Eric Dolphy – The Illinois Concert (1963 – Blue Note)

 Eric Dolphy is now recognized as an innovative genius, but in the ’60s he was ignored by the public and derided by critics and many of his peers. Originally influenced by Charlie Parker, Dolphy was a master alto saxophonist/flautist and was one of a handful of musicians who utilized the bass clarinet in a jazz setting. The Illinois Concert was taped at the University of Illinois in 1963 and represents a major addition to the Dolphy discography. The rhythm section, a young Herbie Hancock (piano), Eddie Khan (bass), J.S. Moses (drums), is augmented by the University of Illinois Brass Ensemble on Red Planet and G.W. Dolphy’s splendid improvisations deftly straddle the line separating hard bop and free jazz; alternating between melodious sweetness and harsh intensity. The highlight of the set is Dolphy’s unaccompanied bass clarinet tour de force, God Bless The Child. Except for his under-miked flute on South Street Exit (which fails to detract from Dolphy’s brilliant solo) the sound is very good. Kudos to Blue Note for unearthing this long-buried treasure
All About jazz (John Sharpe)

Tracklist:
1. Softly as in a Morning Sunrise
2. Something Sweet, Something Tender
3. God Bless The Child
4. South Street Exit
5. Iron Man
6. Red Planet
7. G.W.

Personnel:
Eric Dolphy  (flute, bass clarinet, Alto Sax)
Eddie Khan (bass)
Herbie Hancock (piano)
J.C. Moses (drums)
Vince Johnson, Kim Richmond (reeds)
Bruce Scafe, Dick Montz, Larry Franklin (trumpet)
Jon English , Bob Edmondson (trombone);
Aaron Johnson (tuba)
Ralph Woodward, Cecil Bridgewater (brass)

Recorded live at the University of Illinois, Champaign, Illinois on March 10, 1963. – Label: Blue Note Records

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Duke Ellington & John Coltrane (1962) (2007 Verve Originals)

 For Ellington, it was one of many collaborations with fellow jazz-greats in the early 1960s, including Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach and Charles Mingus. More unusually, it placed him in a jazz quartet setting (in this case, sax, piano, bass and drums), rather than his usual one in a big band. The quartet was filled out by the bassist and drummer from either of their bands. The tracks they recorded featured Ellington standards (“In a Sentimental Mood”), new Ellington compositions and a new Coltrane composition (“Big Nick”).
For Coltrane, it was an opportunity to work with one of jazz’s all-time greats. It was one of several albums he recorded in the early 1960s in a more conservative and accessible style, alongside John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style and age (Ellington was 63 and Coltrane 36 when the tracks were recorded), the two interact seamlessly and subtly, neither one outshining the other.
Coltrane felt very honoured to work with Ellington: “I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven’t caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn’t have had the same spontaneity. And they mightn’t have been any better!”
(Excerpt from the CD booklet.)

Tracklist:
1. In a Sentimental Mood
2. Take the Coltrane
3. Big Nick
4. Stevie
5. My Little Brown Book
6. Angelica
7. The Feeling of Jazz

Personnel:
Duke Ellington (piano);
John Coltrane (tenor & soprano saxophones);
Jimmy Garrison, Aaron Bell (bass);
Elvin Jones,
Sam Woodyard (drums).

Recorded on September 26, 1962 and released in February 1963 on Impulse! Records

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Donny McCaslin: The Way Through (2004 – Arabesque Jazz)

