with Chris Potter, Hamid Drake or Flavio Boltro I was expecting high flight conglomeration ,but what I heard exceeded things far over the moon. One could say that we already knew that this planet is there, but knowing is one thing and walking on certainly another. Nether to say that mentioned leaders are among my favourites and adequate rhythmic section able to follow their concepts speak for itself.

Here Maiilard with his trio plus guests completely blown me up with wonderful complexity of his compositions and unspoken virtuosity of their execution. Opening Keops is an energetic tune reminding me Swiss Nik Bärtsch due to it’s percussive nature, however it never goes abstract and the melody is always there. Bravado of section following him makes me speechless. Gado’s fingering points Rufus Reid’s school in its best. But soon in following ballad he turns into deeply emotional articulation a la Garcia Fons , specially when oudist Djemai Abdenour joining in a duo.

Core turns into some kind of Mediterranean muse, but soon few questions are clearly asked on piano and answers given changed the tempo. This is wonderful dialogue showing Thierry’s versatility and deep understanding of European music. Following Beyond the Ocean takes us even deeper there with quest appearance of Didier Malherbe on duduk. Budapest is an obvious pianist’s tribute to his bassist. Wonderfully fingered motif is played with an incredible verve reminding Debussy’s arabesque driven by madness and bathed in returning waves of percussion crescendos.

Coming next Le jardin des reves keeps us in classical mood with a big sound and imaged associations, but it bridges to Keops in percussion like, returning counterpoints. Gado, previously recessed a bit, now stands up with beautiful folk tune played in a bottom register where it all builds up. Icon must be a dedication to Dave Brubeck ,whom the world just lost and it blends main notes from his famous rondo with Thierry’s own saying that great things will never be forgotten.

La cote sauvage reminds me Nyman’s Piano tune with the same intensity , simplicity and illustrative way it catches your imagination. La ligne transatlantique is my favourite on the disc . Gado plays opening notes Arco with strictly baroque articulation. It is almost like quoting Bach Himself. Piano’s answer brings emotions which had been previously mastered by Evans and followers and this is a great school to belong. The way of blending baroque with jazz is pianist’s own and it is different approach than most duplicated Jacques Loussier’s way.

Another outstanding examples are tracks 9 and 12 contributing Didier Malherbe playing duduk. Flutist ( I guess ) brings another sense of nostalgia into the table and its notes makes tune more floating and airy. On both nicely blended to Debora Seffer‘s violin voice. They build wonderful harmony together. Her voice is rather low tuned and complete duduk perfectly.

This is a mind refreshing session and following findings that he is recording under his own name since 13 years and over twenty appearing as contributing artist left me happy as there is no biggest pleasure to me than such a discovery. Only sad note is that he really deserves to be known better He simply posses an amazing technique and musical skills putting him among the biggest names on today jazz firmament.

These are all written scores. As far as I can say there is no place for improvising left , but the way they are played leaves you no wish for. Close understanding of each other, blend of skills and capacity of abilities makes a wonder. I simply love this recording and I am going to listen to it over and over. Neither to mention that I need to have lessons done and put my hands on Thierry’s earlier recordings.

Well. If you think about piano trio today ,who would be in your opinion the first one to point? Brad Mehldau is an obvious choice for me, and I am sure that for many others as well. From middle nineties his Art of Trio recordings set up new standards of reading , interpreting and playing music in this medium and it was revolutionary and visionary work which he did with his remained bassist Larry Grenadier and former drummer Jorge Rossy.

Here Jeff Ballard completes the squad and again ,as it always was, an interplay in the group is just brilliant. The fact is that listening to all this collection ,even if as pointed there is 3 year gap between the time base in this mix, no one would really say that. That is enough to say about the group integrity. Regarding pieces. Brad used to cover a lot from different spheres during his long carrier ,from jazz classics to psychedelic rock ,so all followers are used to such a surprises.

On this occasion we have got just one his original. The rest are more or less known tunes from others. At least to me. Like Brownie Speaks by Clifford Brown, sparkling blues with a little buggy twist which doesn’t appear in original arrangement from fifties in that way. The melody line had been lovely preserved here, but rhythmic accents put brand new life into it, showing in fact, how progressive were Brown’s compositions. Spacious drumming closing part shows great respect for Art  Blakey’s original though both presenting completely different styles.

