spiritofjazzparis-blog
Spirit of Jazz
Spirit of Jazz is an organization dedicated to promoting jazz in an era prone to oblivion and lack of culture. www.spiritofjazz.fr
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Baptiste Herbin,Dreams and Connections
The young Frenchman has been on the radar of jazz fans for several years as a truly talented alto player. This album shows why—his fluency and aggressive bite are fiercely lyrical.
His technical proficiency is almost too much of a good thing as he uses all the possible effects reaching the verge of showiness on the title track. The overall effect remains one of impressive mastery and athletic enthusiasm. It is reinforced by the immaculately muscular and refined nature of the rhythmic support he receives. Darryl Hall is both sturdy and sophisticated, bringing substance and high-powered agility to the deeply complex and colourful lines of Eduardo Farias while Ali Jackson establishes a clean sonic presence that manages to be both restless and well-defined. The music is assertive but not excessive, varied but focused. And while it never shies from modernistic bravado, it retains enough melodic content to keep the listener constantly interested.
Jean Szlamowicz (Spirit of Jazz & Down Beat)
Tracks. For Julian ; Dreams and connections ; Mia Sorella ; For JC ; Confusao geral ; Idriss ; The sphere ; Mister X ; Poor Butterfly ; Um a zero
Personnel. Baptiste Herbin (as, ss), Eduardo Farias (p), Darryl Hall (b), Ali Jackson (dm)
Recorded October 2017
Space Time Records
#baptisteherbin#darrylhall#alijackson#eduardofarias#jeanszlamowicz#jazzreview#jazzcritic#dreamsandconnections#jazz#straightaheadjazz
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Mra Oma & The New Brotherhood Sextet, Blue Gardenia
In Paris you can find some of the jazz world’s best-kept secrets. Let’s unveil a whole sextet of them. Individually, those gentlemen have played with John Coltrane, Archie Shepp, Art Blakey, George Benson, Max Roach, Memphis Slim, Sun Ra, Dexter Gordon, Ted Curson, Pharoah Sanders, Elvin Jones, Stan Getz, Chaka Khan and Buddy Rich. This paints a picture of players with deep jazz roots that encompass free jazz and the blues, bebop and beyond.
Their music is exactly that—a funky assemblage able to go in any direction at any moment. Mra Oma is the man behind the wheel, putting together all these great big chunks of jazz history into a well-travelled outfit of screaming and swinging soulful masters. They all bring their personality to the table, the bounce of Wayne Dockery and the rhythmic quirkiness of Kirk Lightsey, the classy groove of Chris Henderson, Mra Oma’s colourful shades of trumpet, Zane Massey’s robust tenor and the exciting yells of Lawrence Jones. The material comes from the best of sources: Hank Mobley, Duke Pearson, Frank Foster, Harold Mabern and Mra Oma himself. In a spirit reminding of The Cookers, they show a similar capacity to elicit sympathy in a rather angular context.
Jean Szlamowicz (Spirit of Jazz & Down Beat)
Tracks. Amanda; Rakin’ & Scrapin’; Simone; Blue Gardenia; Slice of the Top; Prettty Eyes; Delightful Dju; I Remember Britt; Davisamba; Keep Your Balance
Personnel. Mra Oma Davenport (tp, flh), Lawrence Jones (as, fl), Zane Wayne Massey (ts,ss), Kirk Lightsey (p), Wayne Dockery (b), Chris Henderson (dm)
Recorded in Paris, 2017
#spiritofjazz#mraoma#jazzreview#jazzcritic#jeanszlamowicz#bluegardenia#kirklightsey#lawrencejones#massey#waynedockery#chrishenderson#parisjazz#jazzinparis#jazz
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United Colors of Méditerranée, Sirocco
‘Fusion’, ‘world-music’, all those terms usually describe the fanciful ideas that musicians devoid of artistic compass dream up as a way to make up for their lack of rooted purpose. Inventive and lost, they use their technical abilities to create a flimsy figment of shallow music. Not so here. Some of those excellent compositions “Bird’s Eye View” and “Countdown” are really enduring melodies. There is gusto and passion in spirited solos, reflexive but colourful passages.
