Patricia Barber: Companion (1999)

Patricia Barber: Companion (1999)

As one who has absorbed the jazz art form and expanded upon that by blending her unique delivery with other known styles, singer/pianist Patricia Barber reaches out and grabs the cerebral element in her listeners while keeping the swing alive. Her lyrics leave a considerable heap for the listener to reflect upon, while her soft, whispering, slow grind delivery impresses from a jazz and blues perspective. A double major in classical piano and psychology at the University of Iowa, Barber has issued her first five albums in the ‘90s with a broad audience in mind. Her lyrics to "If This Isn’t Jazz" reflect Barber’s true spirit, reminding us of the various areas of jazz that connect with the blues, pop, classical and beat poetry.

While pop classics "Black Magic Woman" and "The Beat Goes On" are refreshing and satisfy a large portion of her audience, Barber’s powerful piano piece "Like JT," inspired by Jacky Terrasson, reaches a different audience. Fortunately, Barber’s is an audience that ignores barriers between pop, jazz, and classical music: listeners who like good music, appreciate the jazz core in her presentation, and realize that her rare talents are fulfilling many needs at once. Highly recommended, Barber’s latest album is but a stepping stone to unique 21st Century jazz with a creative spirit at the controls.

Track Listing: 

The Beat Goes On; 

Use Me; 

Like JT; 

Let it Rain; 

Touch of Trash; 

If This Isn 

Personnel: Patricia Barber- piano, vocal, Hammond B-3 organ; Michael Arnopol- bass; John McLean- guitar; Eric Montzka- drums, percussion; Ruben P. Alvarez- percussion; Jason Narducy- vocal on "Touch of Trash."

Jim Hall and Enrico Pieranunzi: Duologues (2005)

Jim Hall & Enrico Pieranunzi: Duologues (2005)

Personnel: Jim Hall: guitar; Enrico Pieranunzi: piano.

Tracks: Duologue 1; Careful; From E. To C.; Our Valentines; Duologue 2; The Point at Issue; Something Tells Me; Jimlogue; Duologue 3; Dreamlogue.

Duologues is a record of understated beauty that sneaks up on listeners. Greatness and respect is already well-established with both of these musicians given their careers thus far, and one would expect little less than an engaging record. But the ultimate beauty of their association here is how Jim Hall and Enrico Pieranunzi achieve a sense of understated playfulness through stimulating interactivity while dispensing with ego and safe zones.

Although Hall is recognized throughout the world as a guitarist without peer, Pieranunzi has flown under the radar in the U.S. save for his numerous highly rated albums also available on Cam Jazz such as Fellini Jazz (2003) and Doorways (2004). And just as his abilities are on full display there, Pieranunzi's talents are equally on display throughout Duologues. Working in tandem as he does on "Our Valentines," the understated feel that often permeates from the album is highlighted by Pieranunzi's single note runs weaving in and around Hall. Easily shifting gears from gentle ballad to more harried moments of force, the two have a simpatico that has a delicate balance of depth and beauty with no tricks.

There is often no real leader here as both men take the fore and recede in ways that defy the standard solo and comping roles. Although there are moments of upbeat forcefulness like "The Point of Issue" and its rollicking blues inflection, the mood here is one of astute beauty more so than anything else. And if the hardest thing to do in jazz is play a ballad in an open and honest way, these two are certainly masters of the music as they have no issues laying everything bare in a very glaring environment that can expose any imperfections.

Weather Report: Weather Report (1971)

Weather Report: Weather Report (1971)

Originally Released in May 1971, Weather Report was the debut album by the group of the same name. The album was reissued by Columbia Records in 1992. The album was digitally remastered by Vic Anesini in November 1991 at Sony Music Studios in New York City, and then released again under the Sony International label. The style of music on this album can be described as avant-garde jazz with electric instruments. It continues the style of Miles Davis album Bitches Brew (on which Zawinul and Shorter played) but in a more ambient setting and largely acoustic.

Personnel

Joe Zawinul – Electric and acoustic piano

Wayne Shorter – Soprano saxophone

Miroslav Vitous – Electric and acoustic bass

Alphonse Mouzon – Drums, voice

Airto Moreira – Percussion

Track listing

"Milky Way" (Shorter, Zawinul) – 2:33

"Umbrellas" (Shorter, Vitous, Zawinul) – 3:27

"Seventh Arrow" (Vitous) – 5:23

"Orange Lady" (Zawinul) – 8:44

"Morning Lake" (Vitous) – 4:26

"Waterfall" (Zawinul) – 6:20

"Tears" (Shorter) – 3:25

"Eurydice" (Shorter) – 5:45

Jan Garbarek: Visible World (1995)

