To complete an unusual bunch of titles for the issue I got for you here The Magnolia Acoustic Quartet début recording. Its not the latest one but it doesn’t really matter as the music it contains could be possibly recorded few years back as same as in the upcoming future. If you like labels like CIMP, Atavistic, Cryptogramophone, Hat Hut, AUM Fidelity ,FMP or Leo or adore artists like Cecil Taylor, Joe McPhee, Fred Anderson, Ivo Peerlman or Mikolaj Trzaska , etc. – then your going to love that music.

Why ? Because there is pure spirit of freedom and power caught up during this session. Something miraculous and rare, what doesn’t happen too often. This kind of spontaneity and courage to play with an open heart and mind such an adventurous sounds doesn’t come every time. Hardly any it happens when the youngsters catch up the subject.

It had been taken just in a year after the sax player Szymon Dziworski decided to start the band with a rhythm section employing Patryk Dobosz on Drums and Mateusz Dobosz on Bass. Quartet is completed by pianist Jakub Sokolowski, who composed the music on this excellent recording. Set contains 12 tracks : Six entitled and six numbered improvisations.

There is no such place in music heritage which those guys didn’t dare to explore. In a very intelligent way they took a lot from the tradition and made it their very own. Opening Coming soon somewhere sounds like an open score to invite all those who would like to join. There is a lot of room left and composition is framed into somewhat a big band like arrangement than music for the quartet.

Coming after Mademoiselle C, is just pure beauty and gentleness, bringing immediately the great Bill Evans to mind. If I guess right and the title pays tribute to former Paris Vogue editor-in-chief and fashion stylist Carine Roitfeld, then it would be difficult to find more sophisticated music to describe the person.

Kwartofle are giving the listener the first taste of band’s improvising abilities. Tittle is a puzzling word mixing meaning of a word quartet with a word potatoes. So in a purely improvising manner, let everyone try to get for himself all the universe of imagination behind that tune 😉

Boozer, the next track slows things down. It’s a loose platform for both piano and sax set on consequent bass walking accompanied by constant drums bit , with just a few breaks coming when soloists are introduced.

Wonderful Sleeping with Dolphin is my favourite track here. Romantic piano introduction meets here saxophone lament in the highest climax. The tune itself acts as an intro for following improvisations. It is fastening all together nicely as improvisations are not purely taken from the jazz tradition , but also from contemporary classical music and impressionists’ minimalist achievement.

It is hard to describe somehow particular pieces ,and definitely not easy to compress it as the path for inspiration is vast like an eight lane motorway with ideas speeding up here and there in every possible direction. Take that picture as my best description and you might then guess what I mean. If you like to drive you have to get in – it is as simple as that.

Robert Glasper’s 2012 breakout Black Radio won him the Grammy Award and international fame. Glasper himself is highly skilled and creative pianist, but to be honest his Experiments, both the original one as well as the latest don’t break any boundaries to me at all. I am not the one who likes to write highly critical texts, as I am both: a positive person and a honest music lover.

Let me explain my position then going back in time and picking up some really sweet cherries and leave writing an exact review of this album in the hands of somebody who might find it fresh, new and innovative. There is plenty of young sensitive people around who might just feel it that way.

Now jump to the time capsule and get back to 1989. Talking Grammy – there was an album that won 7 of them ! Quincy Jones’ Back on the Block. It was in this year when I first heard that one and it really turned me up. I was more or less advanced jazz lover at that time, but still remembering my chappy popish – rockish days 😉 I was gob-smacked by the way it blended almost all what was present in music at the time. R& B, Funk ,Rap, Jazz . It included all those performers who were meaning a lot at the time as well as samples of voices coming from the two of the Greatest Divas the Jazz ever had – Ella and Sarah. It had a context and the freshness.

It was NEW and INNOVATIVE. It was “jazzt as great” as the Genius who made it happened –  the Quincy Jones.

I still have this Album on my shelf and it still is as fresh to me as like these 24 years never passed. That’s because all of this there makes it  a pure core of American Music. Later on it was Blue Note again, as it was before in the past, who brought the new to the table. Projects like Us3 , Jazzmattazz by rapper Guru are still well remembered. Or others who belongs to the 90’ties Acid Jazz movement, like Ronny Jordan, Galliano, Incognito. Buckshot LeFonque by Branford Marsalis. From these names evaluated Brand New Heavens and many others. From this tradition also comes the latest recording of Esperanza Spalding – Radio Music Society.

