September 2000

 


Lee Konitz - "Sound of Surprise"

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Lee Konitz continues to discover and deliver jazz in his own way, improvising freely with phrasing and rhythm uniquely uncharacteristic of any other alto player. As he states, "What interests me is the procedure that falls into place without premeditation." (liner). On this 1999 CD, joined by fellow musicians who "...don't approach music in a conventional way" - Ted Brown (tenor), John Abercrombie (guitar), Marc Johnson (bass), Joey Baron (drums), he offers 11 of his own compositions, with the twelfth created by all members of the quintet. Musical structure tends to be loose and seemingly slightly off-centre, with a deliberate blurring of distinctions"...between sounds that are imagined and sounds that are produced" (liner); yet there is no question of the integrity of the players and their goal as "...phrases are formed and disintegrated like cloud patterns". Though this may befuddle the more conservative listener, one must accept the premise of the album's title. JS

RCA Victor 74321 69309-2 To Order


Franz Koglmann - "An Affair With Strauss"

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Collectively labelled the Monoblue Quartet, Franz Koglmann (flugelhorn/trumpet), Tony Coe (clarinet/tenor/vocal), Burkhard Stangl (guitar), and Peter Herbert (bass) have put together 8 compositions on the occasion of the centenary of the death of Johann Strauss Jr., a musical venture prompted by Vienna's historical tribute (1999) to the composer. Incorporating melodic snippets from Strauss's Die Fledermaus or Wiener Blut, as well as some Schubertian affiliations Die Schone Mullerin/Die Winterreise to enhance "...the Viennese element", the quartet establishes a jazz link to the music of an earlier period - its underlying sensuality and emotional undertones, its improvisational affinities, its commitment "...to the ideal of elegance with a light touch...". The choice of Richard Rodgers' "Lover", too, seems to capture the characteristic of Viennese frivolity. The instrumentation seems ideally suited to the "subtle gradations" of the music, as though viewing it through "...the eyes of cool chamber jazz". JS

Between the Lines 006 To Order


Tony Coe/Roger Kellaway - "British-American Blue"

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Tony Coe and Roger Kellaway met in England while the latter was scoring a movie, and that chance encounter was the genesis for this 1978 "free-form recording session". When Coe (C-clarinet), adaptable to a catholicity of musical styles, meets Kellaway, a technically brilliant and innovative pianist, the results are improvisational magic. Despite any preplanning, the bonding of ideas is instantaneous. The 11 titles are arbitrary, representing no deliberate "impressionistic" meaning. Yet, the gyrating configurations of "Dance of the 3-legged Elves" or the intricate patterns of "The Caverns of Volere" are difficult to dismiss. Perhaps the titles "Off We Go into the Wild Blue Yonder" and "Me and Tony" are the more faithful declarations of intent. Essentially, what stands out is the sheer delight of two musicians sharing "...a mutual love of music". JS

Between the Lines 007 To Order


Freddie Hubbard - "Above & Beyond"

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Before forming his own recording groups in the early 60's, Freddie Hubbard had already carved out his own reputation with the likes of Eric Dolphy, Ornette Coleman, Sonny Rollins, and Art Blakey. His rapturous tone, dynamic drive, and frequent sorties into the stratosphereic register established him as one of the ascendant trumpeters of that era. Twenty years later (June 17, 1982) at San Francisco's Keystone Korner and accompanied by Billy Childs (piano), Herbie Lewis )bass), and Louis Hayes (drums), he hadn't lost those qualities that skyrocketed him into the limelight. Tenorman Joe Henderson was a no-show for the gig, placing a heavier workload on the trumpeter/flugelhornist. He doesn't disappoint, scorching the opening "Softly As In a Morning Sunrise" in a surprisingly blistering pace, toying with the chordal changes of "I Love You", caressing the melodic lines of "Little Sunflower". The success of the session owes much to the responsive accord offered by the rhythm section. JS

Metropolitan Records 1113 To Order


Joshua Redman - "Beyond"

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Emerging on the jazz scene in the 90's, saxophonist Redman soon established himself as a sideman in high demand (Kenny Drew Jr./Milt Jackson/Joe Lovano/McCoy Tyner), while leading his own groups to commercial success as early as 1992. All compositions on this 1999 release are originals, and Redman plays alto, tenor, and soprano saxophones, accompanied by pianist Aaron Goldberg, bassist Rueben Rogers, and drummer Gregory Hutchinson. From the beginning, it becomes obvious that we are listening to a finely-poised craftsman, a player in full control both of his instrument and his musical intent. The ten numbers reflect a rich spectrum of creative inspiration coupled with a dormidable technique, from a sinewy "Courage", a spaciuosly dramatic "Belonging", a playfully Coltranish "Balance", to a beautifully restrained "Twilight...And Beyond", or a mischievously rhythmic "Last Rites of Rock 'N' Roll". The accompaniment here is ideally suited to his diverse explorations. Highly recommended. JS

