Monday, January 14, 2019

LeeAnn Ledgerwood, John Graham Davis, Brandon Lewis - Walkin' Up

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 61:37
Size: 142,0 MB
Art: Front

( 6:58)  1. This Is for Albert
( 7:19)  2. Lonnie's Lament
(15:15)  3. Out of This World
( 7:22)  4. Black Nile
( 6:21)  5. Ida Lupino
( 4:45)  6. Walkin' Up
( 6:12)  7. If You Could See Me Now
( 7:23)  8. Passion Dance

Ever hear of LeeAnn Ledgerwood? Too few nonmusicians have. Originally from Ohio, the Berklee grad has been working, recording and teaching (jazz piano and composition at the New School) in New York, and obviously battling the glass ceiling while spreading the gospel according to Bill Evans. Well, an upgraded Evans. Maybe that’s what makes her so unmarketable to ordinary jazz fans. She has more technique than she can hope to use. It spills out all over her new release, Walkin’ Up (SteepleChase), but it doesn’t intimidate her two young compatriots, bassist John Graham Davis (a former student of hers) and drummer Brandon Lewis. Nor does it stop her from choosing difficult material, including tunes by Wayne Shorter (“This Is for Albert”), McCoy Tyner (“Passion Dance”), Carla Bley (“Ida Lupino”), John Coltrane (“Lonnie’s Lament”) and Trane’s conception of Harold Arlen’s “Out of This World.” The balladic highlight is Tadd Dameron’s “If You Could See Me Now,” with a well-pitched solo by Davis. Very few have tried to record the Bill Evans-penned title tune; Ledgerwood disposed of it first take. ~ Harvey Siders https://jazztimes.com/reviews/eighty-eights/leeann-ledgerwood-trio-walkin-up/

Walkin' Up

Scott Colley - Architect Of The Silent Moment

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 56:34
Size: 130,2 MB
Art: Front

(7:29)  1. Usual Illusion
(7:50)  2. Strip Mall Ballet
(2:52)  3. El Otro
(7:14)  4. Architect Of The Silent Moment
(6:05)  5. Masoosong
(2:58)  6. Feign Tonal
(8:09)  7. From Within
(5:56)  8. Smoke Stack
(7:55)  9. Window Of Time

If an artist is the sum total of his experiences, then Scott Colley's reach is nearly limitless. In twenty years the bassist has appeared on nearly 150 albums, ranging from mainstream work with Jim Hall and Carmen McRae to more left-of-center projects with Andrew Hill and Greg Osby. His own releases have been migrating towards a more expansive viewpoint. On Architect of the Silent Moment Colley brings together a collection of players who share his appreciation for what's come before, but are just as concerned with what's to come. His core quartet features two artists who, despite considerable critical acclaim, have yet to achieve the greater recognition they deserve. Trumpeter Ralph Alessi is a consistently adventurous player who, with a rounded tone, lyrical disposition and unforced technique, rivals the better-known Dave Douglas. The increasingly ubiquitous Craig Taborn is an equally instinctive keyboardist whose roots in the tradition are often obscured by his bold and unrestrained mind-set. Antonio Sanchez, best-known for his work with guitarist Pat Metheny, is a malleable and increasingly in-demand drummer. He's established himself with a broad and stylistically expanding discography in the last decade. All three are as capable of tackling complex compositional constructs as freer flights of improvisation, and Colley challenges them on both fronts and more. Colley is a fine bassist, with a Dave Holland-like ability to make even the most challenging of shifting meters groove viscerally. But it's his writing (all but two pieces here are his) that makes Architect of the Silent Moment stand out. "Window of Time is a good example. It starts out in an open-ended modal fashion, with Alessi and saxophonist David Binney (a co-producer who leaves his own unmistakable signature) delivering Colley's knotty theme. 

Alessi's solo builds over an increasingly tumultuous rhythm section before the tune shifts to a rhythmically displaced backbeat. Adam Rogers' layered guitars, Taborn's B-3 and Alessi's long, rich tones take the tune out, suggesting a different kind of folksy Americana. Colley makes the complex accessible on the spacious "Masoosong, featuring Gregoire Maret, the most important harmonica player since Toots Thielmans. "Feign Tonal opens with a start-stop post bop theme before dissolving into more angular freedom, only to magically blend the two at its conclusion. Andrew Hill's "Smokestack, on the other hand, starts with an impressionistic duet between Taborn and pianist Jason Moran, before settling into an unexpectedly relaxed take that seamlessly shifts between straight and double-time swing. The group's modernistic integration of acoustic and electric textures represents an increasingly popular aesthetic. Like his blend of traditional and contemporary harmonic and rhythmic concepts, Colley clearly doesn't believe in mutual exclusivity. The beauty of Architect of the Silent Moment is its unequivocal sense of purpose, which avoids undue consideration and provides everyone with ample room to move. ~ John Kelman https://www.allaboutjazz.com/architect-of-the-silent-moment-scott-colley-cam-jazz-review-by-john-kelman.php

Personnel: Scott Colley: bass; Ralph Alessi: trumpet; Craig Taborn: piano, Fender Rhodes, Hammond B-3; Antonio Sanchez: drums. Special guests: Dave Binney: saxophone; Jason Moran: piano; Gregoire Maret: harmonica; Adam Rogers; guitar.