 Since the early ’90s tenor saxophonist Donny McCaslin has been a member of a loose collective of talented and creative young artists on the cutting edge that includes alto saxophonist Dave Binney, bassist Scott Colley and drummer Kenny Wollesen. They previously documented their genre-busting chemistry on CD under the name Lan Xang. Along with pushing the envelope in that more experimental context, McCaslin has also been a potent and reliable sideman in far more inside situations for such bandleaders as vocalist Luciana Souza and the Maria Schneider Orchestra. On The Way Through, his third CD as a leader, McCaslin blends his inside and outside sensibilities into one sumptuous and satisfying package.
McCaslin makes judicious use of alto flute, bass clarinet, marimba and steel pan alongside his signature tenor-alto blend with Binney, and the arrangements are quite adventurous. The music runs the gamut from forcefully swinging free-bop romps (“Break Tune”) to pan-global exoticism (“San Lorenzo”) to gentle lyricism (“The Way Through”) to the kind of spacious kind of freewheeling improv pieces that Lan Xang favored in performance and on its recordings (“What Remains”). Drummer Adam Cruz, clarinetist Douglas Yates, flutist Anders Bostrom and Souza further assist McCaslin in this excellent outing.
From the opening original, “Skyward,” McCaslin demonstrates an impressive command of his horn, leaping from honking lows to squealing highs with relative ease while maintaining a swinging pulse. His startling, unaccompanied extrapolation on Dizzy Gillespie’s “Woody ‘n’ You” further demonstrates his eagerness to push the envelope with daring Brecker-esque intervallic leaps on his tenor while still acknowledging the tradition. Likewise, his sparse tenor-bass-drums trio rendition of Sammy Cahn’s “I Should Care” is simultaneously unorthodox and reverential.
Souza adds a haunting quality with her ethereal unison lines alongside McCaslin’s tenor on the churning Afro-Cuban undercurrent of “San Lorenzo” before chiming in with a robust overdubbed choir. The full ensemble turns in a relaxed, faithful reading of Wayne Shorter’s “Fee Fi Fo Fum,” which features dissonant harmonies for alto flute and bass clarinet. And McCaslin lets his experimental tendencies run wild on two provocative cat-and-mouse improv duets with Binney (“Free California” and “Flutter”) and on “Break Tune,” where he blows freely over some techno loops.
In touching all of these bases, McCaslin has put together his most fully realized project to date. The Way Through represents a complete picture of this talented, up-and-coming saxophonist-arranger-composer, with promises of even grander schemes to come.
JazzTimes:  (Bill Milkowski)

Tracklist:

1. Skyward 

2. San Lorenzo 

3. Shadowlands 

4. I Should Care 

5. The Way Through 

6. Break Tune 

7. Free California 

8. Fee Fo Fi Fum 

9. What Remains
10. Woody and You
11. Flutter

Personnel:
Donny McCaslin Ten & Sop Sax
Scott Colley Bass
Adam Cruz drums & perc
Luciana Souza: voice
David Binney Alt sax, sampler
Andres Bostrom: flute, Alt sax

Original Release Date: September 2, 2003 – Label: Arabesque Recordings

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Julian Lage: Sounding Point – (2009 – Label: Emarcy)

