Tuesday, October 9, 2018

Carme Canela & Joan Monné Trio - Granito De Sal

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 55:19
Size: 127,2 MB
Art: Front

(4:22)  1. Granito De Sal
(4:41)  2. Ana E Eu
(4:38)  3. Rosa Morena
(6:23)  4. Marta
(5:46)  5. Lucille
(5:24)  6. Te Recuerdo Amanda
(3:46)  7. Julia
(4:55)  8. El Testament D'Amèlia
(5:34)  9. Pannonica
(5:40) 10. La Pomeña
(4:07) 11. Beatriz

Carme Canela is over 50 years old and has been singing professionally for more than three decades, so it must be assumed that her appearance as “new talent” is an attempt to broaden her audience. The most obvious link with jazz is a fine rendition of uncredited English lyrics to Monk’s Pannonica. Otherwise the eclectic repertoire (including Julia by Lennon and McCartney) underlines what I’ve gleaned that she doesn’t see herself as purely a jazz singer. Nevertheless the excellent backing trio is clearly working within the jazz idiom and Carme-la combines musicality and emotion in a delightful manner, with moods and tempos nicely varied. ~ Graham Colombé, Jazz Journal

Personnel:  Carme Canela - vocals;  Joan Monné - piano;  Marko Lohikari - bass;  David Xirgu - drums

Granito De Sal

David S. Ware Quartet - Corridors & Parallels

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 48:55
Size: 112,1 MB
Art: Front

( 1:20)  1. Untitled
(10:02)  2. Straight Track
( 4:22)  3. Jazz Sci-Fi
( 5:58)  4. Superimposed
( 3:08)  5. Sound-a-Bye
( 0:37)  6. Untitled
( 8:59)  7. Corridors & Parallels
( 3:11)  8. Somewhere
( 3:17)  9. Spaces Embraces
( 6:07) 10. Mother May You Rest in Bliss
( 1:48) 11. Untitled

On Corridors & Parallels, you can almost feel tenor saxophonist David S. Ware reaching for the sky. It's a high-octane experience. His yearning, seeking vision on the horn always aims for new heights, and on this record he definitely manages to get just a little closer. The new David S. Ware Quartet record distinguishes itself from the first 12 (!!) with the following two features: * it includes electronic music for the first time; and * it represents Ware's big "comeback" from his major label contract.

About that first part, don't be fearful: Matthew Shipp has figured out how to play the synthesizer just fine. And about the second, be joyous: those corporate tentacles always reach into nooks and crannies and manage to smooth out hard edges where they're most needed. Music always works better when those evil tentacles disappear from the scene, in this listener's opinion. It's hard to classify Corridors & Parallels because the record has so many unexpected angles and quirks. "Superimposed," for example, is a duet between Shipp and Ware. Shipp plays a pre-programmed rhythm track along with additional elements dynamically added live. Meanwhile Ware wastes no time in this context to draw ever-narrowing circles of light, but his integration into the rhythmic feel of the piece is patently devoted. (On other tunes, real live drummer Guillermo E. Brown makes himself quite visible. Brown's prowess and versatility are dumbfounding throughout Corridors & Parallels. It's been said before, but the world of music needs more from Guillermo E. Brown. As Ware put it in typical understatement last we talked, "Guillermo can play the drums." Indeed.) Only one tune after "Superimposed," "Sound-A-Bye" takes an eastern drone effect to its physical and virtual limits. Here Ware challenges the stereotype that his music must always be fast and furious; and the argument is quite compelling. Bells, gongs, and church-like keyboards accompany Ware on a five-minute excursion through just about as many notes. (And that's not under-exaggerating by much.) About Shipp's melodic synthesizer on Corridors & Parallels : it's generally not terribly polyphonic, and he generally doesn't change voices midway through a piece. That, of course, converts Shipp's role from the wildly unpredictable, explosive human dynamo to the pensive and taciturn commentator. He's an extremely smart player, so he adapts well to the new role. It's interesting. It works. When he chooses to play synth drums, the product can be so good it fools the human ear into thinking about drum kits. (Fooled mine on "Superimposed," until I learned the truth.) Ware has invaded a new dimension of sound on Corridors & Parallels. He's making more use textured drumming, including Guillermo Brown's many colors of expression, and he's reinvented Shipp's role in the group. This new effort is a fine record: a living document of an group in flux, and a stand-alone work of art. It will be quite revealing to hear what happens next after such a dramatic change. This is living, breathing music. ~ AAJ Staff https://www.allaboutjazz.com/corridors-and-parallels-aum-fidelity-review-by-aaj-staff.php

Personnel: David S. Ware: tenor saxophone; Matthew Shipp: synthesizer; William Parker: bass; Guillermo E. Brown: drums.

