Tuesday, January 6, 2015

Platina Jazz - Tokyo Express: Live In Concert

Size: 177 MB
Time: 75:42
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Big Band, Vocals
Art: Front

01. The Galaxy Express 999 (Feat. Niklas Gabrielsson) (4:09)
02. Hajimete No Chuu (My First Kiss) (3:48)
03. Thanatos - If I Can't Be Yours (4:20)
04. Genesis Of Aquarion (Feat. Emily Mcewan) (5:10)
05. Miracle Girl (5:45)
06. Nausicaa Of The Valley Of The Wind (3:48)
07. Gravity (Feat. Emily Mcewan) (7:00)
08. Ready!! (5:22)
09. Chiisana Tenohira (4:26)
10. Stolen Moments (Feat. Niklas Gabrielsson) (4:36)
11. Medley: Sobakasu (Freckles)/Go! Go! Maniac/Hyadain's Kakakata Kataomoi-C/Waganawa Shougakusei/Enchanting Creamy (9:35)
12. 1/2 (6:30)
13. Fly Me To The Moon (Feat. Niklas Gabrielsson) (3:53)
14. Gotta Knock A Little Harder (Feat. Douglas Unger) (7:14)

With four studio albums behind them, the anime soundtrack covering Swedish jazz band led by producer Rasmus Faber are all set to release their first live album. Entitled Tokyo Express, the album includes completely new arrangements of Platina Jazz's favourite tracks taken from performances at the Billboard Live venue in Tokyo during 2013. And as a special bonus, a song that has never been played at all before by the band, Knock A Little Harder from Cowboy Bebop. Rasmus Faber comments: "this album is very important to us as it represents how jazz music should be heard, live! These tracks have never been performed in this way before. Although all but one song features on the previous 4 studio albums we have released, each arrangement on this live album is unique. We wanted to capture the essence of live performance. That unique moment in time that cannot be repeated, the energy and vibrancy of 12 very talented musicians working together in one space, harnessing the energy of the audience and giving them everything we have".

ALBUM CREDITS: Recorded Live at Billboard Live, Tokyo. Musicians: Vocals: Emily McEwan, Niklas Gabrielsson, Douglas Unger Piano: Martin Persson Bass: Martin Höper Drums: Ola Bothzen, Fender Rhodes: Rasmus Faber Hammond Organ: Carl Bagge Trumpet: Nils Janson Trombone: Karl Frid Alto Saxophone: Thomas Backman / Jonas Wall Tenor Saxophone / Flute: Andreas Gidlund / Kristian Harborg Baritone Saxophone / Flute: Kristian Harborg / Alberto Pinton Produced, mixed and mastered by Rasmus Faber Artwork designed: Tetsuo Inokawa Album cover illustration provided: Kenichi Yoshida Photography by Masanori Naruse

BACKGROUND ON PLATINA JAZZ: What do Japanese anime, a House music producer and a Swedish jazz band have in common? If your answer is "not much", then chances are you have yet to discover the unique style and blend of anime music and jazz sensibilities that can be done only by the group known as Platina Jazz. In 2008, Swedish DJ, pianist and producer Rasmus Faber spoke of his love for the musical complexity of anime music with his Japanese manager. They discussed different ways of interpreting anime music to bring it to a wider audience and bring out its musical qualities to the fullest. By a strange coincidence, the manager had just had a similar discussion together with music journalist Yuzuru Sato, who had been expressing his wish to select anime songs for a jazz cover project. And from that moment, the Platina Jazz project was founded to bring those dreams to life. Coming from a background of jazz music, Rasmus had all the right connections with jazz musicians in his home city of Stockholm, Sweden. The group's first volume, called "Anime Standards vol. 1" was released in 2009 to both critical acclaim and fan delight. Critics loved the "real jazz" sound of the album as performed by such talented musicians, and anime fans delighted to hear such carefully crafted versions of their favourite songs.

Tokyo Express

Milana - Frozen Dream

Size: 143,8 MB
Time: 61:48
File: MP3 @ 320K/s
Released: 2014
Styles: Piano Jazz/New Age
Art: Front

01. Autumn Dream (2:25)
02. Falling Into You (3:18)
03. The Whispering Blaze Of Autumn (5:07)
04. Rainy Thoughts (4:25)
05. Childhood That Is Gone (3:29)
06. Shine On (2:23)
07. Looking Through A Frozen Window (3:26)
08. Frozen Dream (3:44)
09. Meltdown (4:10)
10. February Elegy (3:36)
11. From The Heart (2:30)
12. Tenderness (5:22)
13. Rhythms Of The Night (2:20)
14. Violet Dream (2:51)
15. Movement (4:41)
16. Waltzing At Dawn (5:28)
17. Autumn Dream (Bonus) (2:24)

Milana Zilnik, is one of the most popular piano players on the Soundcloud platform, with 20,000 followers and regularly appears in the “Piano Explore” section, which showcases the trending / most listened to tracks across the world. Milana’s music is very difficult to “pigeon hole”, as she covers such a wide variety of genre’s, from classical, to jazz, across to new age, romantic and then dashes of ambient in there as well. Milana sums it up best, when she says “many of my free flowing melodies and harmonies were born after listening to my favourite masters such as Chopin, Debussy, Chick Corea, Oscar Peterson & Keith Jarret.

"Frozen Dream" is the second solo piano (mostly) release from Milana this year and her fifth solo piano release in two years. This extraordinary artist has lived in a variety of cultures around the world, has had extensive musical training and has worked within a broad range of musical genres. Those influences serve her well and make her musical voice unique and distinctive. Frozen Dreams is a collection of seventeen improvisations that reflect on the seasons and their emotional impact on Milana’s soul. Many of the free-flowing pieces were created after listening to and being inspired by some of her favorite composers and musicians such as Chopin, Debussy, Chick Corea, Oscar Peterson, and Keith Jarrett. In the liner notes, Milana says: “Some of my compositions sound raw, spacious, hectic, edgy but more than anything I want them to be made for the love of the dreaming and the Harmony.”