Costello’s Baby Plays Around holds original melody without adding many variations ,but is harmonically enriched vastly. Changing tempos during repetitions giving band opportunity to dig dipper between the lines, again showing that Brad has great nose when it comes to picking up from the pop shop. But Elvis itself made a long way since he wrote this beautiful tune ,with no bad lyrics at all.

Sonny Rollins’ Airegin is another “milestone” piece, not just because being written in 1954 and first time performed with Davis’ Prestige quintet, but due to its further influence for next generations. It was well played after by many, not just Rollins, and lots of variations exist in well documented recording libraries. Brad’s one is in the middle between original tempo and further author’s fiery arrangement. Such masterpiece as it is allows multiple variations and in skilled hands shines like a diamond.

Hey Joe, a wonderful Billy Roberts gospel blues, had been bought by Jimmy Hendrix into position of an freedom Anthem for generations of seventies, and for many people still remains there. In fact many believes that’s his origin. And it is hard to blame them even as it is him, no one else, standing out of the crowd whenever it sounds. Trio made it right. Without forcing. Fighting against guitarist’s sparkle wouldn’t make any sense. They analysed modal structure of the piece instead, with accents put on choral spine and rhythmic walk making your mouth whispering these two words whenever rhythm comes back.

Brad’s own, called Jam, has this typical open structure giving your room for joining in and inviting for further exploration. Remaining tracks are equally good in the case of Trio treatment, however not being familiar with originals I can not say more about. And I wouldn’t like to anyway. Let’s go for it and give it a run. He did it in past and now he did it again , with no excuse.

 (recorded during 2 sessions in 2008 & 2011)

NONESUCH PR: Brad Mehldau Trio – Where Do You Start

Rava’s latest project took me by surprise. Knowing Enrico’s music really well I was familiar with his previous projects ,mostly piano less quartets and quintets, but also with some orchestral collaborations , including his opera reading among others. Bearing in mind his past relations with musicians like Roswell Rudd ,Ran Blake or others related to the contemporary scene and following his recordings rather consequently I would guess he can got inspired with everything on the planet but Michael Jackson who ,as he said “ he didn’t discover until the singer’s death”.

Honestly I could say the same about myself. Being aware is one thing. Listen to is another. Staying out of pop all my life I never cared about hit lists etc. And actually stopped listen to Jacko after he left Jacksons 5 and there was noting attractive left for me any more.

This is a big orchestral project and employed on this occasion „Parco della Musica Jazz Lab”, contains mostly studio musicians who remains completely unknown to me. Similarly surprising is the fact that recording had been issued by ECM ,as label has its very specific sound signature, hard to mistake with anything else. Hit selection is unusual here as well as trumpeter not necessarily picked up most famous tunes from the Pop King. But what he dragged out of them truly brought back life to them. With no vocal ,we are left with music alone.

It is not anything that Jacko’s fans might like. There is no leading guitar. Driving power had been given to brass instead. Changed tempos in pieces like Speechless or Thriller bought new balance to the composition. Brass rearrangements truly shown Jackson’s phenomena in brand new light and probably without skilled interpreters like Rava himself we would never found it on our own. Some elements , like Conga solo in Thriller gave a new space to the piece which previously was routine congested with boring rock meets funk percussion gallop.

On the other hand composition like They don’t care about us or Little Susie for instance, driven by Rava’s light trumpet modulation, getting unexpectedly close to orchestrations reminding famous Nino Rota’s patterns known from Fellini’s films scores. Those are my favourite. Chaplin’s Smile ,the only tittle around not belonging to Jacko’s heritage, is another one possessing this immediately recognisable burlesque tone.

Blood on the Dance Floor is the one which possibly holds most from Jackson’s original in the case of propulsive bass line and dancing qualities. But again percussion support and fantastic brass Tutties finishing every cadenzas making it blowing out of poster.