Corridors & Parallels

Enrico Rava - Flashback

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 68:32
Size: 157,6 MB
Art: Front

( 7:15)  1. Misterioso
( 8:35)  2. The Way You Look Tonight
( 8:53)  3. Polka Dots and Moonbeams
( 9:47)  4. Line for Lyons
( 3:07)  5. Nature Boy
(10:28)  6. Old Devil Moon
( 7:01)  7. I'll Close My Eyes
( 5:25)  8. There's No You
( 7:57)  9. Misterioso - 2nd emotion

This hugely popular trumpet player (born in Trieste, Italy in 1939) almost single-handedly brought Italian jazz to international attention. He began playing Dixieland trombone in Turin, but after hearing Miles Davis, switched instruments and embraced the modern style. Other key meetings were with Gato Barbieri, with whom he recorded movie soundtracks in 1962, and Chet Baker. He began to play with Steve Lacy; he also teamed up with South African expatriates Louis Moholo and John Dyani and recorded The Forest and the Zoo (ESP) live in Argentina. In 1967, he moved to New York, playing with Roswell Rudd, Marion Brown, Rashied Ali, Cecil Taylor, and Charlie Haden. In a brief return to Europe, Rava recorded with Lee Konitz (Stereokonitz, RCA) and Manfred Schoof (European Echoes, FMP). From 1969 to 1976, he was back in New York, recording Escalator Over the Hill with Carla Bley's Jazz Composers' Orchestra. After his first album as a leader, Il Giro del Giorno in 80 Mondi (Black Saint), he began to lead his own pianoless quartets and quintets. His recorded output numbers 100 records, 30 as a leader. ECM has reissued some of his essential recordings of the '70s, like The Pilgrim and the Stars, The Plot, and Enrico Rava Quartet, while Soul Note and Label Bleu published CDs by his innovative Electric Five (in reality a sextet, as he always excludes himself from the count), which includes two electric guitars. 

With keyboard master Franco D'Andrea and trumpeter Paolo Fresu, Rava recorded Bix and Pop (Philology) and Shades of Chet, tributes to Bix Beiderbecke and Armstrong, and to Chet Baker, respectively. Also of note are Rava, L'opera Va and Carmen, gorgeous readings of opera arias. In 2001, he created a new quintet with young talents Gianluca Petrella, Stefano Bollani, Rosario Bonaccorso, and Roberto Gatto, and toured with old friends Roswell Rudd and Gato Barbieri, releasing Easy Living with them in 2004 on ECM. Three years later, after Bollani, who had struck out as a solo player, was replaced by Andrea Pozza, The Words and the Days came out. In 2007, Rava and pianist Stefano Bollani released The Third Man on ECM. Rava followed the released in 2009 with New York Days, a collection of moody originals with a film noir tinge, backed by a band that included Bollani, tenor saxophonist Mark Turner, bassist Larry Grenadier, and drummer Paul Motian. Rava broke in a new all-Italian quintet for Tribe, which was issued by ECM in the fall of 2011. 

Its members included trombonist Gianluca Petrella, pianist Giovanni Guidi, bassist Gabriele Evangelista, and drummer Fabrizio Sferra. Guitarist Giacomo Ancillotto also guested on the set, expanding the lineup on various selections. Rava made a wide left turn for 2012's On the Dance Floor. Amazingly, the trumpeter only became aware of pop singer Michael Jackson's music after his death, and he became obsessed with it. 

The album, his tribute to what he considers the late singer's contribution to 20th century music, was recorded with Parco della Musica Jazz Lab at the Rome Auditorium; it is entirely comprised of Jackson's material.~ Francesco Martinelli https://www.allmusic.com/artist/enrico-rava-mn0000182392/biography

Personnel:  Enrico Rava (tp, flgh), Gianni Basso (tenor sax), Stefano Bollani (p), Ares Tavolazzi (bass), Massimo Manzi (drums)

Flashback

Jack Reilly Trio - November

Styles: Piano Jazz
Year: 2015
File: MP3@256K/s
Time: 45:42
Size: 83,9 MB
Art: Front

( 7:16)  1. With a Song in My Heart
(10:09)  2. January
( 7:34)  3. Minor Your Own Amos
( 8:42)  4. November
( 5:56)  5. Lento for Carol
( 6:03)  6. Kyrie

Pianist Jack Reilly has the unenviable position of being an artist well respected and admired by his peers for his composing and performing faculties, but never quite achieving that level of public acclaim his prodigious talents deserve. There was no one defining moment when the pianist decided jazz was to be his livelihood. It grew on him as he hung out at community jazz joints on Staten Island listening to the local piano players. He was pushed over the edge when he heard the modernism of the Lennie Tristano Quintet and made his musical debut with John LaPorta in 1958 at the Newport Jazz Festival. Over the years, he has worked with Ben Webster and with the George Russell Big Band. Reilly has an impressive musical education resumé. In addition to private studies with Tristano, Reilly also studied with the shadowy but influential Hall Overton and composer of contemporary music Ludmila Ulehla. It is this background that compelled Reilly's attention to the instrument. With his exceptional technical skills and musical sensitivity, he could have stuck to the tried-and-true form of standard jazz and pop repertoire. Rather, he took the high-risk but rewarding road of playing his own compositions which are vignettes of modern jazz. His highly engaging compositions can be heard to best advantage on The Brinksman, with a stunning "Masks," and two masterful albums Tzu-Jan: The Sound of the Tarot, Vol. 1 and a second volume covering the same theme. These extraordinary recordings provide an impressionist evocation of the exotic Thoth Tarot Cards. Even when working in the standard material idiom, there is a sense that the songs are being turned out in an entirely new set of clothes. Reilly's creative horizons extend beyond shorter works to larger ones such as a "Jazz Requiem," "Jazz Oratorio," and "Theme and Variations for Orchestra" as well as to classical forms. The world premier of "Orbitals, Piano Concerto took place in 2001 in Michigan. His more than 300 shorter pieces include blues, children's lullabies, jazz tunes, and music for the theater, including music for a play by Samuel Beckett. Given his history, his accomplishments, and his interests, Jack Reilly has made him a melodious Renaissance man, and because of this is clearly an artist deserving of far wider recognition. https://itunes.apple.com/us/album/november-feat-jack-six-ronnie-bedford/1068761621

November