"Frozen Dream" begins and ends with “Autumn Dream.” The first version is solo piano and the closing bonus track is orchestrated with strings and harp. Sweet and gentle with a dreamy flow, it’s a beautiful opening (and ending!). “Falling Into You” is somewhat edgier with jazz harmonies and a very spontaneous, introspective feeling. “The Whispering Blaze of Autumn” is a favorite. Spare and deeply emotional, the use of reverb creates an atmospheric backdrop to the haunting piano. Love it! “Looking Through a Frozen Window” has a lovely, melancholy cast. Some of the piece is smooth and flowing contrasted occasionally by the hard bite of icy cold. The title track also has the contrasting playing touches in a jazzier, freer style - another favorite. The lyrical “February Elegy” is a graceful, emotional heartbreaker that is SO beautiful! “From the Heart” lightens the mood considerably while “Tenderness” is so delicate it is almost fragile. “Violet Dream” is close to ambient in style, flowing freely and gently. Very expressive and just a little bit edgy, “Movement” would be an inspiring piece for a free-form dance.”Waltzing At Dawn” is a slow, romantic waltz for two set in the early-morning stillness, expressing warmth, contentment and a sense of freedom.

If you haven’t yet discovered the wonderful artistry of Milana’s music, this is a great place to start! Highly recommended! ~Kathy Parsons

Frozen Dream

Jill Salkin - What The World Needs Now

Size: 118,4 MB
Time: 50:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. What The World Needs Now (4:27)
02. Feelin' Groovy (2:55)
03. You're Everything (4:22)
04. How Deep Is The Ocean (5:32)
05. Light Of Day (4:33)
06. Your Mind Is On Vacation (3:25)
07. Little Children, Be Free (3:54)
08. Stolen Moments (5:43)
09. Spring Will Come Again (3:11)
10. Joy Spring (3:38)
11. Summertime (5:51)
12. Every Little Light (3:17)

Jill Salkin's third release, "What the World Needs Now" is a treasure trove of beautifully sung jazz, blues, and classic pop. Jill has included four of her own compositions. The quartet consisting of piano, bass, drums, and guitar, joined by trumpet, flugelhorn, and sax, provide stellar playing and great solos. The fine arrangements and Jill's scatting add to the listening pleasure.

Jill's first release, "Heart's Desire" is a compilation of her original songs. Her second release, "The Very Thought of You", is a collection of jazz standards. "What the World Needs Now" gives the listener a broad palette of styles; the kind of mix that Jill does in live performance.

What The World Needs Now

The Derek Paravicini Quartet - The Derek Paravicini Quartet

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 54:24
Size: 125,4 MB
Art: Front

(3:02)  1. Mir Bist du Schoen
(3:24)  2. Moanin'
(3:33)  3. Lullaby of Birdland
(4:11)  4. Crazy
(2:55)  5. Straighten Up and Fly Right
(2:16)  6. Sweet Georgia Brown
(4:14)  7. Autumn Leaves
(2:52)  8. Honeysuckle Rose
(2:58)  9. I've Got Rhythm
(5:35) 10. Somewhere Over the Rainbow
(3:32) 11. Night and Day
(2:59) 12. The In Crowd
(3:17) 13. Black Coffee
(1:44) 14. Take 5
(3:16) 15. Danny Boy
(4:26) 16. Air on a G String

The Derek Paravicini Quartet is the new must-hear group, currently wowing audiences all over the UK, following their successful debut on the BBC’s ‘In Tune’ programme. Four stunningly talented young musicians combine to create a unique sound, portraying a kaleidoscope of emotions now achingly sad, now humorous, now infused with warmth and all shot through with a fiery virtuosity. Derek Paravicini Quartet are a musical chameleon, able to change their sonic palette to suit any occasion, with the breathtaking new takes on classic songs and jazz standards, and a repertoire from ragtime to Radiohead, from Irving Berlin to the Beatles, from Cole Porter to Coldplay.  http://www.derekparaviciniquartet.com/

Personnel: Derek Paravicini - Piano; Hannah Davey – Vocal;  Ben Holder – Violin; Ollie Howell – Drums

Annette Neuffer Quintet - The Art of Chet

Styles: Vocal And Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 57:21
Size: 134,5 MB
Art: Front

(5:04)  1. Line for Lyons
(4:51)  2. Look for the Silver Lining
(4:06)  3. The Art of Chet
(6:02)  4. The Song Is You
(6:21)  5. Remembering... That Old Feeling
(4:39)  6. But Not for Me
(4:43)  7. How Long Has This Been Going On
(3:52)  8. Long Ago and Far Away
(4:38)  9. Chet's Blues
(4:10) 10. Dinner
(3:17) 11. It Could Happen to You
(5:31) 12. Time After Time

Neither Annette Neuffer want to reproduce the music Chet Baker, heave still chatting with Chet whose inspiration over the Millennium, but simply prove a revered model reference, by singing some of his favorite songs and plays. As the late musical appointed Flügelhornistin discovered jazz, the music Bakers played no small role in their awakening - now came the years vocally long to personal maturity - love of improvised music. On their second CD "But Not For Me" is situated next to Favourites such as "Look For The Silver Lining" or even five elegant homage original text, melody and relaxed swinging performance quite successful overtures to Chet's Mood. Claus Koch, ts; Bernhard Pichl, p; Rudi Engel, b, and Jens Düppe, dr, do yours, so some throwback to the good old days to give a piece of contemporary gloss. ~ Tobias Böcker  http://www.annetteneuffer.de/press.htm (Translate by google)

Personnel: Annette Neuffer (vocals, Trumpet, flugelhorn); Claus Koch (tenor sax); Bernhard Pichl (piano); Rudi Engel (bass); Jens Düppe (drums)

Bobby Hackett - Rosalie

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 87:09
Size: 202,9 MB
Art: Front

(2:04)  1. Rosalie
(2:43)  2. S'Wonderful
(2:41)  3. Oh Baby!
(2:33)  4. Royal Garden Blues
(3:01)  5. Struttin' With Some Barbecue
(3:04)  6. Fidgety Feet
(2:27)  7. Sunday Coots, Grey
(2:41)  8. I Found a New Baby
(3:03)  9. Baby Won't You Please Come Home
(2:17) 10. My Monday Date
(2:39) 11. If I Had My Way
(2:21) 12. C'est Magnifique
(2:49) 13. Cheek to Cheek
(2:08) 14. That Naughty Waltz
(2:16) 15. It's Been so Long
(2:38) 16. Spring Beautiful Spring
(2:47) 17. Paradise
(4:29) 18. That's a Plenty
(3:57) 19. It's Wonderful
(1:23) 20. Bye Bye Blues
(2:25) 21. (Back Home Again In) Indiana
(3:00) 22. Muskrat Ramble
(3:11) 23. Big Butter and Egg Man
(2:31) 24. Moonlight Becomes You
(2:44) 25. Moma's Gone, Goodbye
(3:31) 26. Way Down Yonder in New Orleans
(2:57) 27. Cocktail for Two
(2:26) 28. Everybody Loved My Baby (But My Baby Don't Love Nobody Buy Me)
(2:20) 29. Struttin' With Some Barbecue - Alternative Version
(4:52) 30. Royal Garden Blues - Live Version
(2:57) 31. Oh Baby

Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-oriented trumpeters. Emphasizing his middle-register and lyricism, Hackett was a flexible soloist who actually sounded little like his main inspiration, Louis Armstrong. When Hackett first came up he was briefly known as "the new Bix" because of the similarity in his approach to that of Bix Beiderbecke, but very soon he developed his own distinctive sound. Originally a guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"), recorded with Eddie Condon, and by 1939 had a short-lived big band. 

