Live to Love is my first meeting with Jacqui Dankworth music and further checking up showing me clearly that I missed her 2011 It Happens Quietly which won her Award and brought critical acclaim from around the World. When mentioned one was a rework of the classic standards, the latest one offers a selection of jazz ,soul and blues inspired originals as well as a few covers of songs by Wayne Shorter, Johnny Mercer and Donny Hathaway.

I wouldn’t call her a jazz singer in a pure meaning of this word. There is many influences possible to point in her style and it is already a blend of everything ,from classic American Songbook , through the Blues to modern Soul .

For example Manala, track which brings back memory of early Sade recordings, but Wood’s rhodes playing puts accents on a different spot. Similarly Shorter’s Palladium ,which sits somewhere between Soul and Bossa and has lovely rhythmic drive. Her phrasing here reminds me Basia Trzetrzelewska . Same applies to It’s Tomorrows World.  Title Live to Love, same as We Do Need Love are both wonderfully sung ballads with fabulously written lyrics , showing her maturity. The non banal words proving clearly that she knows a bit about life already and the message is honest and mind opening.

All Is Quiet deserves special attention and to me is a culmination. First, excellent lyrics ( co –worked with her bassist Geof Gascoyne). Secondly wonderful arrangement with strings flying gently over is  giving an additional deeper meaning to the words. Finally the way it is sung. Like Kurt Weill’s songs, with almost theatrical intonation. Pure poetry in its best.

The Brodsky Quartet appearance on few other tunes makes it more fulfilled and it’s giving a complexity to the overall concept. Building drama into the song that didn’t come from no-where. As I found she is a frequent collaborator with Royal Shakespeare Company , National Theatre and even appears on West End stage. All of this for sure makes her vocal more complex and a personal style somehow unique. Singing actors are a class of their own.

Donny Hathaway’s Someday We’ll All Be Free had been sung in such a light way that it almost had no gravity. Reducing band just to the quartet on this occasion gave Jacqui more space and gave her an opportunity to expand her vocal abilities even more, which she took full advantage of.

Mercer’s Something’s Gotta Give went even further to reach the pure Bass and Voice template . Here she won again bringing this simple formula to the very top like Sheila Jordan used to do with Harvie Swartz or Nancy King on her recordings with Glen Moore. All together very well done and I am really pleased I came across her Art. I will be happy to stay in tune waiting for next recordings to come.

Male vocal league had been a subject of few important make ups over last few years. Since early 90-ties Harry Cornick’s Jr. many things changed. Guys like Peter Cincotti, and Michael Buble brought further attention to the discipline, but the real game changer was Kurt Elling.

After years of interregnum the crown which Frank left had been finally put on another head. But now when we got an outstanding Gregory Potter competition really became tough. In Britain only Jamie Cullum proved his strength against American mainstream. So British really needs more talents that Simon can deliver if they want to stay in the game. Hopefully it is all about quality ,not quantity and such a person is here. Let’s talk about Anthony then and his début album recorded for French Naive label.

We are finding here samples from core repertoire which belongs to famous songbooks like Berlin’s, Porter’s ,Gershwin’s, a few more modest like Stevie Wonder for example and a bunch of his own originals. Classics are giving us a chance to compare to above mentioned gentlemen, as they all had recorded them.

Anthony’s approach lays closer to Corrnick- Cincotti, than to the others but surely he is a voice of his own. Opening Porter’s Too Darn Hot classic shows immediately his originality and attention paid. Arrange is sparkling and changes in tempos are glittering. His self piano accompaniment is brilliant ,brass arrangements fits spot on into quasi commercial arrangement, which in fact just pretends to be like that , to make it more dancing and far for original’s smoothness. Scat outro shows clearly that he made his lessons great .

Following Change my Ways, his original shows again how much he gained from other masters and with full respect blended to its own. With funny lyrics and semi spoken lyrics it brings me memory of Elling’s Oh my God especially when close watching phrasing and way he is dealing with up tempos.

Luck be a Lady after brings really more attention to his piano skills, which are excellence of its own with perfect controlled dynamics and pin point precision in articulation. Without getting into further details I would only say that this men is going to be a STRONG contender to the tittle for the other top class players. He is talented, original and vibrant. Posses an elegant style and both, his piano playing and vocal, are well matured and already mastered on the beginning on his way.

From that point we can only expect more and better. Compositions on this recording clearly show his full control of artistic process and deep understanding of emotional qualities. Here it is hard to me to avoid one last comparison. My Foolish Heart is one of my favourites. I love deep and emotional Elling’s version . Anthony’s one defines his style exactly to me. He is not going that far. His interpretation is more relaxed, but well attached to the lyrics. He knows very well where he is the best. It suits better his bright tenor, and blends greatly with the rest of repertoire, which stretches widely between sparkling rubatos and careful and precisely written orchestral arrangements.

