Piano Elegance

Four elegant pianists have blessed us with three wonderful recordings in the past couple of weeks, a great way to kick off 2014.

Beginning with the solo recording, the veteran British pianist John Taylor once more has produced a lush, reflective, and refined recording "In Two Minds" (CamJazz 2014). Taylor begins the CD with the self-penned "Ambleside Suite" in three parts, wrote several other pieces, and uses two by Kenny Wheeler, a similarly minded trumpeter, and "Reflections in D" by Duke Ellington. I've written before about Taylor (4/11/13, 5/29/12 and others), not only as a leader but also on works by John Surman, Anders Jormin, Wheeler, Charlie Haden, and Peter Erskine to name a few. The music is the definition of elegance, with lush melodies and harmonies, and mixes his classical and jazz instincts effortlessly. Another first rate outing for Taylor.

Next a duo, Gwilym Simcock and Yuri Goloubev, on piano and bass respectively, on "Duo Art: Reverie at Schloss Elmau" (ACT 2014). Simcock is a personal favorite, another British pianist mixing classical and jazz training. I have written extensively on Simcock in the past including a posting on his discography in  January 2012, and later about his solo outing on this same piano at Schloss Elmau. The sound from this setting on this and other recordings is wonderfully rich and adds to the aural experience on these pieces written by the two artists. Once again the mixture of classicism and jazz stands out on this wonderful recording.

Next up, is a trio recording in a more traditional mainstream mode, George Cables "Icons and Influences" (High Note 2014). His partners here are Dezron Douglas on bass and Victor Lewis on drums. The title says it all -- this is a songbook dedicated to those who Cables looked up to and who influenced his playing and conception of the music. there's "Cedar Walton", the title of the first piece, featuring tight synchronicity among the players, a nice uptempo opener that speaks to both pianist's roles as leader and sideman through the years. Then there is a beautiful, heartfelt elegy for Mulgrew Miller " Farewell Mulgrew", tips of the hat to Duke Ellington, Bill Evans and Benny Golson through use of their tunes, in all twelve mainstream compositions from the heart. It's a great trip through Cables' jazz influences, a lovely set of songs that demonstrate Cables' sensitivity and grace at the keyboard.

Finally, there is Edward Simon "Venezuelan Suite" (Sunnyside 2014) which excels as it extends the reach of Simon's music from his previous outings. This a new direction for the accomplished pianist who as a leader and as a member of the SFJazz Collective has already had a long string of excellent CDs demonstrating both his facility at the keyboard and his excellence in composition. While the first two recordings above combined jazz and classical music, this CD combines jazz with the rhythms and sounds of Simon's native country, and does so with a larger band with richer tonalities and timbres. Joining Simon are saxophonist Mark Turner,  John Ellis on bass clarinet, drummer Adam Cruz,  Roberto Koch on bass, Marco Granados on flute, Leonardo Granados on maracas, percussionist Luis Quintero and Jorge Glem on cuatro, the string instrument that is Venezuela’s national instrument.  Edmar Castaneda guests on one track on harp. The suite is composed of four tunes named after Venezuelan cities -- Barinas, Caracas, Merida, and Maracaibo; the final piece is "El Diablo Suelto" written by Heraclio Fernandez in 1888 and updated for this performance. The music is expansive, with a range of solos and ensemble sections, catchy beats, lilting melodies, and rich harmonies. The flute and cuatro in particular lend the music a special vibe that enriches the entire program. And Ellis' bass clarinet stands out on "Caracas". It's an enchanting set, a feast for the ears with it variety and pacing, and with the richness of the melodies and interplay among the many voices. Outstanding.

Two Weeks Have Passed and Lot Has Come In

I am falling behind with my posts again and after today will be out of pocket for several days, so here is a round-up of a lot of new things I am listening to.