Hackett played briefly with Horace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957, Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during 1959-1960 (including one set of Hawaiian songs and another in which he was backed by pipe organ), he worked with Benny Goodman (1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew. 
~ Scott Yanow, Rovi  http://www.shazam.com/discover/artist/9601/album/62033986

Monday, January 5, 2015

Bucky Pizzarelli Trio - Three For All

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 64:57
Size: 149,3 MB
Art: Front

(5:22)  1. All The Things You Are
(7:50)  2. Body And Soul
(5:00)  3. Avalon
(5:41)  4. Snowfall
(5:17)  5. Stompin' At The Savoy
(7:12)  6. If I Had You
(3:01)  7. Stage Fright
(3:08)  8. It's Been A Long, Long Time-Don't Take Your Love From Me
(5:28)  9. Undecided
(3:10) 10. In The Dark
(5:38) 11. I'm Confessin'
(5:31) 12. Three For All
(2:38) 13. I Got Rhythm

Whose line is it anyway? No matter. Whether it’s jazz patriarch Bucky Pizzarelli or his son, fellow seven-string guitar master John, fashioning melodic embellishments and spinning single-note improvisations on Three for All, the level of musicianship is consistently high. What’s more, the same can be said for guitarist Ed Laub’s knowing support, scarcely a surprise given his long association with père Pizzarelli. Not surprising, too, are the songs chosen for this date. “Body and Soul,” “I Got Rhythm,” “All the Things You Are” and “Avalon” are among the vintage pop classics, while lesser-known tunes, including the Dick McDonough-Carl Kress treat “Stage Fright,” round out the collection. 

Even the most weathered selections, however, have a fresh allure after Bucky and John get their fingers on them. Strings of choruses dart along, then dovetail, then dart again. Blue notes tweak the melodies, harmonic substitutions add texture and color, tricky contrapuntal passages abound, and frequent surges of rhythmic propulsion make for some exhilarating moments. Offsetting the most vibrant trio performances are some soulful interludes, a dash of melancholy lyricism and the occasional, deftly executed duet, including a Bucky and Ed pairing. ~ Mike Joyce  http://jazztimes.com/articles/132462-three-for-all-the-bucky-pizzarelli-trio?

Personnel: Bucky Pizzarelli (guitar); John Pizzarelli, Ed Laub (guitar).

Ben Sidran - Blue Camus

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 45:09
Size: 103,5 MB
Art: Front

(6:58)  1. Soso's Dream
(4:45)  2. Blue Camus
(3:13)  3. "A" Is For Alligator
(4:57)  4. King Of Harlem
(6:20)  5. Rocky's Romance
(4:32)  6. Wake Me When It's Over
(7:23)  7. There Used To Be Bees
(6:58)  8. Dees Dilemma

Blue Camus is the follow up to Don’t Cry For No Hisper.  If the latter spoke to the hipster’s inner monologue, this project reflects the external input source that the hipster has been taking in.  The references in Blue Camus go back almost one hundred years to Garcia Lorca’s poetry (referenced in “The King of Harlem”), Orwell’s fantastic fiction (found in “A is for Alligator”) and a bit more recently to Albert Camus’ philosophy of existentialism. So there is a direct connection from the February afternoon in Mexico when I began writing the songs for Don’t Cry For No Hisper, a somewhat autobiographical, jaundiced view of today’s world through the eyes of a jazz man who has been around for several decades, to Blue Camus.  The classic hipster, as I see him, with his roots going back deep into the jazz life, was a reader of literature and a lover of philosophy, particularly, during the bebop era of the 40s and 50s.  

The starting premise of Camus’ existentialism can be compared to jazz in that in both jazz and existentialism, we begin with a world of open possibilities and rely on our own experiences and emotions to figure out the next move, rather than what we are taught or by following some other theory.  For Camus (and the beboppers) all thought originates in action just as all jazz music originates in swing, not notes. We may be confused, but that could be the good news, because so much is clearly going amok, if we thought we knew what we were doing and that this was it, we’d be in even worse trouble than we already are.  Make sense?  No? Welcome to existentialism! In a world that appears to be swallowing itself whole, jazz and literature, combined here as Blue Camus, provide a starting point to ask some questions about where we are and resolve them in swing. http://bensidran.com/album/blue-camus

Personnel: Ben Sidran - Wurlitzer, Piano, Vocals; Leo Sidran - Drums; Billy Peterson – Bass; Ricky Peterson – Organ; Bob Rockwell – Saxophone, Trixie Waterbed – Backing Vocals

Blue Camus

Ben Wolfe - No Strangers Here

Styles: Straight-ahead/Mainstream
Year: 2008
File: MP3@320K/s
Time: 49:55
Size: 114,5 MB
Art: Front

(7:20)  1. The Minnick Rule
(2:31)  2. No Strangers Here
(3:52)  3. Milo
(3:34)  4. No Pat No
(7:55)  5. The Filth
(3:29)  6. Circus
(5:29)  7. Blue Envy
(7:17)  8. Rosy & Zero
(3:42)  9. Jackie Mac
(4:41) 10. Groovy Medium

Ever since the seminal Charlie Parker With Strings (Mercury 1950), numerous artists have attempted to add symphonic strings to jazz ensembles. Some have succeeded, but many have failed to capture a proper balance, resulting in string arrangements that sound superfluous. Bassist Ben Wolfe's fifth album, No Strangers Here, is one example of a successful merger of two worlds acoustic jazz quartet and classical string quartet. A compelling bassist, Wolfe came to prominence as a sideman for Harry Connick Jr., Wynton Marsalis and Diana Krall. He currently teaches at Julliard and is a member of the Jazz at Lincoln Center Orchestra. Augmenting a jazz combo with strings is not a novel idea for Wolfe, whose previous album, My Kinda Beautiful (Planet Arts Records, 2004) featured a brass heavy jazz octet with an eight piece string section. 