Despite being just 21, Julian Lage has clocked up some impressive credentials. The guitarist has worked with vibraphonist Gary Burton’s recent quintet, appearing on Generations (Concord, 2004) and Next Generation (Concord, 2005); appeared with another jazz wunderkind, Taylor Eigsti, on the pianist’s Lucky To Be Me (Concord, 2006) and Let It Come To You (Concord, 2008); and collaborated with progressive bluegrass mandolinist David Grisman on Dawg Duos (Acoustic Disc, 1999). As impressive as these works are, none are adequate preparation for the maturity of his debut as a leader, Sounding Point.
With an uncanny ability to perform to perfection in virtually any context, Lage was an ideal student for the mentoring Burton. Sounding Point’s opener, “Clarity,” first appeared on Next Generation, but played here by Lage’s unconventional core group—saxophonist Ben Roseth, cellist Aristides Rivcas, bassist Jorge Roeder and percussionist Tupac Mantilla—it sets an expansive stage for this collection of ten originals and three covers that defy easy categorization. Pushing and pulling at already elastic boundaries, Lage creates a sound undeniably of the jazz sphere, but with a modernistic and well-conceived bent that’s all the more surprising, given his tender age.
Still, assessing the album based on age—to say “what a terrific album for someone so young”—diminishes its strength and significance. With a résumé even more impressive than his recorded work to date, including Indian and classical studies and a performing career that began in blues clubs at the age of six, Sounding Point bears hints of the guitarist’s many stylistic travels, yet sounds specifically like none of them. Instead, using four musical settings—his own quintet, duets with Eigsti, a virtuosic trio with banjoist Béla Fleck and mandolinist Chris Thile, and two solo acoustic guitar tracks that recall Ralph Towner in spirit, if not in style—Sounding Point is an eclectic album rife with vivid writing, imaginative playing and a seamless blend as challenging as it is listenable.
On electric, Lage’s most striking reference point is Jim Hall, with a tone that blends deep hollowbody warmth with the attack of its acoustic properties. He’s equally creative in the way he builds his solos, his lengthy turn on the classically informed but gently propulsive “All Purpose Beginning” is a stunning combination of controlled abandon and sophisticated harmonic ideation. The three trio tracks with Fleck and Thile—all collective compositions—manage a unique collision of contemporary classicism, nuanced Americana and bluesy jazz- centricities. With Eigsti, “Tour One” explores the oblique, while Miles Davis’ “All Blues” demonstrates both players’ mainstream chops.
With so many emerging artists releasing albums before they’re ready, debuts like Sounding Point come along all too rarely. With a fully-formed voice that transcends yet incorporates his multifaceted stylistic interests, Lage’s impressive debut points to a giant in the making. Most artists his age are described in terms of promise; with Sounding Point, Lage bypasses promise and goes straight to delivery.

John Kelman (All About Jazz)

Track List:

01.Clarity
02.All Purpose Beginning
03.Familiar Posture
04.The Informant
05.Peterborough
06.Long Day, Short Night
07.Quiet, Through And Through
08.Li%27l Darlin%27
09.Tour One
10.Almeda
11.Constructive Rest
12.Motor Minder
13.Encore: All Blues

Personnel:
Julian Lage (guitar)
Rueben Rogers (bass)
Taylor Eigsti (piano)
Eric Harland (drums)
Chris Thile (mandolin)
Bela Fleck (banjo)
Dayna Stephens, Ben Wendel (tenor saxophones) 

Recorded on March 24, 2009 – Label: Emarcy / Pgd

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Chick Corea Elektric Band II – Paint The World (1993)

Chick Corea Elektric Band is a jazz fusion band, led by pianist Chick Corea. Following the demise of Return to Forever, Corea established the musical ensemble in 1986. Following a long hiatus, the band reunited to produce “To the Stars” in 2004.
The first Elektric Band album can be described as “jazz-rock”, though it is much closer to traditional jazz than the jazz-rock albums of 1970s. The keyboard sounds on the album are typical for the mid-1980s. The drums played by Dave Weckl dominate the album’s sound, with the guitar duties split between Scott Henderson and Carlos Rios.
The second album, Light Years (1987) is more funk-oriented than its predecessor. Saxophonist Eric Marienthal joins the band and Frank Gambale replaces Henderson and Rios (who plays still on some tracks) to form what is considered the band’s definitive lineup.
The third album, Eye of the Beholder, relies on softer sounds. Here Corea relies on acoustic piano, with synthesizers largely in the background. Gambale also plays acoustic guitar on some tracks, lending a Flamenco-influenced sound to pieces like “Eternal Child.”
The Elektric Band’s fourth album, Inside Out (1991), features some compositions that fall in the post-bop rather than the fusion category. The four-part piece “Tale of Daring”, which closes the album, relies on unconventional melodies and relatively free improvisation. But two other compositions, the title track and “Kicker,” are more traditional fusion pieces. Corea still uses mostly acoustic piano, but Gambale plays electric guitar throughout.
The last album featuring the band’s traditional lineup was Beneath the Mask (1991), a return to the electric jazz-funk of the second album.
For the next album, Elektric Band II: Paint the World (1993), only Corea and Marienthal returned from the original lineup. Gary Novak became a new drummer, Jimmy Earl took the bass (he does not play any solos on the album) and Mike Miller played guitar. The album’s style can be described as modern jazz, crossing between post-bop and fusion.
The original members reunited in 2004 for To the Stars (2004), which is stylistically close to the avant-garde and post-bop on Inside Out
Wiki

