Kathrine Windfeld Big Band Plays Thomas Agergaard - Black Swan

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:56
Size: 132,0 MB
Art: Front

(6:44) 1. Black Swan
(5:02) 2. Human Be Legends
(7:03) 3. Different Corner
(5:57) 4. Hast
(4:04) 5. Air Born Lotus
(3:48) 6. Op-us 1 Suite, Dream Society
(5:10) 7. Op-us 1 Suite, History Talks
(2:33) 8. Op-us 1 Suite, Fixing Room
(3:32) 9. Op-us 1 Suite, For Nick
(6:11) 10. Op-us 2 Suite, Storm P
(3:20) 11. Op-us 2 Suite, Testing
(3:27) 12. Op-us 2 Suite, Why Why Why

Do opposites really attract? Danish big band leader Kathrine Windfeld's compositions are meticulously worked out in advance, whereas saxophonist Thomas Agergaard, her collaborator on this gig, takes a different, more spontaneous approach.

"Thomas writes quite differently than I do," says Windfeld. "He thrives on the energy of the moment. This is beneficial to the music, but it is also a challenge when we are so many together and have to make something work within a limited time frame."

Some of the numbers on this album are reworkings of old compositions but others were put together in the studio just before the recording was made. The gentle, meditative ballad "Airborne Lotus" the most interesting song in the collection is an example of the latter approach. Agergaard's tenor states the theme over Windfeld's subdued piano accompaniment. "Dream Society," which follows, features Agergaard on alto flute and is darker and more intricate. It's part of a suite that includes three more songs, the most interesting of which is perhaps the brooding "For Nick."

It's all a bit hit and miss. There are some interesting bits and pieces but the suite and the CD in general, lacks overall musical coherence. The first suite is followed by a second which culminates in "Why Why Why," an existential cry of pain the listener may well feel like echoing.

After the session Windfeld said, "It's been exciting for the band and not least of all for myself, to have a different kind of repertoire." The impression was that she'd nonetheless be glad to return to more familiar if less exciting modus operandi in future. When opposites attract, perhaps it's only for a limited amount of time.By Chris Mosey https://www.allaboutjazz.com/black-swan-kathrine-windfeld-big-band-storyville-records-review-by-chris-mosey

Personnel: Kathrine Windfeld: piano; Gøran Abelli, Mikkel Aagaard, Anders Larson: trombone; Magnus Oseth, Andre Bak, Rolf Thofte Sørensen: trumpet; Thomas Agergaard, Jakub Wiecek, Roald Elm Larsen, Ida Karlsson, Toke Reines: saxophone; Viktor Sandstrøm: guitar; Johannes Vaht: bass; Henrik Holst Hansen: drums.

Black Swan

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Maria Schneider - Days Of Wine And Roses

Styles: Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 57:39
Size: 132,5 MB
Art: Front

(8:46)  1. Lately
(7:07)  2. The Willow
(5:33)  3. That Old Black Magic
(7:20)  4. My Ideal
(2:49)  5. Last Season
(8:46)  6. Days Of Wine And Roses
(7:22)  7. Over The Rainbow
(9:53)  8. Bird Count

Originally released in a limited edition boxed with two bottles of Riesling wine the reissue of this unique CD is a welcome event for fans of Maria Schneider. There's no wine this time but it still includes a fascinating taste of her older arrangements. There are three that reach back more than twenty years to her studies at the Eastman School of Music: the originals: "Bird Count and "Last Season, and her chart of the standard "My Ideal.  Her composition "Lately dates from 1987 and was originally intended for Mel Lewis but never submitted to his orchestra. "'The Willow' was written as a dedication of love and gratitude to Mel, according to Schneider's notes. Her close friend and teacher Bob Brookmeyer commissioned the arrangements of "That Old Black Magic and "Over the Rainbow for a project with the Cologne Radio Orchestra. Ivan Lins' "Começar de Novo and the title selection come from a 1994 collaboration with Toots Thielemans and the Norrbotten Big Band."This album is like a double-exposed photograph, she writes in the liner notes, referring to the pre-Orchestra arrangements from the 1980s through the 1990s juxtaposed with the late January 2000 edition of her own large ensemble, recorded live to two-track at the Jazz Standard by the brilliant engineer David Baker. Days of Wine and Roses is dedicated to Baker, who recently passed away. He also co-produced the recording with Schneider. The magnificent sonic clarity, depth and definition serve as a fitting remembrance of his loving attention to detail and keen hearing; he was likely the premier recording engineer of his time.The Maria Schneider Orchestra's previous recordings tended to concentrate primarily on a diaphanous quality in the writing, leading many commentators to pigeonhole her as a colorist, an orchestral impressionist akin to Gil Evans, with whom she apprenticed and to whom Evanescence was dedicated. Days of Wine and Roses demonstrates conclusively that this is but one facet of her talents as a composer, arranger and orchestrator. "Lately is a relaxed yet propulsive swinger in a latter-day Basie groove that would have been right at home in the Mel Lewis Jazz Orchestra book. The bustling "Bird Count brings the Charles Mingus of "Gunslinging Bird to mind, as well as its namesake Charlie Parker, with preaching reeds plus testifying trumpets and trombones massing in gospel-esque fervor.

