Doc's Jazz Music Reviews

Tord Gustavsen Trio

Pianist Tord Gustavsen has released three albums on ECM Records with his trio; "Changing Places" (2003), "The Ground" (2005), and "Being There" (2007). While relating to fields like Scandinavian folk music, gospel, Caribbean music and cool jazz alike, the trio presents a unique universe of lyricism and subtle funkiness.

This is mood music and will lead you into reflection and solitude. If you like jazz that lingers then get acquainted with Tord and his trio. There are a few jams but the quiet stuff is their forte.

Tord Gustavsen piano
Harald Johnsen bass
Jarle Vespestad drums

Being There (Excerpts)



Amazon.com

Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs

Hobson’s Choice

One of my favorite albums by Branford Marsalis is his Quartets latest, "Braggtown", which was released in 2006.

Amazon.com

"Tenor/soprano saxophonist Branford Marsalis is a master of the "burnout"--an intense but deliberate and focused style of jazz that has its roots in John Coltrane. Unlike many Trane-ologists, however, Marsalis uses Trane's concepts instead of the master's notes. On Braggtown, named for a neighborhood in Durham, North Carolina, Marsalis delivers a virtual clinic on how to play 21st-century jazz, with drummer Jeff "Tain" Watts, pianist Joey Calderazzo, and bassist Eric Revis. The pieces range from the uptempo "Jack Baker" and "Blakzilla"--Watts's polyrhythmic props to Godzilla--to the reverent rendition of the 17th-century composer Henry Purcell’s "O Solitude," and Revis's intense, long-form composition, "Black Elk Speaks," complete with his impassioned, Mingusian bass solo, with references to Star Trek: The Next Generation. On all of the tracks Marsalis's tone is impossibly brilliant and burnished, and for my money, this recording is the worthy successor to his 1990 masterpiece, Crazy People Music." --Eugene Holley Jr.
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One of the signs of musical genius is the ability to take a well know song and improvise upon it until it is like an entirely new song. Branford and his quartet achieved this distinction on the John Coltrane jazz classic, “Acknowledgement” from “A Love Supreme”

Branford Marsalis is an American jazz saxophonist born in 1960. He is the oldest of the six Marsalis brothers, sons of Delores Marsalis and pianist Ellis Marsalis, Jr.: Wynton Marsalis, Ellis Marsalis III, Delfeayo Marsalis, Mboya Kinyatta, and Jason Marsalis. Wynton, Delfeayo, and Jason are also jazz musicians. Ellis is a poet, photographer, and network engineer based in Baltimore. (Wikipedia)

Rendition of “Acknowledgement” by the “Branford Marsalis Quartet




Resolution

“Acknowledgement” from “A Love Supreme

I Loves You Porgy

I Loves You Porgy is a Jazz standard written by George Gershwin for the opera “Porgy and Bess”. Over the years there has been a lot of conflict within the African American community on whether the musical is blatantly racist and therefore unworthy of perpetuation by African Americans.

I think I will leave that debate to others and just feature this beautiful piece of music. One of the indications of a good song is that it is able to touch you in a deep place and I think this composition meets that requirement.

I Loves You Porgy – From the Movie "Porgy and Bess"




I Loves You Porgy featuring Keith Jarrett



I Loves You Porgy featuring Miles Davis

I have most of the recordings of George Winston. He is not a jazz artist and is usually categorized as New Age but I think he defies strict categorization. This album “Autumn” is a good place to start. There are very few albums that you can put on and hit the repeat button only to find yourself hours later still listening intensely to the music.


Amazon.com essential recording

The precursor to 1982's commercial breakthrough, December, George Winston's 1980 Windham Hill debut boasts all the lyrical power and poignancy of its follow-up. A simple, clear recording for solo piano, Autumn finds Winston developing simple melodic motifs with studied left-hand underpinning, on hypnotic pieces like "Woods," which moves from a brisk rhythmic figure to rubato minor-key runs. Leaving pauses and breaths in all the right places, Winston suggests the play of color and light, the comfortable melancholy, and the encroaching slow-down that characterizes the fall season. Full of memorable themes, sure pacing, and whiffs of classical grandeur, Autumn is a timeless album that belongs to the firmament of the new age canon. --James Rotondi

Amazon.com

In 1980, Keith Jarrett was the best-known solo pianist, with his string of ECM albums including the Köln Concerts and Facing You. George Winston took the lyricism and mood that made Jarrett's music so popular and refined them into what he called "folk piano" on his first Windham Hill album, Autumn. It launched a million solo pianists. As you listen to this 20th anniversary edition, it's easy to hear why. The opening "Colors/Dance" rings with the open clarity of the Montana plains, where Winston grew up. "Woods," with its quasi-classical arpeggios, seems to dance in the air. And so it goes throughout Autumn as the pianist unfolds his melodies in what sounds like spontaneous reverie. The anniversary edition includes illuminating liner notes from Winston, who cites everyone from the Doors to John Coltrane as influences on particular songs. The CD ends with a bonus track, a melancholy cover of Procol Harum's "Too Much Between Us." --John Diliberto


Woods



Stars

Here is a little bonus:

Jan Garbarek, Egberto Gismonti, Charlie Haden (1980) Silence 39.07 minutes

Kenny Barron

For over 25 years, Barron taught piano and keyboard harmony at Rutgers University in New Jersey. Here he is with his trio doing some straight ahead jazz at the Baltica festival in Germany. One of my favorite albums featuring Kenny is "Night and The City" which was recorded live in NYC. A few glasses are clanking but you hardly even notice. When you think of underrated think of Kenny Barron. Enjoy!