Using all the possibilities of various musical traditions from North Africa, Spain and the Middle-East in a sober acoustic setting, this album possesses a rhythmic persistence and understated trance-like quality. Only the beat of “Silence After Blow Up” (and the dreadful remix) is on the heavy side and not as tasteful as the rest. The lead voice tends to be that of the excellent violinist Guillaume Dettmar but the album is powerfully served by the interventions of Jean-Jacques Taïb on clarinet and Jason Marsalis on marimba. Great rhythmic support by Bluteau, Haiouani and Drai who provide a colourful foundation. The clever intro to “Egyptian Dream” uses the intro to “Delilah”—while Jason Marsalis quotes “Softly as in a Morning Sunrise” in his solo— thus discreetly weaving jazz into the Eastern fabric of the music. This is not folk’s music but it’s not jazz either. It is a collective take on cultural traditions that have been filtered by a contemporary artistic vision. An enjoyable album that makes the most of its rhythmic zest. ‘Fusion’ but only in the best sense of the term.
Jean Szlamowicz (Spirit of Jazz & Down Beat)
Tracks. Count Down, Sahara, Silence After Blow Up, Parfum d’Orient, Bird’s Eyes View, Aramaïc Prayer, Egyptian Dream, Andalucia, This World is Getting Wrong, Constantinople, Andalucia Remix
Personnel. Guillaume Dettmar (vln), Brahim Haiouani (b), Philippe Draï (perc), Pierre-Henri Bluteau (g), Jean-Jacques Taïb (ts, cl, ss) + Jason Marsalis (marimba, perc), Jean-Pierre Smadja (oud)
Recorded January 2018
Label Ô Jazz
#spiritofjazz#jazzreview#jazzcritic#jeanszlamowicz#downbeat#guillaumedettmar#jasonmarsalis#méditerrannée#sirocco
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Brian Charette & George Coleman, Groovin’ with Big G
We’ve already covered Brian Charette’s outstanding work here but this outing is yet another aspect of his jazz work that deserves to be heard. The encounter with one of the stylistic heavyweights of modern tenor saxophone is a proper discographic event.
Memphis-born George Coleman has played with Herbie Hancock and Miles, with Ray Charles and B.B. King, which may be impressive to some but is not half the important story: his output as a leader, his original sound and musical world are major components of contemporary jazz. Both a tough tenor and an advanced one, he has been a model and mentor for decades. His more pensive and romantic side is at the forefront here (“On a Misty Night”, “Autumn Leaves”) but the blues remains a fundamental part of his voice, “Father and Son” is a pure churchy delight in that respect. George Coleman Jr. is an elegant drummer (as could be expected from someone who’s been so close to Billy Higgins) who is perfectly at ease in such a session that requires listening chops and good taste.
The colours brought by Juris have long been very distinctive (he’s played with Richie Cole, David Liebman, Lee Konitz) and he delivers some challenging lines here in his usually inventive way.
Charette can play with sophistication or grit—and he usually blends the two. He’s in very good company with Big George who has the same ability and Charette not only acts as a leader but also as a great comper and organiser of the music by providing the adequate ambiance on top of his excellent soloing.
Jean Szlamowicz (Spirit of Jazz & Down Beat)
Tracks. On A Misty Night ; Autumn Leaves ; Tenor Madness ; Maiden Voyage Alligator Boogaloo ; Body And Soul ; Father And Son ; Never Let Me Go Stella By Starlight
Personnel. Brian Charette (org), George Coleman (ts), Vic Juris (g), George Coleman Jr. (dm)
Recorded December 2017
Steeplechase Records
#jeanszlamowicz#jazzcritic#jazzreview#briancharette#georgecoleman#steeplechase#organcombo#memphis#jazz
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Willie Jones III, My Point Is…
The drummer quite deservedly landed an article in Down Beat in the January 2018 issue. It’s fitting that such a stalwart jazz advocate should be prominently featured—he is giving so much to jazz, through his relentless grooves as well as his knack for producing impeccable albums. His latest offering is a marvel. Crisp and inventive, without any of the conceptual tinsel that the industry expects to market jazz, his latest albums focuses on the essential: the compositional material and the expressive interaction between creative players. In the same spirit as his previous album dedicated to Cedar Walton (Groundwork), this is about making the most of great tunes, including three by the leader. There’s a clever funky reworking of Hancock’s “The Maze”, Buster Williams’s superb ballad “Christina”, his swinging compositions “The Wind of an Immortal Soul”, a deft original by Eric Reed (“Manhattan Melodies”) and Horace Silver’s “Peace” to add another touch of sensitive introspection. This aspect of the leader’s musical world is especially prominent here with his splendid “Early Morning” and the title track, clearly anchoring the date in a somewhat grave ambiance. The balance between hard blowing and more contemplative moods is a delicate affair based on the players’ personal commitment. One can only enjoy the subtle drone and conversation of Buster Williams’s lines, the drummer’s tasteful accents, the colours provided by Eric Reed and the lyricism of Moore and Henderson—two deeply original voices— all of this merging into a refined and intense set of deep and determined musical declarations. Each outing by Willie Jones III is a statement, one of devotion and passion—this one particularly vivid and heartfelt.