Tracklist:
1. Paint the World
2. Blue Miles
3. Tone Poem
4. CTA
5. Silhouette
6. Space
7. Ant & The Elephant
8. Tumba Island
9. Ritual
10. Ished
11. Spanish Sketch
12. Reprise

Personnel:
Chick Corea  (keyboards)
Eric Marienthal (saxophone)
Mike Miller (guitar)
Jimmy Earl (bass)
Gary Novak (drums)

Original Release Date: 1993  –  Label: GRP Records
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Alex Sipiagin: Out of the Circle (2008 – Sunny Side)

Out of the Circle by trumpeter/flugelhornist, Alex “Sasha” Sipiagin, provides modern jazz that is evenly vitalizing and cerebral. The recording’s smooth style matches the lush sound of its leader’s horns. But this is by no means tepid music, especially with some resourceful charts and stellar contributions from saxophonist Donny McCaslin, trombonist Robin Eubanks, guitarist Adam Rogers, bassist Scott Colley, and drummer Antonio Sanchez, among others.
With a number of recordings under the Criss Cross label, Russian-born Sipiagin is a proven leader with a crafted voice that has contributed to the recordings of the Mingus Big Band, Dave Holland Big Band, saxophonist Michael Brecker and others.
Out Of The Circle, is an extension of Sipiagin’s ideas of “exploring musical freedoms” on the 2007 Criss Cross recording Prints, with exquisitely detailed arrangements and instruments additions with the inclusion of accordionist Gil Goldstein, keyboardist Henry Hey and percussionist Daniel Sadownick.
Sipiagin’s association with bassist Dave Holland is reflected in many of the pieces, which could have easily been penned for a larger ensemble. The flourishing and robust horns on “Wind Dance,” open paths to ardent solos, interconnected movements, on the title track and throughout; all evince Sipiagin’s effectiveness as a performer and writer.
“Syn” is a fine example of these stylistic approaches. With a beautiful intro acoustic guitar solo by Rogers, it also contains an elaborate, almost chamber-esque horn arrangement, Goldstein’s accordion touches, and round of excellent solos, including one from Sadownick. This is creative music at its best.
Another striking chord is found on “Flash,” which contains an extended bass solo by Colley, followed by Sipiagin’s rich flugelhorn, an animated dialogue between Eubanks’ ‘bone and McCaslin’s tenor sax, and rhythmic accents from Sadownick and Sanchez.
The inclusion of Sipiagin’s wife, singer Monday Michiru, on two selections is also consistent with the set; smart lyrics that flow nicely with the instruments. The closing piece “Sketches Of Myself” combines her sensuous vocals in an arrangement that is very hip and thought provoking.
If you’ve had little exposure to Sipiagin’s past music, Out of the Circle is a real discovery. For those who are familiar with his body of work, there’s plenty to enjoy on this memorable release.
Mark F. Turner (All About Jazz)

Track List:
1. Wind Dance   
2. Afternoon Dreams(With Monday Michiru)   
3. Echoes Of Thought   
4. Out Of The Circle   
5. Flash   
6. Syn   
7. Sketches Of Myself(With Monday Michiru)

Personnel:
Alex Sipiagin (trumpet, piccolo trumpet, bass trumpet, flugelhorn)
Monday Michiru (vocals)
Adam Rogers (guitar)
Donny McCaslin (flute, soprano saxophone, tenor saxophone)
Gil Goldstein (accordion)
Robin Eubanks (trombone)
Henry Hey (keyboards);
Scott Colley (bass guitar)
Antonio Sanchéz (drums);
 Daniel Sadownick (percussion)