Here are two Amazon reviews that I agree with:

Kenny Barron and Charlie Haden are Exceptional, February 17, 2003
By Steve Worthington (Millis, MA United States)

Shortly after I bought this CD I saw Sphere Live at the Vanguard, and commented to Kenny That this had to be his best, and probably one of the best Jazz Recordings ever, destined to enter the history books, this is a "must have". Just buy it, and sit back and listen, as I have time and again.

Maybe Barron's best, December 19, 2002
By Robert Miner (St. Louis, MO)

Kenny Barron is one of the best pianists in jazz today and Night and the City may be his best recording. Recorded live with bassist Charlie Haden, the pair set a wonderful, late night mood that carries the listener through the entire recording. Dark, lyrical, intimate, beautiful; this is a record I turn to over and over again.


Jazz Baltica 2007

Get Rid of the Jazz Stereotypes by Jim Collier

I like jazz and I don’t smoke. I like jazz and I only drink a little wine every now and then. I like jazz and Jesus is my friend.

For too long many of us have been taken hostage by a persistent stereotype that jazz musicians and their followers have lifestyles very different from quote “normal people”. Sure, many jazz musicians have habits that are counterproductive to good health and longevity but so do many others in every segment of society.

The old picture of the jazz club filled with smoke and glasses’ clanking is giving way to concert venues where grandparents can bring their grandkids and introduce them to the nuances of jazz.

My introduction to jazz was in venues that would fit the stereotypical picture above but I no longer choose to savor my jazz in that kind of atmosphere. I appreciate the performances more now that my “head is not bad” and I can remember what I am watching and hearing. Evidently there are many others like myself who have similar taste.

Jazz clubs are closing rapidly and now there is the jazz cruise. I believe there can be both. I remember a trip my wife and I took to the Bahamas and we decided to spend one evening going to a jazz club for dinner and a show. When we told the taxi driver where we wanted to go he gave us a strange look but drove us there, and fortunately for us he decided to wait. The club had a strong smell of urine and it was obvious that this was not somewhere we wanted to eat or attempt to watch a show. We were both glad to see that the place was closed and our taxi driver was still around to take us over to a nice restaurant that had music, a view and excellent food.

There will always be those who insist upon perpetuating stereotypes but I for one say enough is enough. The history of jazz is littered with one sad story after another of individuals who struggled with addictions and out of control lifestyles but if you look closely you can see other stories.

There is John Coltrane who no doubt suffered for his years of addiction but who chose a different path later on and put out some of the most creative music ever produced. Look around at the living legends and you will see that Herbie, Marian, Dr Billy and others modified their lifestyles to keep living and producing.

Yes, I like jazz but I don’t smoke, I drink very little, and I even go to church. I have a feeling that there are many others out there just like me. I think it is time for us to speak up and be heard.

© James Collier 2008

This is a classic example of one technique utilized frequently in jazz improvising which is repetition. The piano calls to the bass and the bass responds eliciting even more from the piano. The tension is established and then it is resolved.

Here is a clip of Jazz Trio improvision at its best.

Keith Jarrett Trio - Prism

There is something about a jazz trio that creates an atmosphere for incredible creativity. Various variations on the trio theme have been around in jazz circles for over 50 years. The most common jazz trio is the piano trio with the name coming from the pianist. Examples are the Kenny Barron Trio, The Keith Jarrett Trio and the Brad Mehldau trio.

Historically some of the examples of variations were guitar for drums such as when Art Tatum's trio substituted guitar for drums, and Nat King Cole's trio and Oscar Peterson's first famous trio followed suit. Most experiments revert to the more standard piano, drums and double bass.

Another fairly common variant comprises electric organ (typically a Hammond B-3), drums, and electric guitar. No bass player is needed because the organist works his bass pedals.

Here is one of the most unusual variations of all time headed by the late Oscar Peterson with Ray Brown and Niels Pedersen:

Two Double Bass Trio



Oscar Peterson Trio with Guitar and Double Bass

Not Your Father’s Bach

Jacques Loussier is a hidden treasure in many jazz circles. With his trio, he has been improvising jazz themes in classical music for many years.

"In 1959, Loussier hit upon the idea that was to make his international reputation, combining his interest in jazz with his love of J.S. Bach. Only a pianist with such an exceptional classical technique and deft improvisatory skill could have nurtured such a vision. He founded the Play Bach Trio, which used Bach’s compositions as the basis for jazz improvisation. The trio immediately caught the public imagination. In their live appearances, tours and concerts, plus a succession of recordings built on the cornerstone of four albums made for Decca between 1960 and 1963, Loussier’s group achieved a breakthrough to popular commercial success enjoyed by only a select few jazz musicians. In fifteen years, the trio sold over six million albums.

Impressions of Chopin’s Nocturnes, Loussier’s first solo piano recording and an intimate exploration of the works of Frederic Chopin, was released on Loussier’s 70th birthday in October 2004. He returned to the trio setting a year later with the October 25, 2005, release of Mozart Piano Concertos 20/23.

Loussier returned to his roots in the Bach canon with the 2006 release of Bach: The Brandenburgs, a jazz interpretation of Bach’s six Brandenburg Concertos".

http://www.telarc.com/biography/bios.asp?aid=58


Bach Italian Concerto II & III mvt (2/2)