An extended suite, "From Here I See," was commissioned by the Rubin Museum and revolved around a jazz quartet/string quartet combo. Another long-form composition, "Contradiction: Music for Sextet" was the result of a commission from Chamber Music America. Wolfe's core quartet features saxophonist Marcus Strickland, pianist Luis Perdomo and drummer Greg Hutchinson, all rising stars on the New York scene who execute Wolfe's tightly arranged compositions with palpable commitment and panache. In addition, Wolfe regularly augments the quartet with a traditional string quartet, as well as a handful of special guests. At their most vigorous, Wolfe's pieces recall the forward thinking hard-bop of a mid-60s Blue Note date. "The Minnick Rule" and "Circus" are labyrinthine swingers filled with hairpin rhythmic shifts and understated string accents that resound with dramatic flair. A nostalgic air often permeates the session; the subtly integrated strings reinforce Wolfe's romantic side by adding a layer of euphonious lyricism to his sumptuous writing, most notably on the title track and "Blue Envy." The special guest appearances are well integrated. 

Terell Stafford's buttery trumpet soars on the spirited opening cut and offers supportive nuance on the wistful closer. Saxophonist Branford Marsalis and drummer Jeff "Tain" Watts provide muscle to the escalating drama of the noirish "The Filth" while Marsalis' soprano waxes lyrical on the effervescent "Milo." Victor Goines enriches the lush "Blue Envy" with his poetic bass clarinet. The album's string quartet tour-de-force, "Rosy & Zero," regales with expansive sonorities. Alternating austere chamber music inflected excursions with blistering post-bop interludes, the piece unfolds like a long lost, albeit highly successful, Third Stream experiment. From bittersweet nostalgia to cinematic drama, No Strangers Here encapsulates an array of moods, textures and dynamics. Reminiscent of the string augmented ensembles of Max Roach and Charles Mingus, Wolfe's double quartet emboldens the jazz tradition with neo-classical overtones, yet never fails to swing. To quote Wynton Marsalis, "Ben Wolfe swings with authority."     
~ Troy Collins http://www.allaboutjazz.com/no-strangers-here-ben-wolfe-maxjazz-review-by-troy-collins.php
 
Personnel: Ben Wolfe: bass; Marcus Strickland: tenor and soprano saxophone; Luis Perdomo: piano; Greg Hutchinson: drums; Cyrus Beroukhim: violin; Jesse Mills: violin; Kenji Bunch: viola; Wolfram Koessell: cello; Branford Marsalis: tenor and soprano saxophone (3, 5); Terell Stafford: trumpet (1, 10); Victor Goines: bass clarinet (7); Jeff "Tain" Watts: drums (5).

Sunday, January 4, 2015

Aga Zaryan - Picking Up the Pieces

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 44:46
Size: 102,9 MB
Art: Front

(3:26)  1. Day Dream
(4:23)  2. Throw It Away
(1:58)  3. Picking Up The Pieces
(4:21)  4. Woman's Work
(4:03)  5. Answer Me
(5:18)  6. The Man I Love
(5:03)  7. Here's to Life
(4:31)  8. It Might As Well Be Spring
(3:24)  9. Sophisticated Lady
(5:12) 10. Suzanne
(3:03) 11. Tender As a Rose

Gifted vocalist Aga Zaryan conveys the finest of the history of jazz to today's audiences, continuing the traditions of great artists like Shirley Horn, Carmen McRae and Joni Mitchell. Aga Zaryan is a producer and lyricist but first and foremost, a highly charismatic artist and personality. She has been successful in integrating ambitious artistic goals with popular appeal, recording four albums to date, all of which have earned gold, platinum or multi-platinum status in Poland. In 2008 she was honored with the Polish music industry's most prestigious prize - the Fryderyk Chopin Award. She was nominated for the title of Woman of The Year 2008 by Gazeta Wyborcza-Wysokie Obcasy, one of Poland's most influential and widely circulated newspapers. Aga was also named Jazz Vocalist of The Year in the European Jazz Forum Magazine's yearly Jazz Top readers' poll in 2007, 2008 and 2009. She has appeared in clubs and at festivals in Poland, England, the USA, Germany, Norway, Israel, the Czech Republic, Sweden, Norway, France, Montenegro, Bulgaria, Turkey, Portugal, Russia and Iceland. Aga Zaryan born January 17, 1976 is an internationally recognized jazz vocalist of the new generation. She is known for her distinctive style, class and intimate approach to singing, with a characteristic lightness of phrasing and warm, slightly matte-toned voice.  

Aga was born in Warsaw, Poland. Her father being a classical pianist, and her mother an English language educator and author, she travelled widely throughout Europe with her parents early on, spending part of her childhood and attending primary school in Manchester, UK. In addition to classical works, both of Aga's parents shared a passion for the music of Stevie Wonder, Weather Report, Jimi Hendrix, Bob Marley, The Beatles, and various other popular artists. This provided Aga with exposure to wide range of contemporary music, starting at an early age. After returning to Poland from the UK she became involved in playing tennis competitively, and went on to win the Warsaw Tennis Championship at the age of 14. More Bio ~ http://www.zaryan.com/index1.php

Awards:
'Best Polish Female Jazz Vocalist' Jazz Forum's Readers Awards 2007 & 2008 & 2009,  'Best Poetic Album' Fryderyk Award for 'Beauty is Dying' 2008, '50 Most Important Ladies of the Capital 2008' - Zycie Warszawy (Warsaw press), 'Best New Artist' Mateusz Award - Polish National Radio 3 award for 'Picking up the Pieces' 2007, Second Prize at the International Jazz Vocalists' Competition in Zamosc, PL - 1998 Nominations 'Woman of the Year 2008' - Gazeta Wyborcza magazine (Wysokie Obcasy) 'Wdechy' 2007 'Co Jest Grane' (Whats going on) magazine's Warsaw cultural awards, 'Best Polish Jazz Vocalist' Jazz Forum's Reader's Awards 2004 and 2005 'Best Jazz Album' "My Lullaby" Fryderyk 2002  ~ http://musicians.allaboutjazz.com/agazaryan

Picking Up the Pieces


Barney Wilen - New York Romance

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:36
Size: 146,0 MB
Art: Front

(9:24)  1. No Problem 94'
(8:32)  2. Cry Me A River
(5:58)  3. Blues Walk
(7:28)  4. You'Ve Changed
(5:53)  5. You'D Be So Nice To Come Home
(8:19)  6. Mack The Knife
(7:26)  7. Don'T Fence Me In
(6:22)  8. Old Devil Moon
(4:10)  9. I Will Say Goodbbye

