Legendary jazz greats Branford Marsalis and Kurt Elling collaborate for the first time on a full album, Upward Spiral. They ve been talking for a while about making a record together, and finally at the end of 2015 it all came together. They found time to play the new material in the New Orleans Snug Harbor club for four days and then recorded a variety of songs in the studio, all chosen because of their melodic richness and musical quality. Their versions of the chosen material are simply incredible, as the musicality of Branford and Kurt and their deep understanding of these songs shows through immediately.
After a much celebrated appearance by Adam Baldych at the 2011 Berlin Jazzfest, critic Ulrich Olshausen raved in the Frankfurter Allgemeine Zeitung newspaper: "He has, without doubt, the greatest technique of any jazz violinist alive today. We can expect everything of him". High praise for a musician of just 26 years of age, and at the same time only fitting for a man who has been considered a prodigy in his native Poland for many years already. He discovered the violin at the age of 11, and jazz at 13; the music gave him the freedom of expression he was looking for, and at 16 he started his international career. After completing his jazz studies at the Katowice Academy with distinction, he was awarded a scholarship to Berklee College of Music in Boston.
Based in São Paulo, Metá Metá have played a key role in the city’s thriving experimental music scene, mixing samba and Afro-Brazilian candomblé with jazz and rock. Now they have added north African influences, inspired by visits to Morocco, in an album that constantly changes style and pace – often in the same song. Opener Três Amigos sets the mood, starting as an atmospheric piece with an Arabic edge and relaxed vocals by Juçara Marçal, before switching to a furious blitz of sound by saxophonist Thiago França and guitarist Kiko Dinucci, who played a key role in an extraordinary recent album from Elza Soares. Elsewhere, the songs vary from the cheerful and breezy Toque Certeiro (featuring scat vocals from Marçal that have the easy charm of Joyce Moreno) to passages that sound like an angry Brazilian post-punk thrash, influenced by their country’s political crisis.
As in the successful volumes 1-3 this is a very exciting recording, featuring the bassoon as you never heard before! The 54th release in the Vivaldi Edition features a selection of the finest works for bassoon ever composed, regardless of the instrument, this is a complete view of Vivaldi’s universe, performed by a true genius of baroque music. With each CD Azzolini proves himself to be an artist of endless immagination and virtuosity. With each new recording he surpasses the one before.
The third studio meeting in nearly 17 years between Medeski, Martin & Wood and guitarist John Scofield has no easy referent to their earlier recordings – purposely. This quartet sounds like a real band on Juice, which is a mixed blessing. The positive aspect is that this longtime collaboration creates near instinctive communication. This is a much more inside date, though the rhythmic interplay between bassist Chris Wood and drummer Billy Martin is outstanding throughout.
When a musician’s second record is released, one is tempted to say that this is the album of maturity and it’s often true. This time, we have to admit it’s not the case, Baptiste Herbin having passed that stage with his first opus. The young saxophonist from Chartres (France), who started with classical music and switched to jazz studying with Lourau Julien and Jean-Charles Richard, made his mark in 2012 with his first album “Brother Stoon” justifiably prompting a series of rave reviews that emphasized the virtuosity of the young man, fan of Charlie Parker and Cannonball Adderley.
Avec l’arrivée du printemps, la formation jazz Misc (anciennement connue sous le nom de Trio Jérôme Beaulieu, et consacrée Révélation Jazz Radio-Canada 2013-2014) proposera son album homonyme le 18 mars 2016 via Bonsound. Cet album est le fruit d’une complicité singulière entre trois musiciens affranchis. Différent des deux premiers longs jeux, ils se sont investis à parts égales au niveau des agencements rythmiques, mélodiques et harmoniques pour créer une signature sonore propre à ce trio qui sort de l’ordinaire.
Non, décidément, enregistrer un hommage à George Gershwin ne se résume pas au choix de quelques standards célèbres relus comme à la parade par de bons musiciens. Il y faut, plus encore qu’avec n’importe quel autre répertoire, une compréhension intime de la richesse harmonique, une conscience de l’histoire — comment faire du neuf avec du jamais vieux — et ce savoir spécial qui consiste à éviter tous les clichés jazzistiques tout en s’inscrivant dans une tradition. Trois qualités distinctives que cultivent, depuis déjà plus d’une décennie, le clarinettiste Jean-Marc Foltz et le pianiste Stéphane Oliva. Ils avaient auparavant fréquenté l’ombre intimidante de Giacinto Scelsi, l’un des plus passionnants créateurs de musique contemporaine (Soffio di Scelsi, 2007), revisité en voyageurs engagés le grand répertoire classique pour clarinette et piano (Visions fugitives, 2011) ou plus récemment relu le mythe de Pandore (Pandore, 2016).
The longest track on “Perfection,” the debut album by a jazz trio with David Murray on tenor saxophone and bass clarinet, Geri Allen on piano and Terri Lyne Carrington on drums, clocks in at just over eight minutes, covering so much ground that it feels almost like an epic. Composed by Mr. Murray, it’s a swinging tune with a pensive yet intrepid melody, and a midsection of bristling abstraction. The title is playfully apt: “The David, Geri & Terri Show.” Dynamic combustion is the core characteristic of this all-star trio, which first convened at the 2015 NYC Winter Jazzfest. Mr. Murray, 61, is an improviser of great, garrulous bluster, while Ms. Allen and Ms. Carrington, both in their 50s, have forged prominent careers more in line with the postbop mainstream.