Of course it all started much earlier with all this cross talks made by Roy Ayer ,Donald Byrd or Grant Green. Then Miles Davis , who did blend funk and heavy rock riffs with improvised jazz and put the whole world upside down. There are still many people around who can’t forgive him that. Then Herbie Hancock was the one who did it again, but with Funk , in his own way. But we really do not need to go back that far. Lets stay in nineties as all what Black Radio, one or two, reminds me was already there at that time.

Let me put it this way. If Black Radios could do as much good for Jazz / Music as The Back on the Block did then I am pleased to see it here. I respect that new generations have his own language, sensitivity and standards. There will be the time to understand the tradition. Never mind. There is nothing wrong with this recording. It certainly possesses the quality and all the artists involved in it are the league of their own. Don’t get me wrong. But it doesn’t brake any boundaries, honestly – it just gets Back on the Block, more or less, which is a great achievement and valuable contribution … , pero nada nuevo.

BLACK RADIO 2 BLUE NOTE PR

Michal Wróblewski is a unique figure on the Polish jazz piano scene. Many skilled and well educated musicians graduate at Music Academy in Katowice, but hardly such talents appear.

I came across artist’s début recording I Remember, which I spotted scanning news and wanted to hear more straight on, so when the chance came, I jumped on it.

What is catching up from the beginning is musician’s natural ability to stay on the melodic side whatever he is writing. Opening title tune, as well as its closing session alternative had been obtained from the others. Six out of 9 are pianist’s originals , one track Seven Days Only had been written by trio’s bassist Michal Jaros , Little Giant is obviously variation played on Coltrane’s iconic Giant Steps tune.

I remember contains chords progression which is partially quoting Nirvana’s great hit Smells Like Teen Spirit, previously taken on the piano workshop by Ethan Iverson of The Bad Plus , but this one is not a cover and certainly is more harmonically complex and interesting. It is possessing an enormous drive and as such is a great choice for the opener.

One for Dotti brings us straight to the pianist’s own universe. This is the land of gentle illusion , so emotional and well put together, with very lyrical and melodic motif and nostalgic choruses. All trio contributes here greatly and especially bass lines complaining leader’s lines. This trio did learn their lessons well and certainly all important things which happened in jazz piano trios since Bill Evans to Brad Mehldau are here.

Following funky titled Jarretude makes no secret to whom the young master is paying the tribute. It is amazing how one can say things in such a different ways using the same words. That happens here. It is Jarret’s vocabulary, but there is no single quote I can reckon , but his spirit- it’s there all the time in the respect how Michal spelled it  in to his score.

Fuga played by jazzmen automatically brings memories of J. Loussier to most of the listeners, including writing these words. But again when Jacques’ approach was more syncope MW Trio makes it more Baroque, as all musicians actually keep playing Fugue in call and response manner instead translating it to the jazz language, until drums interlude breaks it down. Again as it is one off on that CD it just shows musician’s versatility brilliantly.

Shadows, consecutive piece is a lovely ballad based on strong bass riff around which Wróblewski is weaving delicate melody occasionally accented with dynamic piano chords. Rhythm is flirting with listeners here, drifting from slow motion waltz to lazy rumba tempo.

Next in row, the Polish Chant is a beauty. Artist picked up a folk tune and kept it in the repetitive chorus surrounded by piano architecture which keeps reminding Paul Bley’s rhythmic structures, more intellectual by their nature and counter-pointing a simplicity of the naive tune gorgeously.

Giant Steps with flirting tempos and line inversions is simply masterpiece reading and possibly the greatest tribute that one can pay to the great master. Jumping on the bassist score shows maturity of his composition , which keeps bass involved as one might expect, but with perfect balance and space left for the piano tissue and gentle drums thrilling.

Outro makes lovely way out using same theme but slowing you down and helping to leave that sonic heaven without striking regret. This is brilliant recording and I strongly recommend anyone to get it as well as remember artist name as it is going to be the great one very soon.

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ti-an-guis is an international and versatile group playing folk music from all over the world in their own interpretations.They are perfect blend of young talented musicians from all over the world.

