If you purchased this magazine without the CDs or would like additional copies, e-mail service jazziz. Emotionally involving from the start, the song does indeed have a deeply lyri- cal quality. Mingus, Larry Gales and Jimmy Blanton as among her favorites on the instru- with a variety of well-crafted original acoustic guitar. On Gratitude, her third recording tunes. She injects humor into Williams herself. Her brilliance is cap- additional color and fire. Never content to simply present polite piano music, Hiromi attacks the keyboards with vigorous abandon, whether in electric or acoustic settings, and incorporates influences from Oscar Peterson to Screaming Headless Torsos.
On the aptly titled Move, her second recording with her Trio Project — and ninth overall — Hiromi presents an aural daily journal, as she traces her path through a typical day, from waking and working to partying and crashing. Once again enlisting bassist Anthony Jackson and drummer Simon Phillips, the pianist begins the song cycle with the frenetic title track, our selection. Opening the song by conjuring the insistent ringing of an alarm clock, she and her trio mates dive headlong into the anxiety of the morning rush.
Anat Cohen does just that on Claroscuro Anzic. Rather, Carrington masterfully reinvents Obviously inspired by her surroundings the album as a modern suite, replete with spoken-word samples and updated funk and — a pine tree farm in North Carolina — hip-hop rhythms — as well as a pointed political critique of modern economics that likely Eckemoff has crafted a lovely suite of would have pleased the socially concerned Roach.
The hardly ask for better company on her blues that goes from a languid stroll to singular pianist, hushed and reverent rambles than a proud Album). Supported by just Rosnes vocalist and com- bassist Arild Andersen and drummer and Hutchinson, Disterheft takes her bass poser once again Peter Erskine, whose contributions are fiddle for a stride around Soweto streets, entwines her like ripples on the surface of a pond.
E-Bassman, rolls. A child Larry Carlton love recordings. Farmer Singers, when he was just 8. After a album years as a sideman with pop, soul and titled Mr. Soloist honors at the Essentially Ellington Competition in Upon graduating from high school, the Columbus, Ohio, native was scooped Disc 2 Gentlemen Next up by Wynton Marsalis, with whose septet he toured. Hekselman, pianist Orrin Evans, drummer particularly challenging time in his life. As its title indicates, from his horn.
At age 28, alto saxophonist Carl Bartlett Jr. Hailing from a musical Philadelphia family, the ensemble elsewhere. The Schneider, among others, McCaslin has ingenuity. The ballad, ninth album to reach the No. Much tenor cresting lullaby-like keyboards, mel- to land atop the Billboard Smooth Jazz of this sensitivity can be attributed to low bass notes and light cymbal splashes.
The Utah- born, Arizona-raised singer and pianist follows up that successful release with his latest album, The Mystery of You Concord. Bristling with cool, spy- movie guitar textures, vintage soul arrangements and even some Chet Baker-meets-Roy Orbison style balladry, the song cycle borrows from varied retro sources but still sounds fresh and contemporary.
Savantanother rolling hillocks of rhythm provided by In addition to his old pal Rick Braun, who sterling program Shannon and acoustic bassist Dan Robbins. Barron, who celebrates his 70th companions in equal measure. Floacist on other tracks. Indeed, both players relevance of Serving as keyboardist, composer and are equal participants in a fascinating straightahead arranger on Jimmy dialogue, which delves into the music of modern jazz. Replacing acoustic Panos, and, more recently, with Frank piano and bass with their electric coun- Ocean and Alanis Morissette.
While awareness about desperate water shortages composer Hristo listeners may hear hip-hop or trance or in Africa. Babko cal beauty. Much of that has included here. On a dreamy tapestry of strings, undergirded sound intimate and epic at the same time. As he has on solo to the mix. Ernest Dawkins had a bit of fun with the cover photo of his new Delmark release Afro Straight. On the left side, the Chicago saxophonist poses in his usual dashiki shirt and kufi cap, the Afro-centric garb of an avant-garde warrior.