Jean Szlamowicz (Spirit of Jazz & Down Beat)
Tracks. Manhattan Melodies ; The Wind of an Immortal Soul, Christina ; My Point Is… ; The Maze ; Early Morning ; Peace ; Bluez for Dat Taz
Personnel. Willie Jones III (drums); Buster Williams (bass); Eddie Henderson (trumpet); Eric Reed (piano); Ralph Moore (saxophones)
Recorded March 2017.
WWJ3 Records
#jeanszlamowicz#jazzcritic#jazzreview#willijonesIII#ralphmoore#busterwilliams#ericreed#eddiehenderson#mypointis#straightaheadjazz#swinging
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Kenny Barron, Concentric Circles
Kenny Barron's "Concentric Circles" is a truly excellent of a record. KB has long been an expert at the Quintet format and this one is reminiscent of his 1980s line-up with Eddie Henderson and John Stubblefield. There are many superb compositions (a lost art in straight-ahead jazz?) and a lot of eventful soloing. KB's creativity, sense of colours, rhythmic variety is at its constant best, Kitagawa and Blake providing a very musical backdrop to his unique piano sound. Dayna Stephens and Mike Rodriguez add the touch of excitement and sonic weight that a quintet date should have. Kenny Barron is a rarity in the musical world—someone with taste and personality who's not trying hard to be original because he simply is… Unmissable.
Jean Szlamowicz (Spirit of Jazz & Down Beat)
Tracks. DPW; Concentric Circles; Blue Waters; A Short Journey; Aquele Frevo Axe; Von Hangman; In The Dark; Baile; L's Bop; I’m Just Sayin’; Reflections
Personnel. Kenny Barron (p), Kiyoshi Kitagawa (b), Johnathan Blake (dm) Mike Rodriquez (tp, flh), Dayna Stephens (ts).
Blue Note Records
#spiritofjazz#bluenote#kennybarron#concentriccircles#jazzcritic#jazzreview#mikerodriguez#daynastephens#kiyoshikitagawa#johnathanblake#jeanszlamowicz
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Thelonious Monk, Les Liaisons Dangereuses
Producer Fred Thomas has been a dedicated specialist in LP reissues (Lester Young, Chet Baker, Donald Byrd) and his first CD is nothing but a gem. Unreleased music is not infrequent but rarely of this calibre and significance. This two-Cd set recorded in 1959 for the film by Roger Vadim, Les Liaisons Dangereuses is complete with out-takes and presents good texts documenting the session and never before published photographs.
With Sam Jones and Art Taylor, the music flows with remarkable sparkle. Finding Monk in such spirited and swinging company showcases his more sprightly side, even his articulation sounding sharper and bouncier than usual on “Rhythm-a-Ning” and “Well, You Needn’t”. The addition of French tenorist Barney Willen adds a welcome interest but it is Charlie Rouse who shines, his sound particularly pristine and intriguing. The version of “Crepuscule for Nellie” with Sam Jones playing arco is a miracle of unrestrained freedom and sensitivity. Monk’s solo take on “Six in One” is radically intense, as is his dialogue with Rouse on “By and By”. Every minute is a treat, an intense moment whose presence has travelled time with spectacular vividness.