Edward Simon Trio, "Live in New York at the Jazz Standard" (Sunnyside 2013): Not enough attention is given to the trio of Simon, John Patitucci and Brian Blade and the CDs they have released on Sunnyside over the past few years. This is another smashing display of lyricism, unity, and invention over five extended pieces, including three by Simon and a particularly nice take on "Giant Steps." A real winner here, and pick up their older sets on Sunnyside as well (Unicity (2006), Poesia (2009)). 

Allison Miller's Boom Tic Boom, "No Morphine No Lilies" (Foxhaven Records 2013): A wildly energetic outing with some special players beside Miller on drums -- Jenny Scheinman on violin, Todd Sickafoose on bass, and Myra Melford on piano, with several other guests in spots. The group plays with a lot of energy, Miller provides a steady pulse from the back, and Melford is particularly engaging on this set of 11 sometimes challenging pieces. Goes over the edge a couple of times for my taste, but mostly represents a lot of modern originality, playfulness, and joyful moments. Take a chance.

Bomata "Aromes d'Ailleurs" (Mam 2013): A French Canadian trio of Jean Felix Mailloux on bass, Guillaume Bourque on clarinet and bass clarinet, and Patrick Graham on drums, with support from pianist Jerome Beaulieu on piano on two peices and additional percussion on others. This is a soothing outing featuring the clear and mellow lower registersof the clarinets over some nice rhythmic play from the bass and percussion, alwyas taken at a moderate pace and dynamic. Many of the pieces are named for spices and flavorings -- cumin, sesame, saffron, jasmine, cardamon -- and others have names like "At the Park" and "White Night" which are expressive of the delicate flavors that the band produces. Really pretty modern impressionism.

J. D, Allen continues his run of impressive outings, this time it's "Grace" (Savant 2013). Unlike his last couple of CDs, this one includes a piano, played here by Eldar, in addition to Dezron Douglas on bass and Jonathan Barber on drums. With two melodic instruments in front the music is more layered and richer, with Allen's play continuing to be mellow and inventive on an entirely original set. "Chagall", "Pole Star" and "Selah" are particular standouts, but hte entire set is worth hearing. Modern mainstream.

Dayna Stephens is another young tenor with a big, rich sound, and he demonstrates it on his new release, "The Nepenthetic Place" (Sunnyside 2013). He too has an outstanding cast with him -- Taylor Eigsti on piano, Joe Sanders on bass, Justin Brown on drums, Ambrose Akinamusire on trumpet, Jaleel Shaw on alto, and Gretchen Parlato singing on two pieces. An amazing group of outstanding young leaders, the group dynamic is fantastic and the pieces tight and original. Ten pieces, eight by Stephens, "But Beautiful" by Jimmy Van Heusen (with Parlato) and "Impressions" by John Coltrane. A bunch of young masters on top of their game playing modern mainstream music with a bit of an edge.

Mark Lockheart is from the U.K. and has put together a septet to interpret six pieces associated with Ellington and five originals on "Ellington in Anticipation" (Subtone Records 2012). Some folks like their Ellington pure and won't like these takes, but I enjoy hearing new interpretations that are like these, not too far from the originals but with a little modern spiciness, new harmonizations, and interesting combinations among the players. Lockheart plays the tenor sax and is joined by Finn Peters on alto and flute, James Allsopp on clarinets, Emma Smith on violin, Liam Noble on piano, Tom Herbert on bass, and Sebastian Rochford on drums.  I am a sucker for Noble and Allsopp and they don't disappoint, but then again nobody here does. Very nice set and well within the modern mainstream in terms of harmonies, lyricism and the like. Really worth hearing.

Speaking of tributes, another nice one is "The Man Who Never Sleeps: The Music of Charles Mingus" (Woodville Records 2012), another British combo inlcuding Arnie Somogyi on bass, Alan Barnes on saxes, Mark Edwards on piano, Tone Kofi on saxes, Jeremy Pace on trombone, and Clark Tracey on drums. These are some of the U.K.'s finest, and they combine to present eight Mingus tunes with elan. Modern mainstream sounds at their best driven by the strong bass leadership of Somogyi and thebeat ofTracey's kit. Barnes is a knockout as always on the tenor, and Kofi adds a nice bottom on the baritone.