On the right side, he sports the stereotypical tie, sports jacket and stingy-brim hat of a more conventional, mainstream jazz man. In fact, he was com- fortable enough to record Afro Straight, a muscular sextet album comprising mostly standards. Such a move may surprise longtime fans who know Dawkins pri- marily from his work with outfits such as the New Horizons Ensemble, Chicago 12 or Ethnic Heritage Ensemble, or who assume that his long affiliation with the AACM Association for the Advancement of Creative Musicians would preclude such a project.
That would be a mistake. So you have to learn everything, where I find the challenge. Fronting a snap-tight six-piece touchstones John Coltrane and Wayne into the blues. And, quite naturally unquote tunes, I tend to express them.
His political decision. Along with in conception to the late Fred Anderson Straight teasingly alludes to issues of the pulses of bassist Peter Warren, and — to whom he paid tribute with his racial identity.
He was a great influence. Both with the U. But organization to write a piece commemo- to cosmic. I guess we were more conservative ers to decide. But that I heard from other individuals.
I can worked the graveyard shift as a tape tech early in his career at CBS. Between the bring more life experience into the songs I time he went to work, at 11 p. I had never people who are listening. I put it on, and it literally changed from there, soaking up everything Enter Coltrane and Hartman. Afterthe gigs dried up. He kept its truest sense. Major health new things. In the with no gimmicks. I sarcoidosis. With contributions Studios, where sessions with Ella any regrets.
Whalum and Jonathan Butler, Joyner and others were once cut. Duke Ellington, Now, at age 53, he has his first album out. I approach the business side of Johnson Sunset Horn the singer saves the most explosive and things more practically because of the pro- exotic track for last.
Nothing tops the friend who was coordinating the event. But when he got in the studio, he moment when someone comes up to me af- Booked on word of mouth alone, Generet scrapped those songs and opted for a fresh ter the show with a big smile on their face. Those thick-framed eyeglasses. That tall, gangly body and easy, almost sheepish smile.
A lean, gray-haired man dressed in over- alls, eyes aglow at 76 with youthful wonder, hands tapping out contrasting rhythms on his stomach and thighs. That was Brubeck, at his home in Wilton, Connecticut, illustrating for me the sounds of horses he heard as a boy while growing up in Concord and then in Ione, California, where his father managed a 45,acre cattle ranch.
At his side, giggling as he beat out those rhythms, was Iola, who Brubeck met while attending the College of the Pacific. The couple married in Set amid the rolling hills and rustic architecture of Wilton, the bamboo fence surrounding the Brubeck estate came as a visual surprise to me, as did the angular lines of the house, inspired by both Japanese influences and the work of Frank Lloyd Wright.
At first, Brubeck told me, were never far from sight. Bill scholarship. You either go crazy or you start think- Milhaud, who was among the 20th cen- ing. It made bold anced. Spirituality and its description, but not Brubeck. Brubeck Institute at the College of the Pacific At his home Brubeck spoke movingly was mounting a presentation of the cantata. I opened up a lot of things to him, and He reflected on the influence of the measure, and made music that was time- he really took to them all.
Any list of such names would career continues along an have to start with Louis Armstrong and Duke Ellington and include enchanted path. Miles Davis and the recently departed Dave Brubeck, all of whose names and faces were recognized outside the cloistered jazz world.
At this point in her career, the pianist and singer has sold more than six million albums in the United States, and more than 15 million around the world. Her recording, Glad Rag Doll, which garnered plenty of attention for its eye-popping cover photo of the year-old singer lounging in lingerie, was her fifth album to reach the Billboard Top 10, an increasingly rare phenomenon among jazz artists. Diana grows up listening to his record collection, which includes 78s and rare wax cylinders.
She dedicates herself to jazz with new fervor. I wanted to feel what that felt like. The veteran bassist recommends that she continue her studies with pianist and singer Jimmy Rowles. Supported by a Canadian Arts Council grant, Krall sets off for Los Angeles to study with Rowles, who pushes her to develop her singing skills.