Original Release Date: March 4, 2008  –  Label: Sunny Side Records
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Kenny Burrell: 75th Birthday Bash Live! (2007 – Blue Note)

It’s not very often someone gets invited to a legendary jazz guitarist’s birthday party. Imagine such an invitation. After all, birthday parties are intimate affairs, everyone lets their guard down, and you leave getting to know the birthday boy pretty darn well. For Kenny Burrell’s 75th Birthday Bash Live!, in stores June 19, Blue Note pressed the record button at Burrell’s 75th birthday party and we’re invited to celebrate Burrell and his distinguished contribution to jazz music.
Listening to Birthday Bash is like going back in time, to the late 1950s and early 1960s to be exact, when jazz guitar had yet to be canonized, its mellow sound experimenting with ways to join the give-and-take of the hard-bop ensemble. Back at the Blue Note studios (recording engineer and wizard Rudy Van Gelder’s home studio), Burrell and fellow jazz guitarist Grant Green were dreaming up the new hard-bop guitar style. Each with his own unique style, they both added razor-knife crispness to the archtop’s mellow sound that, combined with strong rhythmic force and total blues power, allowed them to be part of Blue Note’s glorious 1960s hard-bop recordings. As fate would have it, only Burrell remains alive to help us re-live this very special groove.
This is a fun and exciting birthday celebration, yet thoughtful—the man of honor delights in sharing the great stories about his life and other giants who’ve helped him along the way. Birthday Bash is a three-act party, the first act going way back in time to the days of Duke Ellington and Count Basie. The luscious and wonderful Gerald Wilson Orchestra shows up to help Burrell tell of his warm friendship with Ellington, and the party gets started with Wilson’s latin-feel “Viva Tirado.”
Right away you know it is Burrell’s guitar you’re hearing. His playing is elegant, crisp, modally hip, bluesy, moving, and infectious – purely Burrell. He still has the same energy he had the day after he recorded his signature Midnight Blue record in 1963. The overall balance is just perfect for Burrell to lay down his groove. The orchestra finds the right spot to accentuate his solos, providing a sweet pedestal for the birthday boy to stand on and shine.
Up next is that beloved mistress of Burrell – the blues. To say that Burrell can play the blues is an understatement. You listen to “Stormy Monday/Blues For The Count,” and you understand how every note—no, every fragment of every note—is pure blues. Burrell’s blues playing is serious attention to detail. His expressive licks and use of repetition pull you in and take you along for Burrell’s blues ride. And as a bonus for showing up to the party, you get Burrell’s soulful singing and Wilson’s tip of the hat to Count Basie.
“Romance”, another Wilson composition, gives Burrell some more of the Latin feel he so enjoys. The tune is almost like a big-sound ode to his days playing with conguero Ray Barretto. There’s plenty of merit in the tune, but you can’t help to feel anticipation. It almost sounds like a prelude to the Ellingtonia that’s about to happen.
“Love You Madly” kicks off a trio of Duke Ellington tunes with an exciting swing. Burrell’s guitar and Wilson’s orchestra perfectly balance each other and muster the vision and skill needed to bring the Ellington stories to life. The tune’s outro gets you moving with the type of pulsating force that Ellington’s compositions are able to throw in the air.
“Sophisticated Lady” brings you Burrell’s elegant, imaginative, crisp guitar chord melody. The tune’s rendition is typical Burrell ballad—kick it off with guitar chord melody, let the band come in, then proceed to tell the story with single-line soloing, this time in beautiful interplay with Wilson’s orchestra. “Don’t Get Around Much Anymore” is purely elegant and true to the original. Ellington must have been smiling in heaven, watching through the night sky from above, listening to this tribute convinced that Burrell remains his favorite jazz guitarist. All three Ellington tributes are short, yet long enough for the man of honor to share the best of times and get on with the rest of the party.
