Mehr als fünfzehn lange Jahre hat es gedauert, bis Jazz-Ikone Lisa Ekdahl nun endlich auch eine ihrer unnachahmlichen Liveperformances verewigen liess. Auf "At The Olympia Paris" präsentiert sie der Hörerin das ausverkaufte Abschlusskonzert ihrer fulminanten Europatournee aus 2009/2010 und interpretiert, neben einigen eigenen Songs, vor allem zeitlose Jazz-Standards wie "April in Paris", "Nature Boy" oder "Tea for Two" - natürlich in gewohnt Ekdahl`scher Manier.
Pianist Geri Allen has thus far been a very consistent performer, and all of her recordings are easily recommended. This particular set finds her in a trio with bassist Ron Carter and drummer Tony Williams performing six of her originals along with six jazz standards. Allen's style is fairly original, with hints of Herbie Nichols, and her chancetaking but logical solos are generally quite stimulating. ~Scott Yanow, All Music
Another sparkling gem in Leszek Mozdzer’s rich catalogue, Between Us and the Light (which, as far as I know, despite its English title has been published only in Poland) sees the Polish piano genius in a jazz trio context, alongside Swedish bassist and cellist Lars Danielsson and Israeli percussionist Zohar Fresco. Like the previous album of this exciting trio (2005’s The Time), Between Us and the Light has garnered double platinum award in Poland. It’s not difficult to understand why. Highly recommended. (Source: babelogue)
winds up sounding more like Back in '72 than its immediate predecessor, Seven, largely because Bob Seger threaded reflective ballads and mid-tempo laments back into his hard-driving rock. He doesn't shy away from it, either, opening with the lovely title track. And why shouldn't he? These ballads were as much a part of his success as his storming rockers, since his sentimental streak seemed all the more genuine when contrasted with the rockers. If anything, might err a little bit in favor of reflection, with much of the album devoted to introspective, confessional mid-tempo cuts. There are a couple of exceptions to the rule, of course — "Katmandu" roars with humor, and his cover of "Nutbush City Limits" shames Tina Turner's original — but they are the only full-throttle rockers here, with "Black Night" coming in as a funky, swaggering cousin. It's the exact opposite of Seven, in other words, and in its own way, it's just as satisfying. Occasionally, it might be a little too sentimental for some tastes, but it's all heartfelt and he's written some terrific songs here, most notably the album's heart of "Jody Girl" and "Travelin' Man." Seger had started turning inward, searching his soul in a way he hadn't since the since-disowned Brand New Morning, and in doing so, he was setting the stage for his first genuine blockbuster.
Marcella Puppini is a singer-songwriter. She is the founder of The Puppini Sisters, a radio presenter on Shoreditch Radio, an orchestra conductor and the lead singer of Marcella and The Forget Me Nots. It does not come as a surprise that Marcella Puppini should have gathered around her, from all over the world, several different collaborators for her solo debut; all very different from one another, some slightly bonkers; some well known, some unknown, indie, irriverent and unexpected. Everything is Beautiful, a project she descrbes as “Electronic Vintage, with an intoxicating blend of Swing House, Electronic Motown-Pop, Fellini-esque waltz-hop and soaring ballads”…