Oddly enough, this outing signifies British pianist John Taylor's first "ECM Records" issued solo effort, especially when considering the artist's twenty-five year tenure with this notable record label. Here, Taylor employs one-time Bill Evans trio bassist Marc Johnson, and New York City based drummer Joey Baron for a set consisting of Taylor originals, such as the mood evoking, "The Bowl Song," and others. A seminal "ECM" session ace, Taylor has graced recordings by drummer Peter Erskine and trumpeter Kenny Wheeler throughout his distinguished career.
Ray Bryant, whose inimitable, blues-drenched piano style with a truly strong left hand was revered and appreciated by Japanese jazz fans, returned the favor by visiting the country many times and recording quite a few albums for several Japanese labels in his golden years. Godfather is one of these cherished treasures. Originally released in 2003, Bryant dedicated this album to the memory of John Lewis, who had passed in 2001. Aptly, the program opens with two iconic compositions by Lewis, who also had a strong affinity to the blues. Other highlights include an ambitious "Elevation Suite" which is a collage of John Coltrane's "Impressions", Miles Davis's "So What" and Bryant's own "Elevation".
Fidèles, son guitariste et son pianiste, à savoir Sébastien Dufour et Louis Bernier, aident la chanteuse québécoise à réaliser son cinquième album en studio, sorti moins d'un an après l'enregistrement public Les Lettres rouges. Entre-temps consacrée par une Victoire de la musique (meilleure artiste féminine en 2003), Lynda Lemay continue d'explorer la veine qui fit son succès, en alternant les ballades acoustiques et les morceaux plus enlevés, qui tous passent, sans crier gare, du sourire aux larmes, en faisant par là même des tranches de vie extrêmement touchantes.
The Pulsacion set is sort of a musical orphan that has been tacked on to other compilation CDs over the years, but here it is in the logical sequence of its original issue. Those who have never heard it will find it surprisingly different from much of Piazzolla's other works. Different though it is, Pulsacion still screams Piazzolla.