These are kind of choices which make a master. It’s simply TOO DARN HOT to omit. To me this is a début of the year so far.  Highest possible recommendation and a must for true vocal fans.

The Korean singer Youn Sun Nah has already been presented here before. Those who read these pages know very well how I respect her artistic qualities. Lento is her most recent release, just launched in May, so truly hot and as fresh as it only can be. Three years passed since latest and reviewed here Same Girl recording. Lento is her 3^rd in the Act catalogue and is also recorded with the same accompanying musicians. Her regular partner she also performs duo with – Ulf Wakenius on guitars , wonderful Lars Danielsson on bass & cello and Vincent Peirani on accordion & accordina with Xavier Desandre-Navarre on percussion.

The repertoire here, as a lot had been set up more like on her label’s debut Voyage recording, than being rather an extraordinary songs extravaganza as the previous recording mentioned. As always with her projects careful match of collaborating personalities brings a final quality to the mix. These are not just scores which would be the same if other musicians had been hired to full fill requests. And she knows it very well – she used to lead other squads, other days, back in France and her motherland too.

I mentioned Voyage here not accidentally as when it comes to the order of the songs are presented with you can see the whole concept she got in mind and perfect control over the mood.

Opening Scriabin’s Lento with her own lyrics take us to the land of reflection with relaxing Ulf’s accompaniment, their well proven over the years formula. Her own Lament after stays in the mood ,but with decisively spoken lyrics it posses an intensity of the protest song. Trent Reznor’s Hurt slows things down and changes perspective nicely. It is hard to forget Johny Cash’s singing the same tune in the end of his days,  even if one is not a fan of him – it is deeply heart touching confession song finally ending as reconciliation with human fate. Her approach deals with his statement gently setting the focus on the importance of the things in life rather than on their absolute.

Two other scores credited to Peirani are exploring in a beautiful way the harmonies between Youn’s voice and his accordion , which he is playing like no one else, in a very individual way. Wakenius’ Momento Magico ,full skat show off with guitar bravado is their famous stage hit. It fits between two above perfectly in the case of building drama. Same can be said about Jones’ Ghost Riders In The Sky in which she takes a chance to drag out all of her complex vocal artillery to win the battle again. No doubt then the following Waiting from Cecile Norby’s repertoire will fit the bill perfectly to set the mood back up. Personally I love Cecile’s version the most, at least Lars had written it with her voice in mind, but Youn’s version posses its own charm of course.

We have got here one traditional Korean song as well, which she is always putting in between a lot. It is so nice to hear that, as harmony on those scales are so different from anything we are used to in Europe. The last piece, on this all together excellent recording , called New Down is another of her own and its Medieval harmony reminds me a lot of John Downlads’ composition. It is a very kind and charming way to say goodbye.

On the top of good things about this record I can add that the ACT label is offering it as the 180gr high fidelity pressing in premium packaging with the CD inside as a bonus for 20 Euro to us. We couldn’t ask for more really, could we ?

Terence Blanchard is back in Blue Note. Home Sweet home as he pointed from the stage when I first heard this project. The Record arrived after and it is worth to mention for the reason I will come back later. Over the years he became an institution . His latest Quintet sports just a young line of lions. Bass player, 21 year old Josh Crumbly had just been graduated at Julliards . The Band reminds me of Miles 2^nd quintet and the way Terence run it makes it even more similar. Like Miles with Bird and Dizz he became the leader himself after his formative years under Art. Blakey’s care in Jazz Messengers. And one day another shift will come.

Blanchard’s trumpet , again like Miles’, is immediately recognisable , however here he plays using gentle harmonizer effect on the top. What looked overdone on the stage, from CD came perfectly balanced and sounded just wonderful, something worth to be aware of. His legacy covers 20 formal tittles lead, as well as hundreds of tunes written for the movies , and even Jazz Opera called Champion , which I am so looking forward to be recorded and issued at some point as so unique project.

Funny thing is that many people might not know his name, but there is no chance that they never heard his music. But Blanchard is here himself as always. With beautiful tone and not too much notes played he constitutes his style perfectly. Same as with speaking he is playing just what is absolutely necessary and nothing else. Something what Miles himself used to do and pass to his pupils. Getting to youngsters it is a pianist ,whom I was listening with the ears wide opened.

Fabian Almazan roots are in Cuba and careful listener will hear that Sol soul background there.