Architect Of The Silent Moment

Enrico Pieranunzi - Jazz Roads

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 43:39
Size: 101,7 MB
Art: Front

(4:34)  1. Entropy
(1:28)  2. Monologue 1 - Country Sketch
(5:03)  3. New Lands
(2:02)  4. Monologue 2 - Introspection
(1:48)  5. One For Oscar
(3:15)  6. The Seagull
(7:07)  7. From E. To C.
(1:34)  8. Monologue 3 - Answers
(2:22)  9. Blues For B.
(0:44) 10. Monologue 4 - Tout Court
(6:22) 11. The Dawn
(7:16) 12. From E. To C.

An acclaimed Italian jazz pianist, composer, and educator, Enrico Pieranunzi is known for his virtuosic, classical-influenced technique, nuanced sense of harmony, and elegantly restrained approach to modern post-bop jazz. Influenced heavily by Bill Evans, Pieranunzi emerged in the 1970s leading his own trio, and quickly established himself internationally as an in-demand sideman for such jazz giants as Chet Baker, Lee Konitz, Phil Woods, and others. Along with performing, he is a dedicated teacher, having worked for many years as a full professor at the Conservatorio di Musica in Frosinone. Recognized as one of the foremost Italian jazz artists, he has garnered a handful of awards, including taking home the 1997 Django d'Or as Best European Jazz Musician and winning the 2014 German Echo Jazz Award as Best International Keyboard Artist. Born in Rome in 1949, Pieranunzi was introduced to classical music and jazz by his father, guitarist Alvaro Pieranunzi. (In addition, his brother is noted classical violinist Gabriele Pieranunzi.) Encouraged to study piano from a young age, he eventually graduated university with a music degree in 1973, and began working as a teacher. However, in 1975 he left his teaching position to focus on leading his jazz trio. He debuted that same year with the album Jazz a Confronto, and followed up with a handful of well-regarded efforts including 1976's New & Old Jazz Sounds with his father, 1976's The Day After the Silence, and 1978's A Long Way. By the '80s, Pieranunzi had gained the attention of many touring American artists, including saxophonists Phil Woods and Lee Konitz, flügelhorn player Art Farmer, and bassist Charlie Haden. He also developed a close working relationship with trumpeter/vocalist Chet Baker, a partnership that resulted in several superb albums, including 1980's Soft Journey and 1987's Silence, which also showcased Haden. The pianist also released more of his own albums, including pairing with bassist Marc Johnson and drummer Joey Baron for several efforts such as 1984's New Lands. He went solo on 1985's What's What, and joined saxophonist Konitz on 1988's Solitudes. Pieranunzi capped the decade by appearing on Ennio Morricone's soundtrack to the acclaimed 1989 film Cinema Paradiso. More work followed in the '90s, including dates with Baker, Haden, and Woods, as well as adventurous sessions with trumpeters Enrico Rava and Eric Vloeimans. As a leader, he recorded regularly for Enja, Timeless, and Soul Note, issuing such albums as 1995's Flux & Change, 1997's Seaward, and 1998's Ma l'Amore No. He also gained increasing praise for his work, including taking home the prestigious Django d'Or as the Best European Jazz Musician in 1997. Two years later, he paired with trumpeter Bert Joris for the quintet date Don't Forget the Poet. 

A duo session with pianist Bert van den Brink followed in 2000. He furthered his own work over the next decade, releasing albums like 2001's Improvised Forms of Trio, 2002's Play Morricone, and 2003's Fellini Jazz. He also paired with acclaimed drummer Paul Motian for a handful of albums, including 2004's Doorways with saxophonist Chris Potter and 2005's Special Encounter with Haden. Pieranunzi also continued his ongoing association with bassist Johnson and drummer Baron, releasing a steady flow of studio and live sessions, including 2008's Yellow & Blue Suites and 2009's Dream Dance. There were also similar efforts with bassist Scott Colley and drummer Antonio Sanchez, such as 2013's Permutations and 2014's Stories. In 2014, he took home Germany's Echo Jazz Award as Best International Keyboard Artist. He returned the following year alongside trumpeter Ralph Alessi, saxophonist Donny McCaslin, and bassist Matt Penman for the forward-thinking quartet album Proximity. He then joined fellow pianist Bruno Canino for the 2016 duo session Americas, and followed in 2017 with another duo date, Duke's Dream with saxophonist Rosario Giuliani. The concert album Wine & Waltzes: Live at Bastianich Winery appeared in 2018. ~ Matt Collar https://www.allmusic.com/artist/enrico-pieranunzi-mn0000184086/biography

Personnel:   Enrico Pieranunzi - piano;  Birch Johnson - trombone; Riccardo Del Fra - double bass; Roberto Gatto - drums; Giampaolo Ascolese - battery

Jazz Roads