It might be said that the arrangements are the true "stars of this organization, but there are some beautifully conceived and fully formed solos as well. One that must be singled out is Scott Robinson's baritone saxophone tour de force on "The Willow. A portion of this tenderly limned melody bears a fleeting resemblance to Duke Ellington's "Prelude to a Kiss, and a similar mood is evoked as well. The baritone solo begins in pensive pastels, lightly burred at times, with pianist Frank Kimbrough's gently probing accompaniment and the stirring brushes of drummer Tim Horner. Schneider's arrangement gradually brings in the other horns, building the dynamic level, and Robinson rises with them, an eagle riding a thermal, judiciously applying split tones and a range from the bottom of the horn to the near-falsetto register. He flies up and "out without losing sight of the ground then gradually glides back down, meshing mesmerizingly with the orchestration. It's a dramatic performance, ranging from tenderness to passion and back again. The title is certainly an apt one. Like a willow, this composition, arrangement and interpretation have a tensile strength that nonetheless bends with the breeze, never brittle and unyielding, always motile and mutable. "Last Season is a fetching miniature, performed as a solo piano reflection by Frank Kimbrough, which segues seamlessly to the saudade orchestral intro of "Começar de Novo. Soprano saxophonist Tim Ries is the featured soloist on this piece, which is a gorgeous ballad rather than a bossa nova or samba despite its Brazilian pedigree.

Rick Margitza takes "That Old Black Magic at a brisk pace, the chart buoying along a fleet tenor saxophone solo with some particularly pungent lower brass exclamation points. Greg Gisbert's mellifluous flugelhorn is showcased on "My Ideal, which opens and closes as a ballad with a lightly swinging medium-tempo portion at the midpoint. "Days of Wine and Roses is transformed from an evocation of cocktail lounge ennui to an up-tempo romp in this arrangement, with solos from Ries whose soprano tone is here a touch too austere for my taste and Rich Perry on tenor. Schneider's rhapsodic chart of "Over the Rainbow is graced with an eloquent solo by alto saxophonist Charles Pillow, who has some of the spicy snap of latter-day Art Pepper in his sound and ideas here. Pepper also recorded a nakedly emotional interpretation of this classic Harold Arlen melody. The closing "Bird Count has a string of solos, with Frank Kimbrough on piano and Ingrid Jensen on trumpet the standouts. It's too bad that there isn't more of Jensen's solo work on the program; she is a superb player. In the five-plus years since Days of Wine and Roses was recorded there have been a few changes of personnel in the orchestra, but the majority of musicians (thirteen by my count) are the same as on 2004's Concert in the Garden. Pianist Frank Kimbrough is one of the constants, as is guitarist Ben Monder. Although the latter doesn't solo in this program, he is an essential part of the rhythm section, while the former is a marvelously incisive, expressive soloist and one of the leading accompanists in the business. The continuity and cohesion of the ensemble are exemplary. Days of Wine and Roses presents a snapshot of the 2000 edition of the Maria Schneider Orchestra in performance, and it's a gladly received document of another side or perhaps one should say other sides of her estimable talents. This recording is available only through Maria Schneider on the web. ~ Bill Bennett https://www.allaboutjazz.com/maria-schneider-orchestra-days-of-wine-and-roses-live-at-the-jazz-standard-by-bill-bennett.php

Personnel: Maria Schneider: composer, arranger, conductor; Tim Ries: alto and soprano saxophone, clarinet, flute; Charles Pillow: alto and soprano saxophone, clarinet, flute; Rich Perry: tenor saxophone, flute; Rick Margitza: tenor saxophone, flute; Scott Robinson: bass and baritone saxophones, bass clarinet, clarinet, flute; Tony Kadleck: trumpet, flugelhorn; Greg Gisbert: trumpet, flugelhorn; Laurie Frink: trumpet, flugelhorn; Ingrid Jensen: trumpet, flugelhorn; Keith O'Quinn: trombone; Rock Ciccarone: trombone; Larry Farrell: trombone; George Flynn: bass trombone; Ben Monder: guitar; Frank Kimbrough: piano; Tony Scherr: bass; Tim Horner: drums.