Warner Brothers 47465 To Order


Jon Regen Trio - "Live at the Blue Note"

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Joined by veterans Ray Drummond (bass) and Yoron Israel (drums), the youthful pianist marks his recording debut with this album (1998), joined by another aspiring musician, Joel Frahm (sax), on 3 of the 7 tracks. A student of Kenny Barron, Regen reflects some of those admirable qualities of his teacher - a disciplined energetic approach, an inventive vibrancy, a deft touch coupled with a strong lyrical sensibility. His surety at the keyboard is especially evident in the playfully imaginative handling of the two standards "You Don't Know What Love Is"/"Young and Foolish", while his own tributes to Bill Evans "For Evans' Sake" and Bud Powell "Un Poco Loco" suggest an insightful backward glance into the workings of the two giants of the piano. Saxophonist Frahm fits in well with the trio, tastefully showcasing the full range of his instrument from a delicate "Young and Foolish" to a gutsy "Humbug". Quartet or trio, this is an excellent first outing on disc. JS

PED 4909 To Order


Lenny Popkin - "Lenny Popkin"

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If my memory holds, I last recall this trio of Popkin (tenor), Rich Califano (bass), and Carol Tristano (drums) in a quartet context with pianist Connie Crothers. For that recording, as well, there was little significant information in liner notes to shed light about the respective players. Clues seem to be evident, however, in the name "Tristano", and the warmly oblique Marsh/Konitz sounds of tenorman/leader Lenny Popkin. Most of the numbers are foreshortened, intended, perhaps, to maintain an uninterrupted flow of ideas. The result is a serious intensity of approach ranging from the relaxed and easy "Trio" or "Lifeline", the bittersweet balladic "I Surrender Dear" and "Ballad", to the cooly discursive lines of "Orion" or "Onyx". The subtle and finely-tuned rapport of the players is never in doubt. Not for everyone, however. JS

Lifeline 101 To Order


Susannah McCorkle - "How Do You Keep the Music Playing"

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Reiterating my own superlatives from previous website reviews, Susannah McCorkle is a refreshingly innovative delineator of the popular song book, both standards and the unexpected, a refurbisher of the obscure, a singer of consumate care with a beguiling delivery, a happy amalgam of the best of Peggy Lee, Doris Day, and Lee Wiley (among others). This is apparently the first release on CD of a 1985 session, with support from the quintet of Ben Aronov (piano), Steve LaSpina (bass), Joe Cocuzzo (drums), Al Cohn (tenor), and Gene Bertoncini (guitar). McCorkle swings to Cohn's sax with "A Fine Romance", tones down "There's No Business Like Show Business" to a heartfelt affirmation, toys playfully with the lyrics to Dave Frishberg's "Blizzard of Lies", huskily captures the pathos behind "By The Time I Get To Phoenix", sensuously butters the words to "Where or When" or "Poor Butterfly", melds wistfully to the Latin beat of Jobim's "Outra Vez". And there are five other tunes, each treated to her unique vocal interpretation. Sccompaniment is superbly in sync. JS

The Jazz Alliance 10036-2 To Order


Chuck Israels Quartet - "The Bellingham Sessions: vol 1"

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This review is made difficult by Chuck Israels' liner quote: "If verbal description is necessary in order to guarantee understanding and appreciation, then some essential element is likely to have been left out of the musical expression". However, since good music always speaks for itself, my impressions come without any solid guarantees. Propulsively swinging from the onset to the familiar lines of Ellington's "Johnny Come Lately", the quartet eases into Israels' melodically attractive "Chaconne a son Gout" with solid exchanges from Dan Faehnle (guitar) and Miles Black (piano), to the gentle strains of the traditional "Shenandoah" shared by piano, guitar, and bass (Israels). Such comfortable shifts in mood and tempi, highlighted by the imaginative interplay of Israels and drummer Donald Bailey, afford soloists opportunities for extended improvisation within a consistent framework, notably on Billy Strayhorn's "Blood Count", Israels' own "Margot's Mood", and his lightly Latinized "Decapolypso". One guarantee is ensured: You'll enjoy the music on this disc. JS

Audio Ideas 011 To Order



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