Alternating between soprano, tenor and baritone saxes in this collection of straight-ahead jazz for the Japanese market, Barney Wilen refuses to be pinned down to a single tone quality or approach, even on the same instrument. Among other things, he mimics the lagging phrasing of Lady Day on "You've Changed" on soprano, "Blues Walk" bumps along agreeably on baritone while "Old Devil Moon" is sustained and humorous, and "Mack the Knife" is converted into a glacial smoky ballad with almost casual nonchalance. Throughout, Kenny Barron gets acres of well-turned solo space  it's practically his gig, too  and Ira Coleman (bass) and Lewis Nash (drums) provide crisp underpinning. The further one goes in this collection, the more interesting and less predictable it sounds. ~ Richard S. Ginell  http://www.allmusic.com/album/le-ca-new-york-romance-mw0000647580

Personnel : Barney Wilen (soprano, tenor & baritone saxophones); Kenny Barron (piano); Ira Coleman (bass); Lewis Nash (drums).

Saturday, January 3, 2015

Cal Tjader - Black Orchid

Styles: Vibraphone Jazz, Latin Jazz
Year: 2014
File: MP3@320K/s
Time: 112:30
Size: 262,2 MB
Art: Front

( 3:24)  1. Black Orchid
( 2:53)  2. The Lady Is a Tramp
( 4:40)  3. Mambo At the M
( 3:52)  4. Come Rain or Come Shine
( 4:34)  5. Big Bear
( 2:20)  6. Mambo Macumba
( 3:04)  7. Have You Met Miss Jones
( 3:07)  8. Bei Mir Bist Du Schoen
( 3:48)  9. Liz-Anna
( 3:45) 10. Happiness Is a Thing Called Joe
( 2:09) 11. I've Waited so Long
( 3:23) 12. Running Out
( 3:12) 13. Close Your Eyes
( 2:40) 14. Contigo
( 2:29) 15. Bonita
( 2:45) 16. Fascinating Rhythm
( 3:58) 17. I've Grown Accustomed to Her Face
( 2:59) 18. Guarachi Guaro
( 2:42) 19. When the Sun Comes Out
( 5:14) 20. My Buddy
( 3:23) 21. Yesterdays
( 5:44) 22. For All We Know
( 8:21) 23. Crows Nest
( 2:05) 24. It Ain't Necessarily So
( 2:57) 25. For Heaven's Sake
( 3:43) 26. Viva Cepeda
(10:59) 27. Ginza Samba
( 3:02) 28. Out of Nowhere
( 3:03) 29. East of the Sun
( 2:00) 30. I Concentrate On You

This CD has all of the music originally on the two LPs Cal Tjader Goes Latin and The Cal Tjader Quintet. Since each album had two sessions apiece, the CD does a fine job of giving one a sampling of the influential vibraphonist's popular Latin jazz groups of the era. Among the key sideman are flutist Paul Horn; Jose "Chombo" Silva on tenor; pianists Lonnie Hewitt, Vince Guaraldi, and Manuel Duran; and Mongo Santamaria and Willie Bobo on percussion. The music (a mixture of Latinized standards and newer originals) is quite appealing, showing why this infectious blending of bop with Latin rhythms has always been one of the most accessible styles of jazz. ~ https://itunes.apple.com/us/album/black-orchid/id857634889

Bill Frisell - Big Sur

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 64:35
Size: 149,5 MB
Art: Front

(3:45)  1. The Music of Glen Deven Ranch
(4:21)  2. Sing Together Like a Family
(0:52)  3. A Good Spot
(3:16)  4. Going to California
(2:43)  5. The Big One
(1:31)  6. Somewhere
(5:31)  7. Gather Good Things
(3:17)  8. Cry Alone
(1:39)  9. The Animals
(4:51) 10. Highway 1
(4:04) 11. A Beautiful View
(4:40) 12. Hawks
(1:39) 13. We All Love Neil Young
(3:05) 14. Big Sur
(2:01) 15. On the Lookout
(4:11) 16. Shacked Up
(4:10) 17. Walking Stick (for Jim Cox)
(4:14) 18. Song for Lana Weeks
(4:35) 19. Far Away

Most, if not all, musicians value the relationships both musical and friendship that they build over the years, but few are as loyal as guitarist Bill Frisell. One look at his various releases over the past couple of decades and it becomes instantly clear that, once he has established a successful working and personal relationship with another musician, he rarely ever calls on anyone else. With the exception of Rudy Royston who, since first collaborating with the guitarist in 2007, has regularly split the drum stool with Kenny Wollesen every member of the group on Big Sur has been Frisell's sole choice on their instruments. That degree of loyalty also has a lot to do with trust, something that all musicians need , but in particular for Frisell, whose music demands a kind of unspoken confidence in everyone's ability to not just contribute individually, but to come together as a whole far great than the sum of its parts.

Big Sur Frisell's debut for Sony's restarted Okeh imprint and the guitarist's return to a major label after spending a couple years on the independent Savoy Jazzbring s together two of his groups, the trio responsible for Beautiful Dreamers (Savoy Jazz, 2010) and his longstanding 858 Quartet, last heard on Sign of Life (Savoy Jazz, 2011). With violist Eyvind Kang (and, of course, Frisell) the connecting thread between the two groups, what Big Sur is, then, is a string quartet (with Frisell replacing one of the violins) with a stronger pulse.858 has, of course, always been able to shape its own rhythms, as it most assuredly did at its 2010 Ottawa Jazz Festival performance, but with the addition of Royston, it allows the music of Big Sur to unfold with an even stronger sense of groove...rocking out, even, as it does on "A Good Spot" and "The Big One," a riff-driven blues with a go-go beat that evokes images of the 1960s and the importance of the California area of Big Sur that, with its long stretches of surf-ready coastline, became an important focal point of inspiration for not just rock (The Beach Boys and, more recently, Death Can for Cuties), jazz (Charles Lloyd and classical (John Adams) music, but an important epicenter for photographers like Ansel Adams and writers like Jack Kerouac and Hunter S. Thompson.Frisell's 65-minute suite was commissioned by the Monterey Jazz Festival the absolutely appropriate source, situated, as it is, just north of Big Sur's largely unpopulated 90-mile stretch of coastline. 

Largely composed during a 10-day stay at Big Sur's Glen Deven Ranch and later rehearsed there by the entire quintet Frisell paying tribute on the opening "The Music of Glen Deven Ranch," which feels almost like an overture to a suite cinematic in scope and evocative of this unique place in the world it was a rare opportunity for Frisell, who seems to almost always be on the road or busy with a recording, to have some real down time to write.