Days Of Wine And Roses

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Artemis - In Real Time

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 50:23
Size: 117,2 MB
Art: Front

(7:05) 1. Slink
(6:17) 2. Bow and Arrow
(6:18) 3. Balance of Time
(4:51) 4. Lights Away from Home
(7:30) 5. Timber
(7:03) 6. Whirlwind
(5:34) 7. Empress Afternoon
(5:42) 8. Penelope

The all-star jazz sextet Artemis further coalesce their sophisticated post-bop sound with their sophomore album, 2023's In Real Time. When the group debuted with 2020's eponymous title, the all-women group brought each of the member's extensive solo experience to bear on their vibrant group sound.

While part of the line-up has shifted since then, the group (still led by pianist Renee Rosnes) sounds even more united. Part of this is due to the increased time Rosnes and her rhythm section partners, including bassist Noriko Ueda and drummer Allison Miller, have spent touring and performing together.

Also returning is trumpeter Ingrid Jensen, whose warm tone and lithe, Kenny Wheeler-esque harmonies work as a bold herald to the group's lush interplay. Coming on board this time out are tenor saxophonist Nicole Glover and alto saxophonist/multi-reedist Alexa Tarantino, who both bring their distinctive improvisational styles to the fore. While originality is still at the core of Artemis' sound, there's a feeling that Rosnes and her bandmates are also exploring their influences.

It's a vibe that's evident from the start on their sparkling rendition of longtime Pat Metheny bassist Lyle Mays' "Slink," a song culled from his 1985 self-titled album. Here, Artemis transform the contemporary synths of Mays' original into a more organic-sounding arrangement, one where the contrapuntal bass groove is nicely off-set by colorful flute, sax, and vocal harmonies.

They further underscore the deep influences at play on In Real Time with album's closing take on Wayne Shorter's "Penelope" fleshing out the late sax legend's composition with Jensen's muted, night sky trumpet leads, Rosnes' luminous pianos chords, and spectral saxophone solo from Glover. Equally potent are the group's own originals, including Miller's "Bow and Arrow" (a roiling tune in the '60s hard bop tradition) and Tarantino's atmospheric waltz "Whirlwind" (recalling Miles Davis' '60s recordings).

There's also Jensen's "Timber," her vocal-like trumpet textures framed by a funky '70s-style groove and Rosnes' dewy Fender Rhodes accents. While much of In Real Time evokes the deep well of the post-bop jazz tradition that inspires Artemis, they never fail to inspire on their own terms.By Matt Collar
https://www.allmusic.com/album/in-real-time-mw0003961691

Personnel: Renee Rosnes: piano; Ingrid Jensen: trumpet; Alexa Tarantino: alto and soprano saxophone, flute; Nicole Glover: tenor saxophone; Noriko Ueda: bass; Allison Miller: drums.

In Real Time

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Freddie Hubbard - One of a Kind

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 42:23
Size: 97,8 MB
Art: Front

(4:20) 1. UK Forty
(7:22) 2. One of a Kind
(8:18) 3. First Light
(2:30) 4. There Is No Greater Love
(4:44) 5. Love Connection
(7:12) 6. One of Another Kind
(7:56) 7. UK Forty One

Hubbard played the mellophone and trumpet working under local legends Wes and Monk Montgomery, before moving to New York and becoming immersed with some of the city’s finest Jazz musicians, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. His recording “Ready For Freddie” solidified him as one of the most innovative and underrated Jazz trumpet players alive, and it’s follow-up, the critically acclaimed album “First Light”, not only won him his first Grammy Award, cementing not only his jazz status but also his mainstream appeal

“…a barnstorming trumpet player… …triumphantly volatile.” – John Pareles, New York Times

The Ad Lib Series, now available on DVD for the first time, is a collection of 46 concert TV programs presenting the best Jazz, Pop and Blues artists showcasing their skills with a Jazz flair. Seen on TV internationally, Ad Lib (filmed in 1980) was the first musical television series recorded in Stereo. Each DVD features 2 episodes of the acclaimed Ad Lib Series.

As Seen on TV, this special Ad Lib Series DVD, “Freddie Hubbard: One of a Kind”, captures one of the 20th Century’s greatest Jazzmen, impressing everyone who heard him blow his horn. Freddie Hubbard, known throughout his career as a passionate yet bold and ferocious trumpeter, constantly adapted his playing style with a seemingly effortless poise, creating an individual style with powerful grace.
https://arkadiarecords.com/product/freddie-hubbard-one-of-a-kind/

Personnel: Freddie Hubbard: Trumpet; Billy Childs: Piano; Stephen Houghton: Drums; Buck Clark: Percussion; Larry Klein: Bass

One of a Kind

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