He was really influential for me because of his broad tastes, humor and depth. Her effortlessly hip Shove It In The Oven - Pressure (19) Featuring Ronnie Laws - Pressure (CD undeni- ably sexy interpretations of jazz standards are laced with sly humor, but she also commands a certain wistful ache when called for.
The group shares the marquee with jazz-piano great George Shearing. The album remains on the Top Jazz Albums chart for 70 weeks, where it peaks at No. You could listen to him as any of those and be equally blown away. The third time proves the drums, Stanley Turrentine charm, as the album reaches No. Krall offers a Sun-dress-wearing, pierced and tatted fans love Diana, too. Badu, Krall is hardly obscured. Awards — her first of eight — along with Best Artist honors.
The title track also finds a You may be on your way to becoming a superstar if Tony its way onto the adult con- Bennett invites you on a week tour of Europe and the States. Sparks fly between year-old Diana and year-old Elvis. Also on the bill: Elton John, James Taylor, k. Ray Charles in- her hands with the release of vites you to perform a duet with him. Krall teams up with the Live in Paris in Once again, she shoots to the top of the jazz albums chart dreck. NovemberChristmas Songs predictably soars to No.
Elton John invites you to get married at his castle. The results? Other Room, an introspective Another No. She also covers the nomination for Best Jazz Vocal Album. Fans dig it too, as the album takes the No. He plays it Albums chart. Yes, Estonia. Although she acknowledges that Armstrong was likely tired of hearing the tune played every damn time he walked in a room, she delivers a quite-moving rendition. Roots-producer extraordi- naire T Bone Burnett enlists frequent musical collabora- tors, including one-of-a-kind guitarist Marc Ribot.
Costello, too, is onboard, albeit in the ukulele- and mandola-playing. Krall suggests the Gordon bordello, Krall raises eyebrows with her sexy album photos. We Krall scores another No. Released on The Billboard In December, for the fifth time in as many in January, it marks the beginning of a busy year for Krall.
Miles during a recording session in What do you want the world to be like? Still, 21st-century — six new tunes and three reimagined pieces from Album) now-iconic Shorter palpably draws upon and refracts his entire body of work, canon — from a European tour by his quartet in November Reach past the brass ring. Three are out sounding like Dixieland. What do you want the between and ; world to be like? John Patitucci first played bass of LPs by Art Blakey and the Jazz Messengers from through with Shorter inforeshadowing his dozen years with the These set the stage for 11 extraordinarily influential leader current quartet.
Although trumpeter Dave Douglas has never recordings of original music over the next six years, a span that played with Shorter, he has explicitly explored his music and ran precisely parallel to his employment by Miles Davis, for whom vocabulary on the recording Stargazer and, more recently, Shorter conjured a string of customized songs, chock-a-block with in a currently touring quintet project with Joe Lovano. He told strong desire me that he and Miles used to listen to all the bands at the Palladium, and he was influenced by.
Wayne has given us the license and the mentorship, I think, to move forward comfort zone, to with all these elements. He lives constantly in that world of magic, I would say. There was a period of his life when he was into composing — wanting to reach that intersec- in every way. I think now he is in another period, which is decomposing!
His ideas, even a motivic cell, penetrate deep into your being; it makes you think about your own ideas, and you come up with an answer. Who are you? I hear an incredible level of commitment to form all the time.
Even at his age, he has incred- ible speed recognition for great melodic material that can be developed on the spot. This takes almost a photographic memory.
He knows how to peel off all the layers and pick up the essence. I feel sometimes that he is not trying to play the saxophone, but maybe a trumpet section and a violin section. He was the one who was most noted for his compositions in the band, and great composi- tions they were. When we began to work together regularly, I became really aware of how quickly Wayne responded to ideas. Later, when we played in the Miles Davis Tribute Band, he seemed to be investigating shorter phrases with more space between the phrases.
He was playing more half notes and quarter-note rests — and letting the band fill up the air he left — rather than a blur of 16th notes, playing as many notes as you could play in a measure, which was the style at that time.