The result is a work that somehow manages to evoke not just the part of the country which is its inspiration, but American music as a whole. There are, with Frisell now in his fourth decade as a recording artist, plenty of others informed by the humble guitarist's gentle yet, at times oblique lyricism, his ability to play even the simplest triad-based chord without losing his voice, and his unmistakable idiosyncrasies that render repeated readings of popular cover songs like Hank Williams, Sr.'s "I'm So Lonesome I Could Cry" utterly personal. But as much as certain Frisellian signatures have been seconded by others, he remains a guitarist often imitated but never duplicated. With Royston driving the group with a stronger pulse even on the more balladic tracks like "Song for Lana Works," featuring cellist Hank Roberts, or "Going to California," with Frisell's layers of overdriven, tremolo'd and ever-sweet clean tone at the fore Big Sur provides Frisell's 858 Quartet to be stronger and more immediate. And if Frisell's guitar remains unifying throughout, so, too, is the entire group's approach a constantly evolving one that, over the past several years and numerous permutations and combinations, largely supplants individualism with the mitochondria-leveled symbiotic synergism that defines Big Sur and demonstrates just how, with the seemingly mere addition of one musician in Royston, the collective multilateralism is significantly altered. That's not to say everyone doesn't get the chance to shine; only that it's less about creating a context for soloing and more about an instrumental mix that's constantly and organically shifting, so that Kang and violinist Jenny Scheinman interweave over Frisell and Roberts' pedal tone on the harmonically static, near-Celtic traditionalism of "The Animals," while cellist Hank Roberts rises to the top on the ethereal "Big Sur," doubling Frisell's serpentine melody while Scheinman and Kang's ascending and descending harmonies provide a gentle, constantly shifting foundation. 

There are numerous homages throughout Big Sur some direct, like the folkloric "We All Love Neil Young," a duet for Frisell and Kang; others more implicit, like the surf rock-inspired "The Big One" and more harmonically recondite "Highway 1," where Frisell's quirkier side comes forward." Together, Big Sur is an album that, as with other thematically conceptualized Frisell recordings like Disfarmer (Nonesuch, 2009) and History, Mystery (Nonesuch, 2008)an album that also expanded the 858 Quartet but, in that case, with a much larger configuration is best absorbed in its entirety rather than as individual tracks. Is it jazz? Hard to say. Does it matter? Not one whit. There's no doubt that the improvisational spirit of jazz imbues and informs Big Sur and its reliance on interpreting Frisell's all-original set of 19 miniatures (only one cracking the five minute mark, more than half coming in under four). Instead, Big Sur represents Frisell's ongoing consolidation and confluence of a growing number of touchstones and, after his focus on the music of John Lennon on All We Are Saying (Savoy Jazz, 2011) and subsequent touring in 2012 (including a transcendent Ottawa performance), is a superb and most welcome return to not just Frisell the wondrous guitarist, but Frisell the inimitable composer. ~ John Kelman  http://www.allaboutjazz.com/bill-frisell-big-sur-by-john-kelman.php=>

Personnel: Bill Frisell: guitar; Jenny Scheinman: violin; Eyvind Kang: viola; Hank Roberts: cello; Rudy Royston: drums.

Big Sur

Friday, January 2, 2015

Ron Carter - San Sebastian

Styles: Jazz, Bop
Year: 2012
File: MP3@320K/s
Time: 55:49
Size: 127,9 MB
Art: Front

( 9:36)  1. Candle Light
(12:35)  2. My Funny Valentine
(10:23)  3. Saudade
(11:34)  4. Samba de Orpheu
(11:38)  5. The Golden Striker

The German In and Out label captured the sold-out performance of the Golden Striker Trio in San Sebastian on the last evening of their 2012 European tour. Bassist Ron Carter re-assembled with pianist Mulgrew Miller and guitarist Russell Malone, who had initially played together on the 2003 studio album The Golden Striker on Blue Note. The trio's moniker is borrowed from the John Lewis composition from 1960, a fitting name as the slightly introspective brand of chamber jazz is similar to the Modern Jazz Quartet but not quite as restrained. Alongside the John Lewis tune, the five tracks feature two Ron Carter compositions, "Candle Light" and "Saudade," the standard "My Funny Valentine," and Luiz Bonfá's "Samba de Orpheus." The limited-edition version of the CD also includes a bonus DVD of the concert with a rendition of Oscar Pettiford's "Laverne Walk," not available on the CD. ~ Al Campbell  http://www.allmusic.com/album/san-sebastian-mw0002462213
  
Personnel: Russell Malone (guitar); Mulgrew Miller (piano); Ron Carter (Bass).           

Norman Blake - Back Home In Sulphur Springs

Styles: Folk
Year: 1971
File: MP3@224K/s
Time: 39:48
Size: 67,0 MB
Art: Front

(2:49)  1. Little Joe
(1:56)  2. Richland Avenue Rag
(2:47)  3. When The Fields Are White With Daisies
(2:12)  4. Cattle In The Cane
(1:58)  5. Crossing No. 9
(2:23)  6. Weave And Way
(3:31)  7. Ginseng Sullivan
(2:30)  8. Bringing In The Georgia Mail
(2:03)  9. Bully Of The Town
(1:54) 10. Randall Collins
(1:38) 11. Done Gone
(3:43) 12. Down Home Summertime Blues
(3:37) 13. Warp Factor No. 9
(2:55) 14. Orphan Annie
(3:48) 15. Spanish Fandango

Norman Blake had been a prominent performer and studio guitarist for over a decade before this solo debut was recorded, and although he had largely made his name playing backup to bigger stars, this is the first of a long string of albums that confirmed Blake's reputation as a master guitarist and songwriter. Joined by dobroist Tut Taylor, who had played with Blake on John Hartford's Aereo-Plain earlier in the year, the two run through a delightful mix of old-time songs and Blake originals, many of which show the progressive characteristics that would lead the guitarist to form the Rising Fawn String Ensemble to play what was called "hillbilly baroque." Although he only got better over time, this record is among Blake's best, demonstrating his nearly incomparable virtuosity, easygoing style, and broad repertoire, highlighted by "Cattle in the Cane," "Crossing No. 9," and the lovely closer "Spanish Fandango," which according to the notes is the first song he ever learned to play. ~ Jim Smith  http://www.allmusic.com/album/back-home-in-sulphur-springs-mw0000311981

Wednesday, December 31, 2014

Nancy Osborne - Songs In The Key Of Love

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 50:55
Size: 117,6 MB
Art: Front