Mexico( Pepe Garcia-drums & Carlos H.J. Anderson – guitar),

Croatia ( Lovorka Holjeval – vocal ),

Portugal (Francisco Medina – guitar) and Brazil ( Noa Stroeter – bass ).

Multi-kulti background brings new and fresh qualities into the music which band members had chosen to play. And inspirations are vast, not only covering squad origins, but also some tunes from countries like Senegal, Guinea, Cape Verde or Romania. Plenty of surprises to be find here.

I wouldn’t call myself a layman when it comes to the ethnic music. I am listening to a lot of world music of different kind , recognise artist from Africa, Latino – America and many European countries.I am familiar with Turkish, Bulgarian ,Croatian, Polish, Russian, Portuguese, Spanish, French, German and Italian music.I know when I am listening to African music from Mali, Senegal, Egypt, Maroco, Nigeria or Ethiopia and can recognise many styles. Sometimes even a particular area from which artists, styles or songs originate. But I only came across one track on this record which I am familiar with – Ederlezi.

Let me start from that one then. It became massive hit after being used as a theme for Bregovic’s cult Underground movie. Those who copy the words will find Lovorka’s version closer to original and more emotionally engaging in the subject’s context. Following So te kerau, belonging to the same tradition sounds more funky as such is a text holding half of the rhythm together with simple percussion accompaniment. Lovorka’s lead is here followed by the rest of the band in choir, but specific sound of Portuguese guitar bringing often associates to Greek Music by the way it’s played.

Senegali E musasa lovely blends a fragile African harmony with some repetitive vocal arrangements known to me from South American music which seems to be obvious here. Two following Mexican tracks are possibly as close to originals as one can guess easy when they came from. Still however posses original band’s signature coming from the creative mix of personalities.

Ljubav se ne trži sounds to me like one this typical Balkan songs which women used to sing during fiestas or when working together. Crazy, cowbell like rhythm is giving different drive and vitality to the song which I believe was possibly sung originally in much slower tempo.This is very adventurous material and full of fun, authenticity, honesty and wonderful discoveries. Land of sounds never being heard before and a natural joy of playing music together. It is always worth to remember where the folk music came from and this had been prevented here.

No point to analyse it deeper as it really is a novelty in every aspect and everyone will find there as much as he is capable to recognize intellectually or emphatically. It has my highest recommendation from the first to the last note played. Additionally it is worth to mention that the Label offers their catalogue for download only, in all resolutions the listener might wish himself to buy. As my review files arrived as a studio master I can only say that the recording quality is nothing but a sensation ! Put it on some good glowing set amp and connect to the horns and you are going to put the kettle on to make a cup of tea for those chaps.

I am following Porter’s recordings with true adoration since I heard his début Water long play.

Then an excellent Be Good followed and now we have got another début here: Liquid Spirit is the latest one and it is as well Gregory’s enter into renowned Blue Note label. Once you are there you became a part of the Jazz History and life is not the same again. On the other hand Blue Note has now in their Stables both greatest male singers of our times: Kurt Elling and Gregory Porter.

His voice has always had massive volume. This is something which was obvious to Greg’s pianist and arranger Chip Crowford. Those Two are a real match in heavens and as a tandem which understands each others needs intuitively and supplying an excellent output. Gregory’s musicians remains the same ,which is good as they truly worked out together a unique style and changing that would affect this fragile balance.

This album contains 14 beautiful compositions which are all built on the same well trusted formula. With Chip’s interaction with Greg’s vocal being a core on which Yosuke Sato builds his own deeply lyrical phrases and trustworthy section is always there when it is needed . We also got here fantastic brass arrangements which adds to the blend some special flavour. The whole album gains more vigorous nature due to that. But Greg’s previous couldn’t be called slow either. There were always a massive deposits of energy which had been waiting culminated just to erupt. But this is a vocal début of the year for God’s Sake – so the real power comes with the lyrics ,and here as always ,they do not disappoint.

No Love Dying set up the mood perfectly, as the waltz on Be Good previously did. Here , Under The Bridges and Hey Lora are two ballads which build a core for this set up. Then the tittle hit Liquid Spirit ,next Musical Genocide and Free turn into the driving force of the project. They are all set on vivid piano bit and sparkling bass dribbling with energetic fingering. They all have a great chance to become the same great hits as 1960 What ? from the Water, which still remains one of my favourites.

