Showing posts with label Tineke Postma. Show all posts
Showing posts with label Tineke Postma. Show all posts

Friday, May 12, 2023

Tineke Postma - The Dawn of Light

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 56:35
Size: 129,9 MB
Art: Front

(6:38)  1. Canção de Amor (Suite I Na Floresta do Amazonas)
(7:10)  2. Falling Scales
(4:19)  3. Before the Snow
(5:37)  4. Leave Me A Place Underground
(6:59)  5. The Observer
(5:47)  6. Off Minor
(4:22)  7. Newland
(4:49)  8. The Man Who Stared At Coats
(4:37)  9. Beyond Category
(6:12) 10. Tell It Like It Is

Since her 2004 debut as a leader, Dutch saxophonist Tineke Postma has released records almost like clockwork every alternate year, with The Traveller (EtceteraNow, 2009), as strong a statement as she's made, featuring a quartet of Americans including drummer Terri Lyne Carrington constant companion since Postma's sophomore For the Rhythm (Munich, 2005). The Dawn Of Light returns to an all-Dutch lineup for the first time since First Avenue (Munich, 2004), with the exception of Grammy Award-winner Esperanza Spalding, whose sweetly appealing voice helps keep the irregularly metered "Leave Me a Place Underground" eminently accessible.  The Dawn of Light reunites Postma with keyboardist Marc Vanroon and bassist Frans van der Hoeven from 2007's A Journey That Matters (Foreign Media). Gigging together since 2006, this is the first time Postma has recorded with this group, which also features drummer Martijn Vink, last heard with her on First Avenue. If artists like drummer Han Bennink and pianist Misha Mengelberg put The Netherlands on the map in the 1960s with their New Dutch Swing, then this new generation of Dutch players is equally forward-thinking, but even more liberal when it comes to the palette from which they work, and the styles from which they draw. 

On this largely acoustic session, which features six Postma compositions written specifically for the group, the aptly titled, tempo-shifting "Beyond Category" one of two tracks written by van Roon goes against type, mixing the keyboardist's Fender Rhodes with some retro synth textures; even van der Hoeven turns on, feeding his double bass through an octave divider for a short but commanding solo in the relatively short track's final moments. The Dawn Of Light may have more limited instrumentation than A Journey, which ran the gamut from quartet to octet, but the greater chemistry of this consistent lineup is apparent from the opening moments of Postma's free-spirited interpretation of Heitor Villa-Lobos' "Canção de Amor." Blending instantaneous spontaneity, rubato lyricism reminiscent of pianist Keith Jarrett's 1970s American Quartet, and lithe contrapuntal elegance all supported with simmering energy by van der Hoeven and Vink Postma's alto solo sets an early high bar which van Roon, on acoustic piano, matches and then raises. Postma's compositional skills continue to develop, whether it's on relative sketches like "Falling Scales," where she provides little more than a roadmap, or the episodic "The Observer," which ebbs and flows in dynamics and tempo, Postma's soprano soaring into fluttering passages that occasionally reach into the stratosphere piercing but pure leading to a stop-and-start piano solo that van Roon mixes with the occasional synth line. Postma recently participated on Terri Lyne Carrington's all-female Mosaic Project (Concord, 2011), which deserves to give her some additional and deserved North American exposure. 

But as strong a performance as the saxophonist turns in there, it's in the context of her own music that her growth is most palpable. Rendering accessibly melodic music with an intrepid spirit that's unafraid to let the music unfold where it may, The Dawn of Light is Postma's most integrated and fully realized album to date; and with the saxophonist still only in her mid-thirties, only time will tell where she goes next. ~ John Kelman  http://www.allaboutjazz.com/the-dawn-of-light-tineke-postma-challenge-records-review-by-john-kelman.php#.VEAIWBawTP8
 
Personnel: Tineke Postma: alto and soprano saxophones; Marc van Roon: Steinway grand piano, Korg MS 20 synthesizer, Fender Rhodes Mark I; Frans van der Hoeven: double bass; Martijn Vink: drums; Esperanza Spalding: vocals (4).

Thursday, May 11, 2023

Tineke Postma - For The Rhythm

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:44
Size: 147,6 MB
Art: Front

(5:23)  1. Summersong
(3:04)  2. Voyage
(5:44)  3. Comprehension
(4:41)  4. Pump It Up!
(8:08)  5. Dialog
(6:40)  6. Song For Sea-Tee
(6:08)  7. New Life
(7:07)  8. Wandering
(5:49)  9. Goodbey
(5:15) 10. Love Theme
(5:40) 11. For The Rhythm

Driving with plenty of contemporary excitement all around her, Dutch saxophonist Tineke Postma provides the kind of tension and release that makes modern jazz swing. Not quite thirty, but experienced through rigorous educational programs in both the United States and Holland, she has combined a strong foundation with her natural inclination for jazz's mainstream. Eight of the eleven pieces on this, her second album as leader, come from her composing pen. Saxophone influences such as Cannonball Adderley and John Coltrane show up in each of the selections, as well as evidence of Postma's mentorships with Chris Potter, Dick Oatts, and Dave Liebman. Look at the common denominator: it all comes from the heart. A dreamy piece written for her mother, "Song for Sea-Tea features alto and guitar in a comfortable unison that floats melody upon melody, while Terri Lyne Carrington's drum set swirls surround them with a rhythmic stutter. Pump it Up! features a similar formula, but with Fender Rhodes in a contemporary adventure that sizzles with dramatic fire. The blues is built in, giving Postma a free-flowing dialog that speaks to a broad audience. Dialog, on the other hand, eschews the blues and goes for the jugular. Here, Postma and guitarist Edoardo Righini bring their fire to a boil gradually, giving it plenty of time to age. 