Jean Szlamowicz for Spirit of Jazz
Tunes. Rhythm-a-Ning, Crepuscule with Nellie, Six in One, Well, You Needn’t, Pannonica (solo & quartet), Ba-Lue Bolivar Ba-Lues-Are, Light Blue, By and By ; Rhythm-a-Ning, Crepuscule with Nellie, Pannonica, Light Blue, Well, You Needn’t, Light Blue
Personnel. Charlie Rouse (tenor saxophone), Barney Wilen (tenor saxophone), Thelonious Monk (piano), Sam Jones (bass), Art Taylor (drums)
Recorded 1959, New York
Sam Records
#spiritofjazz#theloniousmonk#samrecords#fredthomas#charlierouse#barneywillen#jeanszlamowicz#les liaisons dangereuses#reissues
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Delfeayo Marsalis, Kalamazoo
When jazz musicians get together to play without a specific agenda and simply blow on standards and the blues, they are really put to the test. Some could say that this is where the essence of jazz is revealed as the lack of window dressing exposes the bare truth of an individual’s expressive powers. Delfeayo Marsalis takes such a risk with this unpretentious quartet date, recorded during a seven-day tour which also included Marvin ‘Smitty’ Smith on drums and playing a children-show the same day. Without rehearsing time and with two students sitting in, the music takes the rather safe route of standards. The results are mitigated as the songs are a bit hackneyed, even by non-fussy standards like ours. And yet, each song reveals a layer of depth that only great musicians can turn out. Veal and Peterson treat “Autumn Leaves” with the confident invention that makes the song interesting again. Delfeayo makes moving statements on “My Funny Valentine” and “Do You Know What It Means”, establishing his sound with strong presence, making great use of his plunger on “Sesame Street Blues”. Ellis Marsalis shows his laid-back, melodic invention on every tune like a Southern Hank Jones. At times tender or easy-going, this is a nice set of true music whose mild swing exudes charm and subtlety.
Jean Szlamowicz for Spirit of Jazz
Tunes. Tin Roof Blues, Autumn Leaves, My Funny Valentine, Sesame Street Theme, If I Were A Bell, The Secret Love Affair, It Dont Mean A Thing If It Aint Got That Swing, Introducing The Blues, Blue Kalamazoo*, Do You Know What It Means To Miss New Orleans
Personnel. Delfeayo Marsalis (trombone), Ellis Marsalis Jr. (piano), Reginald Veal (bass), Ralph Peterson: drums), Christian O’Neill Diaz (voc)*, Madison George (drums)*
Troubadour Jazz Records
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Brian Charette, Back Up
Brian Charette has covered a lot of ground in his career, from Lou Donaldson to Paul Simon, Joni Mitchell to Chaka Kahn to Bucky Pizzarelli and he does so as well on Back Up, a neat set of swinging tunes, showing a stylistic range encompassing Jimmy Smith and Don Patterson, bluesy grittiness and harmonic twists.
The leader is an assertive player with a lot of ease and control who demonstrates his inventiveness on compositions that have a lot of melodic richness whether ballads (“Chelsea Bridge”) or swingers (“Dahoud”). It does add to the overall interest as they show a lot of coherence.
The unusual pairing of piano and organ works well as a sonic combination. Henry Hey is an experienced player (who has worked with David Bowie, Rod Stewart and George Michael) but his slightly linear approach is a shade bashful rather than percussive, especially compared with the leader’s presence.
Brian Charette stands out today as one of the creative masters of the organ and should be heard in the variety of contexts he is adept at.
Jean Szlamowicz for Spirit of Jazz
Tunes. Tadd’s Delight; Chelsea Bridge; Shade of Jade; Back Up; The Blessing; Dance of the Infidels; Spring is Here; Dahoud; These Are Soulful Days ; Ritha
Personnel. Brian Charette (organ), Henry Hey (piano), Jochen Rueckert (drums)
Steeplechase Records
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T.K. Blue, “Amour”
Freshness. Honesty. Inspiration. That’s all it takes in terms of aesthetic doctrine. T.K. demonstrates with his latest album that jazz can be kept alive without resorting to dubious recipes in synch with the taste of the pop merchants.
Born in New York in 1953, of Jamaican and Trinidadian descent, he learnt music with Billy Mitchell, Jimmy Heath and other Harlem Jazzmobile teachers such as Frank Foster, Thad Jones, Ernie Wilkins and Billy Taylor. This account for being steeped in the deepest jazz tradition.