Same have to be said about History, which enriched with freshly gained marching patterns coming out of brass section and trumpet lines bridging nicely to the rhythm section. Piano solo breaking into that ,again shows massive potential hidden in this music .Sparkling brass Tutti closing this live set showing that the score choice was as wise as an order.

To complete that I would recommend to Micheal’s fans to give it a run, as his ghost is still there. At least it is his music and they might be same nicely surprised with their finding as was I when I heard this project ^1st time. For those who love Rava’s tone there is nothing to be afraid- it is still there in full presence and as strong as always. Accompanying brass players are equally first sort and all had been done with full respect and attention to the quality.

Something what common jazz fan would not automatically allocate with the music of Michael Jackson ,but I have to say that it is another project showing that we are wrong. Very surprising adventurous and full of discoveries. And as always we can except from Manfred Eicher – excellent recording quality.

ECM PR: Enrico Rava: On the Dance Floor (ECM 2293)

Daktari is the young Polish group led by trumpeter Olgierd Dokalski. They just started to play together 2 years ago only ,but already work out their own recognisable style and managed to establish the name of the band across leading music magazines. Daktari means Doctor and the name had been borrowed from TV series title. But it is quite easy to remember and sounds dynamic too, so it does a job just right.

Group plays the music which is hard to classify. First coming to mind is a blend of Balkan Folk with a bit of Klezmer influence on the top married to jazz – rock fusion. But this is just a simple first association coming to my mind after listening to the debut recording. More I listen to it – more is coming out. Fusion is a good word here ,but it is so vivid and organic that it seems to be a bit meaningless in regards to sounds they create. Having roots anchored in punk ,improvised music and psychedelic scene and behind being DAKTARI running separate projects, musicians seems to bring much more to the table.

Opening Hiszpan (Spaniard) starts as a gentle folk tune but very soon it becomes counterpoint by phenomenally spacious and contemporary guitar sound-scape created by Miron Grzegorkiewicz . Tune turns into the repetitive fiesta which does not belong to Polish tradition in any meaning. Motive then becomes amplified by joining force with tenor ,and again electronic guitar plucking gives it tremendous drive and dynamic support.

Following Zanussi starts with spacious trumpet solo which reminds me Dave Douglas blowing ,but the tune goes like an armoured train bringing to your mind velvet underground rhythmic section married with Marc Ribot guitar ,to slow down to John Zorn plays Morricone like harmony. The following 45 seconds tune is like piano break (looped ) with shaking brass phrase. It is very illustrative and bringing completely different tension to the complexity of this recording.

Next is Pollux ,best example for Jewish influence with trumpet flying over folk motive ,but soon joined by Robert Fripp like guitar turns into some like one of Zorn’s Radical Jewish Culture discs . It might mean everything, from death metal like heavy tracks into lyrical solo melodies rounding around oriental origins. I am writing that to show the capacity.

Instead of going through all tracks I ‘d rather like to make as much findings about influence as I can. In this recording, there is lots. With full respect for originals ,there is no trace of simple imitation. Instead there is deep understanding of original harmonies and pure knowledge gained from. It is surprising that mostly tunes came out of trumpeter , as for me the harmonic structures build up by guitarist are what makes this program phenomena. Rhythm section is perfectly fine and nothing wrong can be said about. Just rock solid basement. Brass is what brings the colours to the music as expected. Led by trumpet ,with a lot of room to feel left for the sax player ( Mateusz Franczak). But what is really bringing drive to the project is a guitar.

Acoustical plans build by young players surprise me a lot as they are so creative and mature and really pointing a massive sonic imagination. His playing is very individual and brings to memory Robert Fripp ,Brad Shepik and irreplaceable Mark Ribot. Electronic guitar layers fall down like Sachiko M’s generator guns.. They wave ,they swing or counterpoint ,depends what is needed. And if is needed complains cadences too as well as joins brass section soundings just like one more reed. Excellent technique and imagination. I am looking forward to hear upcoming second release soon.

Personnel:

Olgierd Dokalski – trumpet

Mateusz Franczak – tenor saxophone

Robert Alabrudziński – drums

Maciej Szczepański – bass guitar

Miron Grzegorkiewicz – guitar