They all have this something which makes you want to listen to them all over and over again. Wolfcry , Blue Grass and When Love was King , similarly like I am feeling Good on Water , on which I heard Greg’s wonderful and deep baritone for the very first time, are those songs which are presenting his voice in its purest form , with Chip’s piano accompaniment building around to make harmonies just perfect. Listening to this is a real pleasure. This is when Greg and Chip come at its best and are showing the class for their own.

It is most contemporary achievement where they makes you aware who’s paths they are following, but showing you in the same time that there is still an unknown path to step on in the front of them. You can hear there Cole Porter ,Marvin Gaye, Tony Bennet, Jimmy Scott to just name a few .You can also hear frequently reminiscent of Elling’s phrasing, even if his scatting and vocals are not quite up to that level yet, they posses full tone and richness which heralds that New King is Born. For the rest we have to wait.

This is simply excellent album and a milestone in today’s male vocals. Those careful listeners who pay full attention will be rewarded greatly ,as every next listening to this brings more and more to the table. And as it is always the  true with Porter – the driving force lays in his originals.

These are lyrics that make a singer great . They always were.

LIQUID SPIRIT  BLUE NOTE PR

Gamak is saxophonist’s second long play for ACT ,but when watched carefully it comes as a fact that this is his thirteenth album as leader or co-leader. On the same occasion it re-unites him with his old band mates – bass-man François Moutin and drummer Dan Weiss, the rhythm section from his long-running quartet he’s been recording his Codebook album for PI in 2006.

On the top of that appears David Fiuczynsky – legendary American guitarist and a master of micro tonal style , whose eclectic virtuosity and undefined psycho rock inclinations bring a whole new world to explore for Rudresh – restless spirit himself and undaunted innovator. His hindu American background makes him unique figure on music firmament, not even exclusively appropriated by jazz, but also by Indian traditional, American Rock and even Chinese scales and Balian gamelan reminiscences .

All music on the recording are Rudresh’s originals. Really hard to find more influential individual on today’s sax firmament and Mahanthappa really is one of a leading figures of his generation. Knowing his Kinsmen and Sandhi projects I had really a chance to get used to that whatever you believe you can expect to happen – you are wrong . And here they didn’t disappoint either.

Opening alto solo on Waiting is Forbidden with all its power and intensity reminds me Wadada Leo Smith trumpet playing. There is not many things you can compare this to, even less one would like to stay purely in the music department. If Coltrane was born in Karnatic India or by the chance got anywhere close to there – it would be close to imagine which form he could adopt to express his religious passion.

Following Abhogi changes the face radically. It is more like a cross of Country tune with Hawaiian flavour trying to charm the Raga. I told you. Step further is Stay I .It shows phrasing which is more melodic and is full of rich thrills. But just behind the corner there are completely different notes waiting for a listener. Blend of Indian harmonies riding on psychedelic rock section and constantly exchanging views with Fiuczynski’s guitar are both surprising and overwhelming.

Both soloist’s creativity and contemporary talk makes it happen and it really is BIG !You can find an echoes of Oren Bloedow’s The Whistling Hangmen there ,as well as some similarities to John Lurie’s early trips. Somehow it takes a lot from John Zorn’s Naked City projects as well as from Knighting Factory aesthetic which is good, but Rudresh’s Indian spirit definitely makes it different and very individual. Despite all connotations the home work had been well done they definitely posses their own voice. More of that it is the one well worth to listen to.

Recording quality is rather special too, what helps enjoying complicated structures of the compositions even more. It is a must for every modern Jazz fan.

Once I heard Neil’s Cowley trio live they got me immediately and I kept digging back to the band’s beginnings with rapid fire speed. First 2 albums show the potential and leader’s charisma straight on, but remember I went there through the kitchen door ,starting from the latest Mountain View and later on its Live Montreux version CD. But I live it now for the next issue , they are both fresh and can wait a little ,when the real brain breaker is their 2011 Radio Silence recording.

This is where it all started. From this LP the band offers constant end established sound with recognisable sound . Cowley’s lead is obvious here ,but like with EST his domination comes from the power of his piano and it doesn’t limit his rhythm section in any meaning , leaving them all freedom and creativity they only would like to sparkle to make it even more rich and consistent. Neal’s lines are clear and melodic , repetitive motives are served alternately with slow lyrical breaks or interludes, like in Monoface and Stereoface – two pieces with extremely different dynamics , but similar sense of humour building the core of both.