Among his first major gigs, playing with Jaki Byard, Sam Rivers, Chico Hamilton, Dollar Brand (Abdullah Ibrahim) whose band comprised Carlos Ward, Hamiett Bluiett, Roy Brooks, John Betsch and Johnny Dyani, probably accounts for the extent of his stylistic openness.
Unsurprisingly, his avid personality led him to play in a great variety of contexts. He went on to play with the Daoud-Davis Williams’ Spirit of Life Ensemble and never ceased to record and tour with Randy Weston. His initiatives as a leader or co-leader with James Weidman, Onaje Allan Gumbs, Santi Debriano, Guillherme Franco, Jayne Cortez have all proved immensely original.
A very idiosyncratic player, T.K. Blues displays the influence of Roland Kirk, Yusef Lateef, as well as well-rounded bebop phrasing and a tone reminiscent of Bobby Watson on alto.
This album is an accomplished example of jazz invention. Whether tackling the classic medium blues (“Dream Time” with some funky grooves thrown in) or a delightful jazz waltz (“Parisian Memoir”), he always manages to conjure arrangements that are complex and easy-flowing at the same time.
The Randy Weston influence is obvious (“Hi-Fly”) but the African, Brazilian, Cuban touches, so prominent here, were always part of T.K’s own music. Not only do the Latin and African influences stand out, but they’re soaked in swing and blues, with a constant melodic tenderness that is reflected in the title. His Latin reading of “Infant Eyes” on soprano is a gem.
It is not easy to be consistent when one mixes influences. It takes a tremendous personality to make them meaningful. T.K. Blue does that but also showcases the huge creative potential of all the jazz genres, exploring them with mastery and excitement on all his horns and bringing together beautiful musicians who all contribute to the lively poetry of this unique recording.
Jean Szlamowicz
Titles. Banlieue Blue; Infant Eyes; Parisian Memoir; A Single Tear of Remembrance; Resolution; Dream Time; 204; Abdoulaye; Requiem for a Loved 1; Petite Fleur; Elvin Elpus
Personnel. T.K. Blue (as, ss, fl) + Warren Wolf (p, vib), Jeff Reed (b), Eric Kennedy (dm), Roland Guerrero (perc.); Zaccai Curtis (), Essiet Essiet (b), Winard Harper (dm), Grégoire Maret (hca), Etienne Charles (tp)
Recorded in May 2016, Dot Time Records
www.dottimerecords.com
#tkblue#talibkibwe#randyweston#spiritoflifeensemble#spiritofjazz#africanmusic#latinmusic#jazz#dollarbrand#dottimerecords#amour#jimmyheath#chicohamilton
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Gerald Cannon, “Combinations”
Introducing Gerald Cannon should not be necessary but the industry being what it is, it tends to keep a relentless focus on marketable stars rather than true musicians. Suffice it to say that Gerald Cannon has played (I mean played, not surreptitiously sat in) with McCoy Tyner, Art Blakey, Roy Hargrove, Elvin Jones and dozens of major players—he himself being one.
For those who know, there’s hardly any point in delineating the music since the line-up says it all. Kenny Barron is recognizable after a few notes of introduction to the poignant bossa “A Tought”; Willie Jones III lays a thick and elegant groove throughout the session; the alto players are all superlative personalities… and everybody takes care of business the way they cannot help but.
What is worth noting is the aesthetic content. Apart from his strong playing and excellent compositions, the leader shows that he is actually adept at organizing a consistent whole, building on his experience of hard-hitting straight-ahead, Latin beats, gospel, bebop, blues, r ‘n b… “Gary's Tune” is certainly an oddity in that respect. Otherwise, this superb recording perfectly balances sinewy swing with sensitive musicality.