His composition titled Pet Step Sitter’s Theme Song is a masterpiece itself and to my ears the best piece on all of the recording. But his inspirations came from whole piano universe, not jazz only. His fascination with Jarret is obvious and his ecstatic way of self expressing brings his great idol bests moments back to memory. No wonder one day he will reach the same position , and this seems to be the not so far future. He is wise and vivid. Using his imagination in very own original way. There is no simple following. It is all a result of careful studding and deep understanding. The dynamic he plays with is just striking. Tone varies from keyboard foundation to classical romantic forms. All again is used for purpose and when needed – with absolutely no feeling of show off. The same vitality defines the rhythm section. Bassist might look quiet if compared with drummer’s sparkling vitality ,but it is just an illusion. In fact he posses same brilliant technique, just keeps it on hold and expresses himself in time discipline instead. It doesn’t help to shine in the same way as pointing rhythm with hats , but take it off and one will understand straight on what’s going on. Another pillar of the band with highly visible driving force is a saxophonist Brice Winston. His duets with leader as well as solos shows maturity and highest class skills. Specially Hallucinations shows it with its dazzled lines and varied tempos not easy to follow. Starting from piano introduction Comet is another of my favourite on this recording. It shows Fabian’s brilliant technique from more romantic perspective. Central Focus contains some of the best piano – drums conversations I ever came across, when Another Step – composition set up on funky rhythm reminding me Bitches Brew days offers some nicest brass spectrum on all CD.

Magnetic is a truly magnificent recording and its attractive force is impossible to avoid and about recording quality I could write another couple of pages ,so you better don’t ask – just listen to.

RECORDING QUALITY:

MAGNETIC BLUE NOTE PR

Swedish Jazz might not be vastly known a lot here in the UK but true connoisseurs know that we are talking about TOP quality here, and those artists who’s output reached these levels are simply superior. Here it comes to Two Swedish Ladies Sofia Jernberg and Cecilia Persson, who co- lead an Excellent Septet of Young Lions called simply – PAAVO { means peacock ; } As per title this is their 3^rd recording and unlike previous two made with big brass squad ,this one is reduced to simple trio formula. The only reed on this occasion belongs to famous Swedish sax player Fredrick Ljungkvist, artist highly regarded by both talented ladies.

Setting it up as a trio changes the focus. Usually, with Paavo, we talking septet or nonet. Arranges are dense and complex, and very demanding from collaborating artist. Rhythmic discipline is next to absolute perfection. It is a must ,otherwise it would all fall down. It is difficult to describe that to those who never had a chance to listen to this music either live or from recordings { I had the great pleasure to experience both }. But scores posses the same level of complication as let me say symphonic music – all have to be under permanent control during performance to get maximum quality output. Concentration and devotional focus on the subject are the key here.

Going trio doesn’t simplify things at all . Whole warehouse of pleasure is still there. It just shows inner core of the composition better, where previously attention had been spread between different voices blended together. Music on this volume includes 8 tracks. Except 2 compositions taken from Swedish pianist Per Henrik Wallin, which had been re-arranged by Sofia, the rest came from themselves. Two are credited to Cecilia , the rest to Sofia. She also had written all the lyrics which are truly exceptional quality poetry.

Without going to particular titles I would describe all the music as an outstanding theatre of wonders. On the bottom there is Cecilia’s piano background. Very impressionistic and illustrative bringing to mind many associations with almost everything what happened in music since XIX century till today. It is clever, elegant, creative and sensitive. Sometimes figurative, other times more repetitive, depends on composition demand. Never overdone and completely free of any show off.

On this texture there are two voices flying – Sofia’s and Fredrick’s sax or clarinet, based on which matching particular harmony is better. She is the bird. She flies high and low over the scales with an ease hard to imagine. The only two ladies which are any close to that would be Laureen Newton and Meredith Monk.

Ljungkvist’s sax is playing here the way it matches her vocalises which are almost impossible to describe. It is an organic connection between them, they simply blend into one perfect harmony. All dialogues, walking through the scales , phrasing and dynamic passages leave the listener speechless. I am pretty sure I’ve never heard this kind of synergy before and believe me I have heard a lot.

Remembering previous Paavo compositions I am familiar with her voice flirting with eight reeds together to build up a particular phrase or just with selected sections to put an accent on a particular  part of a composition. But even if those were a class of their own, this here is just the sound from another world.

It is this one of this rare jewels which every reviewer always dreams to come across at least once in life. So I did and I am so happy because of that. Now the problem is that the words being not good enough to recommend her . Even if I am familiar with some of the most sophisticated ones to give them a go I can simply find none to be good enough to pay tribute to this ART.

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.