It seemed to me that this different approach gave him more of a chance to hear his environment, to let the band help him. Ron Carter find a direction he might not find if he kept playing through forever and ever, and be able to respond to it more immediately.
He had more space to listen to what we were doing, in. But through the expression of serious how will we have a chance to hear them if no. Getting his handwritten charts was like a single night having the best composition lesson anybody could want. It was a great challenge to learn the entire Atlantis song book — and High Life and Alegria — yet truly inspiring. He spent a great where he sounded deal of time and energy working on the music of these records.
Wayne liked to rehearse at his. The next morning the same page was up, and he was whiting out the same two measures and rewriting music over them. This happened on the third day as well. I had the opportunity to play music live with him from all those records.
It presented a unique challenge. As rich, radiant and intricate as his compositions would get, the soloing often would be on a one-chord vamp, so the need to dig deep and keep the composition going was always present. Wayne was tireless. His style Shove It In The Oven - Pressure (19) Featuring Ronnie Laws - Pressure (CD morph and adapt to the immediate environ- ment — the moods and personalities of the band members, the nature of the audience, the current politics playing Germany when the Wall was coming down, for instancewhat the day was like and what the next day might bring.
I want it to Shove It In The Oven - Pressure (19) Featuring Ronnie Laws - Pressure (CD like that! He gives you great belief in your abilities as an improviser. He is intent on growing spiritually, and I think his arc as a person has been mirrored by the depth of his playing. His sound has always been amazing to me — and, obviously, to many — on both tenor and soprano. There seems to be no barrier between his internal voice — who he is — and his instrument. Once we were on the bus somewhere in Europe, and he played us a live recording somebody had given him of Miles somewhere in France, with Jack and Chick and Dave, where Miles played in his catalytic way, but also with this really thick sound and completely nailing everything he went for.
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One Precious Word 4. Potential 2. Daniel 4. Another Star 2. Mom and Dad Instrumental 3. Puerto Rico Me Llama. Amazon Queen 2. My Rio Lady 4. The Calm Before The Storm. Hello Africa 3. Sweet Music 4. La La Jam Back 2. Nice N Slow 3. What We Gonna Do Next 4. Neighbour, Neighbour. Right Place 3. Get Up To Get Down. Great Disco Funk!! SIDE-F 1. I Want To Love You 3. Scream and Shout. Put Your Hands Up 2. Do You Feel The Same 3. Comin For Your Love 4.
More Than A Dream 5. Fly Away. Stuck In The Mud 3. Freaky But Sneaky 4. Stir It Up. Checkin You, Checkin Yourself Out 3. Will You Love Me? The Same Way Tomorrow 4. Superthriller Super-Thrilling-Me 3. A Lover A Day 4. Faster Than A Speeding Bullet 5. Please 2.
Julie 3. Babe 5. Peak 6. I Want You. Saved By The Bell 3. School Of The Groove. You Are My Personal Angel 4. Give It Up 2. Come Be My Lover 3. Love Struck 4. Gotta Find A Love. The Power Of Your Love. We Call It The Box 2. Jam The Box 3. Dreaming 4. Dream Of Love 5. At The Concert. Throw Down 2. Go For It 3. Give Your Love To Me 4.
Having Big Fun On Saturday 5. Drum Affair. Kinky Dink 2. Seventeen 3. Take A Chance 5. We Want Heat. The Studio 3. Old Oak Tree 5. Orisha Ache. This Must Be Heaven 2. You Are The One. Let Me Heal The Bruises. One Telephone Call Away 3. My Love Calls 4. Positive Forces 5. Everything You See Is Me 2. Questions In My Mind 3. A Perfect Love 4. Just For Believing.
Chanting 2. Within The SoundI 3. When Will The Day Come 4. The Dream Is Over. Once You Get Started 2. Your Smile 5. Right Is Right 3. Half Moon 4. Please Pardon Me 5. Magic 3. I Know 4. Midnight Interlude. Like Baby Could 3. Love Could Be So Easy 4. Goin Through The Motions 5. God Only Knows 2. Spread Your Love on Me 3.
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