Jean Szlamowicz
Tracks. Every Man Is A King ; A Thought ; Prelude To A Kiss ; Columbus Circle Stop ; Amanda's Bossa ; One For Amos ; Gary's Tune ; How Great Thou Art ; How My Heart Sings ; Combinations ; Darn That Dream
Personnel. Gerald Cannon (b); Gary Bartz (as); Sherman Irby (as); Steve Slagle (as); Jeremy Pelt (tp); Duane Eubanks (tp); Rick Germanson (p); Kenny Barron (p); Russel Malone (g); Willie Jones III (dm); Will Calhoun (dm)
Woodneck Records
www.cannonmusicnart.com
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Julie Saury, For Maxim, A Jazz Love Story
Maxim Saury (1928-2012), the father of drummer Julie Saury, was a prominent clarinet player and a mainstay of the trad jazz scene in France, especially of the Caveau de La Huchette in from the mid-fifties through the late sixties. He has played alongside Sidney Bechet, Claude Luter and many others, even enjoying an international career. Julie Saury herself is one of the swingiest drummers on the Paris scene, a first-call musician playing a lot with Rhoda Scott, Michele Hendricks and many other bands.
Her album is an original take on staples of the traditional songbook. With fresh arrangements, she straddles the fence of all existing genres, neither ‘modernizing’ at all costs or slavishly adhering to the original forms. What she does is give everyone the chance to shine and show their appreciation of the creative potential inherent in those great tunes.
The whimsical and dynamic inventiveness of Philippe Milanta is on display, as is the leader’s chops and swing (as on “Avalon”, soaring from a cosy clarinet and piano calypso duet to romping fours exchanged by piano and drums). Frédéric Couderc oozes warmth on “Petite Fleur” while Shannon Barnett and Aurélie Tropez bring colourful energy to the ensembles. An unusual album radiating enthusiasm and serious fun.
Jean Szlamowicz for Spirit of Jazz
Tracks. Sweet Georgia Brown, Moppin And Boppin, Avalon, Stars Fell In Alabama, St Louis Blues, Crazy Rhythm, Petite Fleur, Basin Street Blues, Together, Indiana, A Kiss To Build A Dream On, September In The Rain
Personnel. Julie Saury (dm), Philippe Milanta (p), Bruno Rousselet (b), Aurélie Tropez (cl), Shannon Barnett (voc, tb), Frédéric Couderc (ts, saxello, fl, etc.).
Recorded 11-14 January 2015
Black and Blue Records ([email protected])
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Steve Slagle, Alto Manhattan
Steve Slagle belongs to my favourite school of alto players, those post-Coltrane disciples of Jackie McLean and Eric Dolphy, superbly epitomized by the acid sounds of Sonny Fortune, Gary Bartz, James Spaulding or Joe Ford (and continued in the younger generation by Antonio Hart, Mark Gross, Tim Green, etc.).
Steve Slagle has long been a prominent voice on the alto (ever since his days with Carla Bley when his sound cut through the band with significant bite). His latest opus is not just a way of featuring his technical prowess as a soloist—he has created a real sonic world, and one of great density, a colourful statement reminiscent of 1970s’ straight-ahead, the music of McCoy Tyner, Jimmy Heath, Stanley Cowell, Bobby Hutcherson (as on “Family”, “Holiday”). Slagle’s strong personality is on display here with a sterling band comprising Joe Lovano as a special guest indeed. The full-throttle stamina of the rhythm section is impressive, anchored by the great Gerald Cannon. They’re all well-travelled gentlemen whose musicality is deep-rooted and athletic without ever lacking a certain subtle poetry as Slagle demonstrates on flute and on a beautiful solo version of “Body & Soul”. The music has none of the dryness sometimes associated with blowing power as it remains colourful and fervent, never lacking in character and inventiveness. A sturdy and spicy voice of the alto properly showcased in beautiful recording.
Jean Szlamowicz for Spirit of Jazz
Tracks: Family, Alto Manhattan, I Know That You Know, Body & Soul, Inception, I Guess I’ll Hang My Tears Out to Dry, A.M, Holiday, Viva la Famalia
Personnel: Steve Slagle (as, fl), Joe Lovano (ts, ss), Lawrence Fields (p), Gerald Cannon (b), Roman Diaz (perc), Bill Stewart (dm)
Recorded 6th August 2016, Panorama Records
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Dmitry Baevsky, The Day After
A stalwart member of the New York scene and of the dynamic Smalls crowd of swinging jazz musicians, altoist Dmitry Baevsky is a lyrical voice with a good ear for strong melodies. His sound is undeniably substantial and agile, in the Parker-Stitt-Cannonball tradition but with an updated, contemporary vibe sometimes reminiscent of Vincent Herring.