Jim Rotondi's trumpet and flugelhorn seldom disappoint and how could they when he is playing with Eric Alexander as his partner on the tenor. Along with Renator Chicco on organ and Bernd Reiter on drums, the quartet hits it hard on "Hard Hittin' at the Bird's Eye" (Sharp Nine 2013), a live set from Basel, Switzerland. Wit the organ in heavy support of the two leaders, the music has the right edge, with a bluesy sound, particularly on "Cry Me a River" and the opener "Summit Meeting." For those who sometimes criticize Alexander for being too mellow and mainstream, this is a chance for him to stretch it out and blow the heck out of the tunes. Rotondi calls the group The Loop, and hopefully this is not the last we will hear of them. A mainstream delight, even for one like me who often shies away from organ trios.  

Even briefer:

Boyd Lee Dunlop, "Lake Reflections" (CD Baby 2012): The story was widely written about a couple of years back, how Boyd Lee Dunlop , 85 year old brother of Frank Dunlop, was found in a nursing home in Buffalo by a videographer who got a friend to produce him. this is his second CD and a remarkable one -- the improvisations are at once beautiful and majestic at times,  with little sprinkles of stirring anthems and classical pieces along the way. Fantastic reflections and impressions delight the ear.

Darcy James Argue's Secret Society, "Brooklyn Babylon" (New Amsterdam Records 2013): Stirring music originally performed for a multi-media event, this is an original suite of music for big band that should be listened to as a whole to feel the dramatic impact, to hear Brooklyn being built by pneumatic drills and hammers, to hear the cacophony of the streets, the sounds of transportation, and the growth of the city all represented by the ensemble's play. Intertwined are outstanding soloists along the way to relish, like Ingrid Jensen and John Ellis. A fantastic sophomore CD.

Two Piano Trios Tackle Italian Film Music

Two piano trios, two Italian film composers, and two beautiful discs from CamJazz. That is the message for today.

John Taylor, the verteran British pianist with a long and distinguished discography, has released " "Giulia's Thursdays" (CamJazz 2012), a jazz tribute to the music of Carlo Rustichelli which is as elegant agraceful as any of his previous piano trios, particulalry those with Palle Danielsson on bass, and Martin France on drums, who round out the trio on this CD. Recorded in 2006 but held until now, this is beautifully melodic and inspired music from a composer who is very little known outside Europe, unlike Nino Rota, for example, who has had two tribute discs released of his music this year by Mark Soskin and Richard Galliano. Rustichelli's two selections from his most famous score "Divorce Italian Style" are both lilting melodies, but then so are most of the pieces which have a refined and somewhat subdued sensibility, which in turn brings out those moments which rise above mezzo-forte or which romp at speeds beyuond the mostly mid-tempo themes that dominate. This is another beautiful disc in the vein of much of Taylor's previous works and recommended.

Edward Simon, is a 42 year old Venezuelan pianist and recent (2010) recipient of a Guggenhiem Fellowship, and has a long list of recognized recordings, including two -- Edward Simon (Kokopelli Records 1995) and Simplicitas (CamJazz 2005) -- which were on many top ten lists for those years -- and his recent recordings as a member of the SFJazz Collective. His piano trios combine straight ahead jazz with the rhythms and feel of his South America roots, and a personal reflections for Simon of is heritage and jazz education. On this newest  release, also held since recorded in 2006, "A Master's Diary" (CamJazz 2006), he and his trio with Scott Colley bass and Clarence Penn on drums tackle the musical scores of Fiorenzo Carpi, who wrote for Italian theatre, and television. The trio, joined on the opening number by the muted trumpet of Diego Urcola, have taken the lyrical melodies and added their own touch based on the heritage of Simon and the jazz sensibilities of the trio. the music is light and elegant, with long passages of wonderfully solid trio play that, according to the liner notes, rewrite and elevate the music to new heights.

Two refined and elegant tributes for piano trio lovers.