First reminiscences EST’s from the Gagarin’s Points of View with its unstoppable galloping progression. Similar feelings come with Gerard – wonderfully twisted theme, full of changes, music jokes and joy. Watching them playing that on the stage made me understanding the whole concept of this great joy of making music together. Perfectly shared from the watching audience.

This is something they got in common with EST – something that The Bad Plus for example doesn’t posses at all to the point opposite. Neil’s fingering is brilliant and rich – going much further than many of the jazz pianist are capable to offer. He is equally capable to play heavy percussive wall of sound as to go quiet and spell delicate charm around the listener’s minds. He also posses this kind of creativity which employs equally to the game both – his sense of humour together with intellectual part of his nature.

Massive passages like from great piano concertos are weave with burlesque tissue, like in A French Lesson. Other crazy titled tune Vice Skating is wonderfully rich waltz with changing tempos and incredible under-skin drive – coming from brilliant section collaboration, when seemingly on the surface not that much seems to go. Desert to Rabat is another piece of music which is like an open book .All trio contributes to build it up and you can see how it grows all the time . And you also have the sense of direction into which it could be taken every moment if they only liked to .

They make it look so easy like a snooker final in the hands of professionals, when we all know that it is not easy to cue the ball right. Hug the Greyhound is another example with such a workshop like appearance to the listener. Carefully written with brilliantly given space for everyone to show its bests it makes you believe it is pleasurable slide down ,without showing the real level of difficulties behind the score.

Closing Portal starts as a calm ballad ,but it soon turns into the wavy kind of saying good bye. At it is exactly the essence of their style. They are vivid, clever and unpredictable. Pure joy to listen as it always was an issue with an Esbjörn Svensson Trio. This Trio is a gate to the heavens for those who are adventurous enough to step in .

One might ask for the reason of reviewing the last recording of the sorely missed Esbjörn, which is now almost 5 years old since he left us. The reason always comes from an inspiration. There are some trios around which are trying to take things further from the place where he left them .

Some of them more some less successful. Another thing is that success is a measurable thing and some might find that the EST legacy is laying on a different plot that one might expect it. For many EST was an example to follow from the beginning , like for an American band The Bad Plus , probably the most recognisable successor of original Svensson’s ideas. Other came across later ,from a different background , but what they do now is showing a clear connection to me and it really makes me happy.

Esbjörn doesn’t need this review any longer but if there is the single person who never heard this LP – it makes it worth to write about anyway. But I rather liked to use it as a platform to comment some of my observations about what happened after Leucocyte.

It is not easy recording – it departs even further from usual EST rock-jazz-techno-electronica mix to a completely new language. I am scared trying to imagine where it would go if he could make it further.

Svensson’s musical personality is all there but it reached somehow a esoteric level , like a spirit which is free from the body and doesn’t need it any longer. Paradoxically what most were predicting never happened. There was no pianist to come and grab an excellent orphaned section to build up on it. None of the musicians from the EST brotherhood were either able to keep going after their leader died. The bonds of friendship were too strong to go over it and sorrow was too deep. The whole 2 years were needed to leave trauma and get back to making music again.

In the mean time Esbjörn’s absence made kind of stagnation. No one pushed things further . The Bad Plus made another 3 albums which are great fun to listen to, but they didn’t bring anything new to the table. Same old stuff. Again it was the EST section who brought his ideas back. For some people listening to Dan Berglund and Magnus Öström’s latest formations it might not look straight on. Many people claim there is nothing left and they are not listening to this music any longer.

God ,how wrong they are! Respect Gentleman – those Two are independent music personalities. If one expects them to play like EST again – then he doesn’t understand music at all. Sorry ,but it is that simple. Latest Magnus Öström CD had just been launched so I promise to get back to that point once I have it with me.

But for now let’s jump to my reason – the man who grown into Esbjörn heritage, employed his ideas into his own vision ,blended it all together with his very own and unique personality. Having a lot of new and fresh ideas to offer ,but holding Esbjörn’s spirit in his fingers. That’s how it all came to Neil Cowley Trio. The King is Dead – Long Life to New King ? Not at all . Here it is not about the blood at all and thanks God as genes can be ugly like break pads.

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.