Birthday Bash’s second act leaves Wilson’s orchestra behind and takes us back to Burrell’s hard-bop days. And, what a shift. The small group begins with Wayne Shorter’s enigmatic “Footprints”. Burrell takes center stage and it is here where you understand his visionary side. He’s able to re-imagine the song’s melody in signature Burrell harmonic sophistication. You can hear in his solo how he mines his imagination for subtlety and color to fill Shorter’s sparse composition. Hat’s off to bassist Roberto Miranda for his great skill and huge tone, which produce a fine solo and bring to life this bass-driven composition.
“Lament”, a J.J. Johnson tune, brings us again Burrell’s precious chord melody style. Not only is his style crisp, but Burrell is able to produce perfect balance and intonation in the guitar’s low register. This superb quality takes his chord melody style to a much higher degree of sophistication and beauty. It opens up sheets of sound that you didn’t know could exist in the melody. And, as if Burrell’s playing wasn’t enough, the man of honor lets a guest take center stage and suddenly we’re enveloped by Hubert Laws’ brilliant flute sound, backed up by Burrell’s imaginative and delicious comping.
Then come stories of the days of Miles Davis and Kind Of Blue. Any bluesman with a taste for Davis holds Kind of Blue’s “All Blues” dear to his heart, and Burrell is no exception. This track showcases Burrell’s strength and prowess as he’s able to bring such an energetic song to life with only himself, a bass and drums. The man of honor is still a workhorse and blessed, at the age of seventy-five, with the fury that it takes to bring Miles Davis to life.
Burrell gets tougher as he tells us a little bit about Dizzy Gillespie in “A Night In Tunisia”. The ball of fire that was Art Blakey and the Jazz Messengers adopted “A Night In Tunisia” into the house of hard-bop, and the tune’s driving force gets re-lived in Birthday Bash. This is the highlight of the party, when all guests are present and everybody is everywhere, and Burrell introduces us to some more of his friends. There’s some powerful and swinging sax soloing on the alto by Jeff Clayton and on the tenor by Herman Riley. Joey DeFrancesco takes an exciting organ solo that makes the band members moan and groan. Drummer Clayton Cameron invokes the demonic Mr. Blakey in a drum solo. Everybody, including Burrell, stretches out on this one for some righteous straight-ahead jazz playing.
With the standard ballad “I’ll Close My Eyes”, Burrell definitely reminisces about his days with organist Jimmy Smith. Burrell and Smith came to define the organ/guitar combo sound in jazz, and together covered “I’ll Close My Eyes” in Smith’s Organ Grinder Swing in 1965. At the party, Burrell pairs up with organist DeFrancesco to remind us of Smith’s love for playing ballads. It’s the perfect choice of sound and pure introspective guitar playing. This one makes you think about the greatness that was Jimmy Smith and Kenny Burrell coming together.
And just when you think the party may be nearing its end, up comes the third and final act. It’s short, but compelling—a celebration of what jazz is all about. Apparently Burrell had not considered playing Billy Strayhorn’s revered “Take The ‘A’ Train”, but the audience requested it (“Tell us more stories Kenny! C’mon, tell us what this is all about!”). So, Burrell calls the tune and sings an impromptu salute to all the cats in the band. He does some scat singing, dishes out some solos and lets everybody in on what jazz has meant to Burrell all his life—reverence (aimed at both the young and old), imagination, devotion, swing, and plain ol’ fun.
 Ignacio Gonzalez   (modernguitars.com)