(4:22)  1. I Concentrate On You
(4:11)  2. Tenderly
(3:03)  3. My Funny Valentine
(3:36)  4. Like A Lover
(3:37)  5. Moonglow
(4:03)  6. Laura
(3:35)  7. Wichita Lineman
(3:08)  8. Old Devil Moon
(3:22)  9. That Old Black Magic
(4:25) 10. I Never Meant To Hurt You/One Less Bell To Answer
(4:57) 11. Mean To Me
(4:29) 12. Speak Low
(4:01) 13. What Are You Doing The Rest Of Your Life

Nancy Osborne seems to have that rare ability to make each song her own. Each offering sounds fresh and sparkling. And she really seems to enjoy what she's doing. Her enthusiasm is soooo infectious. As I said before, this set has a song for any and every mood and I bet that once you come to track 16, you'll be swinging....To paraphrase Cole Porter, Nancy Osborne, you're
de-lightful, you're de-licious, you're de-lirious, YOU'RE DE-LOVELY.~ Hadley Tituss, Jazz Rendezvous

Her years as lead vocalist for both the Nelson Riddle and Tex Beneke Orchestras have obviously taught Nancy Osborne a lot about making a song-listener friendly, and she applies her knowledge to the 16 tracks on "Hot Swing, Cool Jazz" for irresistibly entertaining results. ~Jeff Rossen, After Dark,  Arts & Entertainment Magazine

It sounds like much more than a debut recording as she sings with an abundance of confidence.~ D. Oscar Groomes, O's Place

What do I mean by vocally smiling? Adding little nuances such as laughing while singing, playful glissandos at the beginning and end of phrases, vocal growls and an overtone of someone singing while smiling, one knows when talking to someone on the phone if the other person is talking while smiling, and one gets that same message throughout the CD while listening to Osborne sing. ~ H. Allen Williams, Jazzreview

 Not only is Osborne infectious but her vocal delivery is superbly rich in tone and delivery. Osborne is back by a plethora of seasoned professional that make this recipe "De-Lovely" ~ Constance Tucker, All About Vocals

A big band and a swinging singer are the ingredients for a super album, and here it is for you to enjoy, from steamy ballads to up tempo rockers...So, for a hot and cool treat, this album will do the trick for you connoisseurs of swinging jazz. ~ John Gilbert, EJazz News

If you're not old enough to have experienced the "big band with a gal singer" era, this will give you an idea of what it was all about.~ George Fendel, Jazzscene

She's a talented entertainer with a gifted voice. Groove with a strong cocktail to this vocal jazz number with boisterous swing numbers abound! ~ J. Sin, Smother Magazine 
http://www.cdbaby.com/cd/nancyosborne2

Songs In The Key Of Love

Bob Wilber And The Tuxedo Big Band - Rampage!

Styles: Clarinete And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 55:44
Size: 131,2 MB
Art: Front

(2:52)  1. Rampage!
(3:29)  2. Century Plaza
(3:13)  3. How Can You Face Me
(2:49)  4. Valley Of The Sun
(3:08)  5. Freeman's Way
(4:22)  6. The Golden Rooster
(3:13)  7. U.M.M.G.
(2:54)  8. Please Clarify
(2:17)  9. The Tender Ways Of Love
(4:15) 10. The Rabbit Jumps
(2:29) 11. Ghost Of The Blues
(3:19) 12. Chasin' The Riff
(3:41) 13. Jonathan's Way
(4:23) 14. Dreaming Butterfly
(9:13) 15. Puggles

This CD features Bob and the Tuxedos in a very special program of Wilber arrangements, mostly of his own compositions, many of them newly minted. The youthful octogenarian of course also joins in as a soloist, on not only his main voices, clarinet and the straight and curved soprano sax, but also on the rather seldom heard alto. The band and Bobby share a love for big band jazz that reflects the musical values of the Swing Era, but the conviction and enthusiasm they bring to their work makes the music sound fresh, not "retro." Thank you, Bob Wilber, for still making great music, a mere 64 years after your recording debut! From the notes byDan Morgenstern, Director of the Institute of Jazz Studies at Rutgers University.  http://www.jazzmessengers.com/en/17461/bob-wilber/rampage-with-tuxedo-big-band

Personnel: Bob Wilber, clarinet, soprano and alto sax; Nicolas Gardel, Mathieu Haage, Jerome Etcheberry, Benjamin Fernandez, trumpet; Olivier Lacherie, Cyril Dubile, Sebastien Arruti, trombone;  Paul Cheron, Stephane Lourties,Francois Penot, Stephane Barbier, Gael Pautric, Pierre-Andre Cuxac, reeds;   Henri Cheron, guitar, Didier Datcharry, piano, Pierre-Luc Puig, bass, Guillaume Nouaux, drums

Joe Lovano & Gunther Schuller - Rush Hour

Styles: Clarinet And Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 64:37
Size: 150,1 MB
Art: Front

( 3:58)  1. Prelude To A Kiss
( 3:33)  2. Peggy's Blue Skylight
( 2:57)  3. Wildcat
( 5:09)  4. Angel Eyes
( 8:53)  5. Rush Hour On 23rd Street
( 5:43)  6. Crepuscule With Nellie
( 5:41)  7. Lament For M
( 4:27)  8. Topsy Turvy
( 3:11)  9. The Love I Long For
( 2:40) 10. Juniper's Garden
( 3:26) 11. Kathline Gray
(11:13) 12. Headin' Out Movin' In
( 3:41) 13. Chelsea Bridge

This is one of the most exciting jazz releases of 1995. Joe Lovano is showcased on four songs backed by a string section, is accompanied by a stringless big band filled with woodwinds and brass during four other pieces, performs Ornette Coleman's "Kathline Gray" with a chamber group, takes two songs as duets with his wife Judi Silvano (who contributes wordless vocals), plays his own "Wildcat" as an overdubbed feature for his tenor and drums, and does a straightforward version of "Chelsea Bridge" unaccompanied. Gunther Schuller's arrangements for the larger pieces (which include three of his own colorful originals: "Rush Hour on 23rd Street," "Lament for M," and "Headin' Out, Movin' In") expertly blend together Gil Evans-type orchestrations with aspects of modern classical music and freer forms of jazz, while allowing the music to swing. 

