When it comes to combining jazz with European folk idioms, the Scandinavians haven't quite got the monopoly. George Mraz and Emil Viklický have been creating their beautiful blend of jazz and Moravian music for years, although this is their first purely duet album. In their hands the two idioms seem made for each other. The first of these 11 pieces could almost be a kind of blues. Mraz, long a US resident, is one of the most famous bassists in jazz, while pianist Viklický is one of the Czech Republic's top film composers.
…This, and the other Chesky 'New York Sessions' must count as one of the finest modern (in the sence of recent) jazz efforts on SA-CD.
The fifth volume in the Concord Duo Series matches pianist Adam Makowciz and bassist George Mraz in a concert at the Maybeck Recital Hall; both musicians are virtuosoes originally from Eastern Europe who found fame in the U.S. On what is very much a duo set, Mraz gets nearly as much solo space as Makowicz. Their repertoire mixes together six fresh renditions of standards with four of the pianist's complex originals and the harmonically advanced music (which features plenty of close interplay) has enough variety to continually hold one's interest. ~Scott Yanow, All Music Guide
The wonderful communication between these instruments produces an intimate and expressive masterpiece. Also included in this cut, Stella by Starlight! The XRCD is from the very rare JVC // TBM Recordings series of out of print, audiophile CDs. Extended Resolution - 20-bit Digital Technology, K2 Super Coding.
This is an excellent record of Sunao Wada (g) feat. Hitomi Ueda (vo), Ushio Sakai (org), Yoshio Ohtomo (as), George Otsuka (ds), Mitsuaki Furuno (b), Takao Uematsu (ts) & more. "Blues for bird" is an amazing TBM (Three Blind Muce) CD. This album records many splendid songs … In particular Charlie Parker's cover "Now's the time" is very groovy Japanese Jazz. This is a Japanese Jazz classics.
A tremendous album from flute man Sam Most – a record that really shines strongly amidst the rest of his catalog – and one that has us completely reevaluating our understanding of his sound! By the time of this set, Sam had been blowing for a few decades – most famously on Bethlehem Records sessions of the 50s, but also on a number of other records over the years – yet this album has the musician emerging as a stunningly strong voice on his instrument – playing the flute with all of these low, deep tones that are quite a change from more mainstream jazz flute of the decade – especially in fusion or crossover soul. There's a wonderfully moody vibe to the album – laidback, but never sleepy – and cast out perfectly with a group that includes Kenny Barron on piano, George Mraz on bass, Walt Bolden on drums, and Warren Smith on percussion.