Track List:
1. Viva Tirado
2. Stormy Monday/Blues for the Count
3. Romance
4. Love You Madly
5. Sophisticated Lady
6. Don’t Get Around Much Anymore
7. Footprints
8. Lament
9. All Blues
10. A Night in Tunisia
11. I’ll Close My Eyes
12. Take the “A” Train

Personnel:
Kenny Burrell (guitar);
Hubert Laws (flute);
Jeff Clayton (alto saxophone)

Herman Riley (tenor saxophone)
Joey DeFrancesco (organ);
Roberto Miranda (bass instrument)

Clayton Cameron (drums).

Original Release Date: June 19, 2007 – Label: Blue Note Records

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Bill Evans Trio with Symphony Orchestra (1965 – Polygram Records)

This is an unusual Bill Evans recording, as it combines his trio with a “symphony orchestra” playing arrangements by Claus Ogerman of several “classical” themes along with two of Evans’s most haunting originals: “Time Remembered” and “My Bells”. Not that there’s much of a classical feel to the orchestrations: apart from the Vaughan Williams/Shostakovich overtones of Ogerman’s “Elegy”, the orchestral music is more reminiscent of a glossy 1960s/70s film score. There’s some attractive woodwind and french horn, but the large string section might be a bit too lush for some tastes. Fortunately, on most tracks the orchestra confines itself to stating the theme at the opening and in a few places playing a fairly discreet accompanying role, but generally keeping out of the way of Evans’s improvisations. So the main “fusion” interest here lies in what Evans does with the themes in his solos.
One of the minor oddnesses of the album is the way in which, on some tracks, the beginning of Evans’s solo launches into a very different tempo and mood from the one just established in the orchestra’s theme statement. Sometimes – as on Faure’s Pavane – this creates a musically effective contrast; elsewhere – as on “Granados” – it leaves you feeling too sharply aware of the incongruity rather than empathy between the different musical worlds being brought together. Maybe that’s partly why the most satisfying of the “classical” tracks are the Bach Sicilienne and “Blue Interlude” (on Chopin’s C minor Prelude): each solo seems to grow organically out of its theme and both themes inspire Evans to some excellent melodic improvisation. Listen, for example, to the way in which he exploits the “bluesy” aspect of the Chopin as his solo builds to its climax. Evans’s own “My Bells” is another high spot of the album – an attractively nostalgic modal theme tastefully arranged for the orchestra, leading to a gently swinging solo and a rubato restatement of the theme by Evans before a wistful coda.
There’s certainly a lot of absorbing, beautiful playing from the Evans trio here; but the appeal of the album will largely depend on what you think of the orchestra’s part in the proceedings.
Mike George

Track List:
1. Granadas (Enrique Granados)
2. Valse (Johann Sebastian Bach)
3. Prelude (Alexander Scriabin)
4. Time Remembered (Bill Evans)
5. Pavane (Gabriel Fauré)
6. Elegia (Elegy) (Claus Ogerman)
7. My Bells (Evans)
8. Blue Interlude (Frédéric Chopin)

Personnel:
Bill Evans (piano)
 Chuck Israels (bass);
Larry Bunker, Grady Tate (drums)
Claus Ogerman (arranger, conductor)

Recorded September 29, October 18, and December 16, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey – Label: Polygram Records

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Pat Martino: Think Tank (2004 – Blue Note)

It’s been nearly twenty years since Pat Martino’s comeback from a near-fatal brain aneurysm. In that time he’s re-established himself as one of the jazz world’s premier guitarists, a technically advanced post bop player who combines forward-thinking musical ideas with native Philly grit; think Pat Metheny with more soul.
Think Tank , as the name suggests, finds Martino at his most cerebral, which has its pros and cons. The title track, for example, is a blues of sorts built on an equation based on the letters of John Coltrane’s name, which may sound like an exercise for a composition class, but manages to hold together pretty well organically. Coltrane, a Philadelphia mentor of Martino’s, is a recurring reference on the album, both indirectly in Martino’s intensely spiritual and intellectual approach to the music, and directly on the funk-based original “Phineas Trane as well as on an extended romp through Coltrane’s “Africa.
Martino is backed by a lineup that includes heavyweights on every instrument: Joe Lovano on tenor sax, Gonzalo Rubalcaba on piano, Christian McBride on bass and Lewis Nash on drums. And while many all star lineups fail to live up to their promise, this one mostly comes through. All the musicians have moments of magic, especially Rubalcaba, the Cuban-born virtuoso who seems to have outgrown his youthful habit of simply playing as many notes as he can as quickly as he can. He shows welcome restraint here, especially on the ballad “Sun on My Hands, where he and Martino play off each other with beauty and subtlety. Martino himself is much more subdued than in the past, offering harmonically complex solos that challenge listeners but retain enough recognizable blues and bop roots to be accessible.
If there’s any complaint about Think Tank, it’s that it lacks some of the flat-out fire of Martino’s 2001 Grammy-nominated Live at Yoshi’s , a groove-laden organ trio summit with Joey De Francesco and Billy Hart. Martino may overthink things a bit this time around, but it’s a serious album from a serious artist and well-worth checking out.
Joel Roberts (All About Jazz)