Silvano's voice is also an asset on three of the orchestra performances, and trumpeter Jack Walrath briefly makes his presence felt. However, this very well-conceived release would not have succeeded were it not for the talent, versatility and risk-taking of Joe Lovano. His improvisations (mostly on tenor) push the boundaries of this already adventurous music and his sound (which occasionally hints a little at Clifford Jordan) is quite original; on the basis of this date alone, Lovano must rank as one of the top tenors of the 1990s. ~ Scott Yanow  http://www.allmusic.com/album/rush-hour-mw0000125302

Personnel: Joe Lovano (bass clarinet, soprano saxophone, tenor saxophone, drums); Judi Silvano (soprano); James Chirillo (guitar, acoustic guitar, electric guitar); Gloria Agostini (harp); Eric Wyrick, Geoff Nutall, Joel Smirnoff, John Pintavalle, Charles Libove, Paul Peabody, Matthew Raimondi (violin); Toby Appel, Cynthia Phelps, Ronald Carbone (viola); Fred Sherry (cello); Richard Oatts (flute, tenor saxophone); Charles Russo (clarinet, bass clarinet, alto saxophone, tenor saxophone); Michael Rabinowitz (bass clarinet, bassoon); Dennis Smylie (contrabass clarinet); Robert Botti (English horn); Jack Walrath (trumpet); Julie Landsman, John Clark (French horn); James Pugh (trombone); David Taylor (bass trombone, tuba); Mark Belair (vibraphone, percussion); George Schuller (drums). 

Rush Hour      

Tuesday, December 30, 2014

Barbara Leah Meyer - Comes Love

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 62:34
Size: 144,6 MB
Art: Front

(3:19)  1. Just One of Those Things
(5:49)  2. Crazy He Calls Me
(4:59)  3. Born to Be Blue
(3:56)  4. Comes Love
(5:46)  5. My One and Only Love
(4:27)  6. I'm Old Fashioned
(5:14)  7. Get Out of Town
(4:46)  8. Blame It On My Youth
(6:04)  9. Lush Life
(3:02) 10. Taking a Chance On Love
(5:58) 11. Spring Can Really Hang You Up the Most
(4:47) 12. That's All
(4:21) 13. Ev'rytime We Say Good-Bye

This European-based Canadian vocalist presents an emotion-laden collection of love songs with a pretty much straightahead delivery. She conveys a sultry, albeit near threatening message in "Get Out Of Town" and sings a stunning "Blame It On My Youth." She also romps through "I'm Old Fashioned" and "That's All." Meyer is obviously well trained, with a particularly appealing lower register. Her choice of standards, and use of her assorted musicians, especially bassist Andre Lachance, are impeccable. ~ Sunsh Stein  http://jazztimes.com/articles/8596-comes-love-barbara-leah-meyer

John McLaughlin And The 4th Dimension - Now Here This

Styles: Jazz Fusion
Year: 2012
File: MP3@320K/s
Time: 49:59
Size: 114,5 MB
Art: Front

(7:16)  1. Trancefusion
(7:02)  2. Riff Raff
(6:07)  3. Echos From Then
(6:27)  4. Wonderfall
(5:53)  5. Call And Answer
(6:17)  6. Not Here Not There
(7:08)  7. Guitar Love
(3:46)  8. Take It Or Leave It

Guitarist John McLaughlin and his 4th Dimension group's studio debut, To The One (Abstract Logix, 2010), mined the past for inspiration. The spirit of saxophonist John Coltrane's A Love Supreme (Impulse!, 1965) drove McLaughlin's most charged electric playing in years, proving he'd lost none of his fire. Two years on, and McLaughlin's 4th Dimension returns another energetic set of strong compositions, less specifically inspired than To The One, but inspired nonetheless. McLaughlin's electric guitar and guitar-synthesizer swing between biting edge and a lyricism more in line with the sublime Floating Point (Abstract Logix, 2008). Ranjit Barot replaces Mark Mondesir, and the Indian drummer brings another dimension (a 5th dimension?) to the band. On pulsating tracks like "Riff Raff" and "Call and Answer," drummer and guitarist go flat out in thrilling passages and it's difficult to think of any drummer driving McLaughlin this hard since Billy Cobham in the early Mahavishnu Orchestra days. Barot's polyrhythmic bustle, bass bombs and the snap and crackle of his cymbals greatly inform the mood of the music, and he forms a formidable rhythm team with bassist Etienne Mbappe. 

The modal jazz, jazz-rock, fusion and the ever-present blues that has largely defined McLaughlin's unique five-decade musical adventure are all in the mix, though artfully distilled to maximize melody and lyricism. The bouncing blues bass line of "Echos of Then" evokes trumpeter Miles Davis' A Tribute to Jack Johnson (Columbia, 1971), though there's more of grooving funk vibe here. McLaughlin, at 70, sounds even more fired up than he was on that essential Davis session forty years ago. Keyboardist Gary Hush ever-present in the 4th Dimension since 2007 and Barot take short, lively solos, but melody and groove win the day outright. The slower, more spacious compositions are arresting. M'Bappes' purring fretless bass, McLaughlin's tender guitar-synth lines and Husband's spare piano playing combine beautifully on the soothing "Waterfall." It's impossible not to be seduced by the joyful guitar melody of "Not Here Not There" or pulled along in the undertow of M'Bappe's quietly spun funk. Husband's subtly emotive playing provides the perfect accompaniment to McLaughlin's more expansive though caressing phrasing. Balladic, and lovingly playful, this gem ranks among McLaughlin's most lyrical compositions. 

The delicate arpeggio into to "Guitar Love" has just a hint of Mahavishnu Orchestra, though the band shifts up a gear with McLaughlin unleashing an inspired extended solo. Husband rises to the occasion with an untethered Hammond-style solo that burns, accompanied by McLaughlin's buoyant, floated chords. The short but explosive funk of "Take It or Leave It" provides a stirring finale. Stoked by M'Bappe's funk and Barot's in-the-pocket groove, McLaughlin's gradually intoxicating synth-guitar and Husband's understated counterpoint both evoke keyboardist Joe Zawinul's wicked charms. 

With the notable exception of Shakti, McLaughlin's projects have burned fiercely and relatively briefly before new adventures beckon. After more than half a decade, the 4th Dimension has evolved to a point where, to coin a phrase, the sky's the limit. This blend of musical personalities has a balance and dynamism that's all too rare. In concert? Surely unmissable. ~ Ian Patterson  http://www.allaboutjazz.com/now-here-this-john-mclaughlin-abstract-logix-review-by-ian-patterson.php
 
Personnel: John McLaughlin: electric guitar, synthesizer-guitar; Gary Husband: keyboards; Etienne M’Bappe: electric bass; Ranjit Barot: drums.