No, Anne Pacéo is not a "jazz drummer" like the others. Nothing surprising then that her fourth album is also … different? With Circles, stylistic borders fade, received ideas crumble and creativity turbines at full throttle! Between songs and instrumental thrusts, telluric rhythms and libertarian breaths, these Circles unfold an organic groove, poetic and inspired. Solidly anchored in the current jazz scene but always eager for "other" collaborations, as was the case with Jeanne Added, Mélissa Laveaux and China Mose, Anne Paceo surrounded herself here with singer Leila Martial, saxophonist Emile Parisien and Tony Paeleman for keyboards. The drummer says it herself, this opus was designed differently. "Circles is the culmination of a long-term success over the last four years..
Working a bright, innovative corner of Latin jazz and drawing on Jamaican, Afro-Cuban, Venezuelan, and Peruvian rhythms to create a hybrid mosaic (as the title suggests), the loose, rotating collective that is the Caribbean Jazz Project manages to be many things at once, including a dance band with a hard bop sensibility, and at times the ensemble comes close to being a new age chillout orchestra. Whatever label they wear, CJP have a bright, infectious sound, led by vibraphonist Dave Samuels' bubbling and watery tones and, on three tracks here, the amazing talking steel drums of Andy Narell. Violinist Christian Howes guests on Samuels' "Slow Dance," giving it a wonderfully eerie and wheezing feel.
They are young. Already large. And the head crowned with laurels many (first price RéZZo Focal Jazz à Vienne and Jazz Springboard La Defense in particular). But this time, the case escalates to Uptake who published his first album So Far So Good at Jazz Village. Bursting with energy and groove, this quartet from the Lyon scene is already a master in the art of interplay, the accomplice way to circulate and combine all the music in freedom … A four Bastien Brison piano and Rhodes, Pierre Gibbe on bass, trombone and Robinson Khoury Paul Bern on drums built a repertoire consisting essentially of compositions they say influenced the new generation of American musicians like Jason Lindner, Robert Glasper or Robin Eubanks.
Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form.
This album was released on the occasion of the 20th anniversary of the North Sea Jazz Festival. It contains live recordings of John Patitucci, Spyro Gyra, Russ Freeman & The Rippingtons, B.B. King, Chick Corea, Robben Ford and Gary Burton. All songs were recorded live during various editions of this festival.
This date followed Calvin Keys' first, Shawn Neeq, by about two years. Hazy, psychedelic, post-bop is the order of the day here as well, but as most soul-jazz collectors will tell you, there's always a chance for some monster funk on a Black Jazz record so, as predictable as these releases may be on the surface, you never really know until you hear them. In this case, the bomb drops at the beginning of Side Two with "Aunt Lovely." While probably a little too 'out there' for most dance floors, "Aunt Lovely" begins like some of the best funky Grant Green of the era. As the track progresses, though, it gets more than a little hectic – especially during Charles Owens' Pharoah Sanders-esque soprano solo. Kirk Lightsey's overdriven and distorted electric piano only serves to add to this tension later.
Although not released until 2000, the tracks on Eartha Kitt's THINKING JAZZ were recorded at a studio session in 1991 and a German live date in September, 1992, towards the end of Kitt's self-imposed European exile. This is one of Kitt's most straightforwardly jazz-oriented albums, with none of her usual pop and cabaret overtones. The five-piece combo playing behind her-clarinet and tenor saxophone plus rhythm section-is tight and economical, and the arrangements give each member room to stretch out without dissolving into extended jams. Kitt's spectacular voice remains front and center throughout, although the instrumental "God Bless the Child" that provides the link between the studio and live material shows that even without her contributions, this would be a swinging album.
Mercoled 27 aprile, il concerto di Francesco Bearzatti con una "Special Edition" del Tinissima Quartet che oltre allo stesso Bearzatti al sax tenore e clarinetto, vedr sul palco: Giovanni Falzone, tromba, Danilo Gallo, contrabbasso, Zeno De Rossi, batteria e ospiti speciali, Mauro Ottolini, trombone e Enrico Terragnoli, chitarra. Tinissima non un classico quartetto jazz (almeno per me) ma una vera band, una "combact band" consacrata alle biografie musicali di personaggi che si sono battuti per gli ultimi, per gli emarginati, per i "non aventi diritto".
This was one of the great touring and recording bands of the 1980s, Harrell and Woods inspiring each other and the rhythm section inquiring and swinging. Woods didn't need to change anything about his own style, but it blossoms anew in counterpoint with Harrell's lyrical fire, and each album is handsomely programmed and delivered … Flash, the final album with Harrell (who has since been replaced by Hal Crook as the front-line horn), has the edge of some outstanding composing by the trumpeter – "Weaver" and "Rado" are particularly sound vehicles – and Crook's extra tones on a few tracks.