Track List:
The Phineas Trane
2 Think Tank
3 Dozen Down
4 Sun On My Hands
5 Africa
6 Quatessence
7 Before You Ask
8 Earthlings

Personnel:
Pat Martino (guitar)
Joe Lovano (tenor saxophone)
Gonzalo Rubalcaba (piano)
Christian McBride (bass)
Lewis Nash (drums)

Original Release Date: 2003  –  Label: Blue Note Records
Recorded at the Sony Studios, New York, New York in January 2003. 
THINK TANK was nominated for the 2004 Grammy Award for Best Jazz Instrumental Album. “Africa” was nominated for Best Jazz Instrumental Solo.

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Enrico Pieranunzi: Fellini Jazz (2003 – Camjazz)

The elegance that is Fellini Jazz serves as a tribute to both the great director and this assembly of musicians.
Italian pianist Enrico Pieranunzi continues to make make dream recordings that are so much more than all-star get togethers. This release follows two stellar sessions, Plays Morricone and Current Conditions (both on CAM Jazz), with bassist Marc Johnson and drummer Joey Baron.
Think of Fellini and the name that follows is Nino Rota, who composed music for the director’s films and also Coppola’s Godfather series. Rota draws inspiration from all music to form his unique brand of folk music. This band measures out the composer’s vision in satisfying portions.
Besides the pianist, the attention-grabbing performances come from trumpeter Kenny Wheeler and saxophonist Chris Potter. Potter a mainstay in Dave Holland’s band, has full command of his horn at the tender age of 31. He tends toward a gentle but large voice, for example covering the ballad “Il Bidone” like fresh syrup over warm pancakes. The two versions of that particular track are done in the form of a ballad and a post-bop workout. Wheeler’s flugelhorn complements Potter with remarkable telepathy. His muted trumpet fills the tango of “La Città Delle Donne” as well as the railroad-patterned version of “La Dolce Vita.”
Pieranunzi finds it almost second nature to be partnered with drummer Paul Motian and bassist Charlie Haden. Motian, who played with Bill Evans, keeps that open, loose rhythm swirling behind Pieranunzi’s Evans-like clean vision. Haden and the pianist close the record with a sentimental duo of a Pieranunzi bitter/sweet original that could be the end piece to a “love found/love lost” movie.
The band keeps the music in the forefront here. They play the circus theme version of “La Dolce Vita” with a straight-face, Pieranunzi ringing in the track by comping around Potter’s soprano flight. The favorite always is the composition “Amarcord.” Played as a blues, it reveals Fellini’s bittersweet cinematic themes.
This is a sensational recording, worthy of its subject matter and its superb cast.
Mark Corroto (All About Jazz)

Personnel:
Enrico Pieranunzi (piano)

Charlie Haden (bass),
Kenny Wheeler (trumpet)
Chris Potter (saxes)
Paul Motian (drums)

Track List:

1. I Vitelloni;
2. Il Bidone,
3. Il Bidone;
4. La Città Delle Donne;
5. Amarcord;
6. Cabiria’s Dream;
7. La Dolce Vita;
8. La Dolce Vita;
9. La Strada;
10. Le Notti Di Cabiria;
11. Fellini’s Waltz.

Original Release Date: November 25, 2003  –  Label: Camjazz

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