Her soprano saxophone "dialog reaches far and wide. Additionally, pianist Rob van Bavel turns in a superb solo section on this one that builds from the ground up, unleashing the passion through finely articulated phrases. Carrington ties it all together with her swarming rain of percussive torrents. Goodbye comes at us on slow feet rubato, legato, and reeling like the bartender at 3 am. This tender alto saxophone intimacy works its magic on this standard theme, which is interpreted alone with piano. If the album weren't so darn good to begin with, this piece could be called her best shot. Another intimate arrangement brings us the "Love Theme from Spartacus through the voices of bass, drums, and alto. Pared down for a lyrical affair, Postma's ensemble stretches out with pride. The song itself brings majesty, while the trio adds a warm overcoat to its soul. Closing out with the title track, the full ensemble swings hard in a fresh adventure that smokes behind the leader's blazing alto. The new year has only just begun, and already we're faced with a candidate for our 2006 top ten lists. For the Rhythm comes highly recommended; it reveals a powerful new voice on the mainstream jazz scene that makes the new year look pretty bright. ~ Jim Santella  http://www.allaboutjazz.com/for-the-rhythm-tineke-postma-215-music-munich-records-review-by-jim-santella.php#.VEWfXMlNeKU
 
Personnel: Tineke Postma: alto saxophone, soprano saxophone; Rob van Bavel: piano, electric piano; Edoardo Righini: guitars; Darryl Hall, Jeroen Vierdag: double bass; Terri Lyne Carrington: drums.

Wednesday, May 10, 2023

Tineke Postma - Aria

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 54:30
Size: 126,9 MB
Art: Front

(5:00) 1. Sankalpa
(5:13) 2. Frede
(4:12) 3. The Sky Is Everywhere
(4:36) 4. Still Another Day
(3:48) 5. Lion's Roar
(6:10) 6. Vibe Shift
(4:11) 7. Idyll for Ellemis
(6:13) 8. Hymn for Hestia
(5:35) 9. Mysterious Duty
(6:17) 10. Leaning Into The Afternoon
(3:11) 11. Loft

Renowned Dutch saxophonist sets out on a journey of exploration and creative expression, accompanied by her new group featuring the talented and acclaimed Ben Monder, Robert Landfermann, and Tristan Renfrow.

Tineke Postma, the highly acclaimed bandleader, composer, and saxophonist, is set to release her eagerly awaited 8th album Aria in May 2023 via Edition Records. Aria reflects Tineke's personal musical journey since the release of her "Freya" album in February 2020, featuring new compositions, including pieces inspired by the Bimhuis Composition Assignment 2021. The title "Aria" represents Tineke's passion for incorporating breath and space in her music, which, she feels, is more important than ever in today's world. It also signifies melody, and is a musical form central to opera, an influence on Tineke and one she holds dear: in particular the expressive and lyrical singing of Maria Callas.

The appeal of the word Aria lies in its versatility. It means "song" or "melody" in Italian, and literally translates to "air," a musical term used for an elaborate vocal solo in opera. Tineke holds a fond memory of hearing legendary opera singer Maria Callas for the first time at age 10, which left a lasting impression on her and shaped her love for strong lyrical melodies. The lyricism, drama, and intensity in Callas' singing has stayed with Tineke ever since and remains a foundation of her musical style. As Tineke explains; “My saxophone playing style, as an instrumental expression closest to the human voice, has always been influenced by the melodic vocal lyricism in the music of greats like Maria Callas.

The word "Aria," meaning "air," also inspires me to allow my music to breathe, whether it's intense or serene. One of the things we as musicians can do for the community and humanity as a whole is to let peace, awareness and the beauty of music and life resonate through our compositions and playing.” There is so much going on in our world right now; we all can use some space, breath and air when we create and deal with life.”“Through the years I’ve come to realise that AIR is the most important element I need as a horn player and human being. I try to always ask myself before I pick up my horn; how am I feeling right now? Do I feel grounded? Breathing properly gets me into a zone of focus and relaxation in order to be as creative and play as well as possible.

This album is a mix of instant composed ensemble improvisations and composed music by Tineke. Besides lyrical melodies and adventurous rhythms, she focuses on musical elements such as sound, space, textures, ambience and orchestration inspired by the music of Ben Monder, Bill Frisell, Paul Motion, electric music from the 1970s by Miles Davis and the full oeuvre of her hero Wayne Shorter.

For some of her “compositions” Tineke used clear musical forms based on certain Aria forms, with a clear beginning and end, some shorter and longer or through composed Aria forms. Until 1400 the Aria signified a style of singing, after 1700 it referred to an instrumental form. Back then the Aria consisted of three parts. One of Tineke’s compositions, called The Sky Is Everywhere is influenced by this. After 1850 a concert Aria was a song which stood alone without being part of a larger work with one mood and one tempo. Leaning Into the Afternoons, Those Who Are Closely and Ballad are good examples of this concept. The Aria part of an opera is the moment of reflection and expression of the story. As Tineke always says; “I like to tell stories with my work and playing”.

Aria