Baevsky’s “Would You?” is a forceful jazz waltz while “Rollin'” shows the tremendous drive and precision of the quartet (especially Patton’s firm phrasing). The tracks scream of classicism: blues, ballads, burners and uncommon standards are an excellent base as blowing material but the tunes are so well-chosen and played with such wholeheartedness that they become statements of their own.
Patton is quite fabulous on this recording, displaying remarkable dexterity and inspiration (as on his own “The Wise Ones”) while Baevsky shows his chops, articulation and sense of purpose. A strong album celebrating an intense vision of jazz.
Jean Szlamowicz for Spirit of Jazz
Tracks: Would You?; Rollin'; Chant; Minor Delay; Hotel Baudin; The Wise Ones; The Day After; Four Seven Nine One; Delilah; I've Told Every Little Star.
Personel: Dmitry Baevsky (alto saxophone); Jeb Patton (piano); David Wong (bass); Joe Strasser (drums).
Recorded 8th June 2016, Jazz Family Record
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Laurent Marode, This Way Please
Pianist Laurent Marode’s nonet album displays many qualities. The arrangements are very rich and original, reminiscent of Tadd Dameron, Supersax, Marty Paich, Toshiko Akiyoshi, Bob Florence and many others, with something of a West-Coast quality in the best sense of the term. The colours brought by the vibes are a great find, as is the precise drumming of Mourad Benhammou. Frank Basile’s strong soloing on baritone offers a nice contrast with the leader’s more introspective touch (“Wives and Lovers”) and the overall band sound is tight and swinging. Things are very controlled throughout but remain constantly interesting thanks to the complex writing balanced by melody and warmth. With its “Sidewinder” feel, “Very Last Round” is the funky piece of the album and keeps things simmering without unruly explosions.
Jean Szlamowicz for Spirit of Jazz
Sacha’s Mood; Wives and Lovers; The Adventure on Kepler 452; Start Stop; The Reason Why I Love You; Penny Lane; Very Last Round
Recorded 17th March 2016, Black & Blue Records
Fabien Mary (tp), Luigi Grasso (as), David Sauzay (ts), Jerry Edwards (tb), Frank Basile (bs), Nicholas Thomas (vib), Laurent Marode (p), Fabien Marcoz: b), Mourad Benhammou (dm)
www.laurentmarode.fr
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Yves Brouqui, How Little We Know
After several beautiful recordings with Grant Stewart and Spike Wilner, playing alongside Mike Le Donne, Eric Alexander and other glorious contemporary exponents of the most stimulating jazz, Yves Brouqui has demonstrated his ease with the Montgmomery-Burrell-Green tradition. When you are a guitar player and you’re making a trio album, you need to have something to say and mean it as things can get a bit dry sonically with just the support of bass and drums. Not so here. Yves Brouqui has been around the block and knows a thing or two about swing and harmonic explorations. Also, he picked up his material with taste (Cal Massey’s “These Are Soulful Days”, Montgomery’s “Something Like bags”, plus two excellent originals). But above all, he has a touch, a sound, and a way with melody that is entirely his own. He keeps everything both simple and challenging, with a flair for subtlety and build-up, making each development exciting without ever showing-off. A very musical and soulful recording by a true artist.
Jean Szlamowicz for Spirit of Jazz
Gaya Music Production, recorded 23rd March 2015 in Paris.
Yves Brouqui, g
Kenji Rabeson, b
Joe Strasser, dm
How Little We Know ; These are Soulful Days ; Between You and Me – ; Love Letters ; Close Your Eyes ; Lament ; Street of Dreams ; Blues for PM ; Lazy Bird ; Something Like Bags ; This is New.
http://www.yvesbrouqui.com/
#jazz review#yves brouqui#Jean Szlamowicz#Spirit of jazz#kenji rabeson#joe strasser#gaya production#how little we know
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Michael Spike Wilner (piano), Joel Frahm (tenor sax, Tyler Mitchell (bass), Anthony Pinciotti (drums, hidden) at the Duc des Lombards in Paris. Oct. 2016.
Check out Spike Wilner at Smalls’ and Mezzrow in New York.
Picture ©jean szlamowicz
#Spirit of jazz#Jean Szlamowicz#spike wilner#joelfrahm#tylermitchell#anthonypinciotti#Duc des Lombards#Jazz In Paris#jazz pianist#smalls'
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