Jan Garbarek

Visible World

Jan Garbarek soprano & tenor saxophone, keyboards, percussion

Rainer Brüninghaus piano, synthesizer

Eberhard Weber bass

Marilyn Mazur percussion, drums

Manu Katché drums

Trilok Gurtu tabla

Mari Boine vocals

Tracks 

Red Wind

The Creek

The Survivor

The Healing Smoke

Visible World

Desolate Mountains I

Desolate Mountains II

Visible World

Giulietta

Desolate Mountains III

Pygmy Lullaby

The Quest

The Arrow

The Scythe

Evening Land

This 1995 release followed closely on the heels of the enormously successful Officium, Jan Garbarek's meditative collaboration with the Hilliard Ensemble. The same tranquil aesthetic prevails on this release, but the methods and materials differ. Garbarek opts here for the recording studio over the monastery, building up many of the tracks himself with percussion and keyboards as well as the keening, resonant sounds of his soprano and tenor saxes. His compositions emphasize folk-like melodies and ethereal soundscapes, and there's effective work from pianist Rainer Brüninghaus and bassist Eberhard Weber. The often-dramatic percussion from Marilyn Mazur, Manu Katché, and Trilok Gurtu adds ceremonial and world-music touches to some superior work in the New Age genre. --Stuart Broomer

Paolo Fresu: Kind of Porgy and Bess (2002)

Paolo Fresu – Trumpet

Nguyê Lê – Guitars

Antonello Salis – Fender Rhodes, Acoustic Piano, Fisarmonica

Furio Di Castri – Acoustic & Electric bass

Roberto Gatto – Drums

Dhafer Youssef – Voice & Oud

Tracks:

Gone, Gone, Gone

Oh Bess, Oh, Where’s My Bess

I Got Plenty O’ Nuttin’

Oh, Doctor Jesus, Don’t You Be Downhearted

Fisherman, Strawberry And Devil Crab

My Man’s Gone Now

Lo, Bess goin’ To The Picnic

I loves You, Porgy

Bess, You Is My Woman Now

Summertime

The Buzzard Song

Clara, Clara, Don’t You Be Downhearted

What You Want Wid Bess

Ever since hearing the Miles Davis and Gil Evans 1958 recording of George and Ira Gershwin’s ‘Porgy and Bess,’ the internationally known trumpeter Paolo Fresu planned someday to arrange his own interpretation of that historic work. This he did last year with ‘Kind of Porgy and Bess’ and his influences were not confined just to Miles’ work. In his notes he also mentions listening to pieces of the same opera performed by Louis Armstrong and Ella Fitzgerald. Whereas Evans used a nineteen-piece orchestra here we have only a sextet and to complete his version Fresu has also included parts of the original that are completely new to the jazz repertoire.

It is a bold venture and takes considerable experience to make something new and appealing out of the twentieth century classic opera and that is why very few have attempted it. Most tracks are successful and two that appealed were The Buzzard Song and the very plaintive I Loves You, Porgy.

This is contemporary music, well performed, by talented musicians. It will no doubt attract considerable interest. Overall, Paolo Fresu has in his interpretation given credit to the original work. The influence Miles Davis has had on his career is very evident but at the same time refreshing to listen to. This is the first time I have heard these musicians and I thoroughly enjoyed their work.

Jack Ashby

Pat Metheny Group: Letter from Home (1989)

Pat Metheny Group: Letter from Home (1989)

Pat Metheny (Guitars, Midi.), Lyle Mays (Piano,Keyboards.), Pedro Aznar (Voice, Percussion.), Steve Rodby (Bass.), Paul Wertico (Drums), Armando Marcal (Percussion) .

Tracks

1. Have You Heard

2. Every Summer Night

3. Better Days Ahead

4. Spring Ain't Here

5. 45/8

6. 5-5-7

7. Beat 70

8. Dream Of The Return

9. Are We There Yet

10. Vidala

11. Slip Away

12. Letter From Home

A jazz-fusion classic from Pat Metheny's mid-30s, steeped in joy and sensuality. The guitarist's singing, soaring, shimmering sound is tinged with yearning, occasionally sadness--that's a crucial, overlooked aspect of his musical voice. The talented lineup flies assuredly with the brilliant leader, who mans several varieties of acoustic, electric, and synthesized guitars. The electronics of keyboardist Lyle Mays, straight from American front parlors and chapels, brings just the right amount of twist to Metheny's lacings of folk and rock. More shadings and fire come from Mays's accordion and trumpet, and the versatile Pedro Aznar's vocals, marimba, vibes, charango, melodica, and percussion. All but two tracks are by Metheny. His ability to write complex but accessible tunes is undeniable, and his arrangements are inspired. --Peter Monaghan

Paolo Fresu Devil Quartet: Stanley Music (2007)

Paolo Fresu Devil Quartet: Stanley Music (2007)

Paolo Fresu (trumpet, flugelhorn)

Bebo Ferra (acoustic & electric guitars)

Paolino Dalla Porta (double-bass)

Stefano Bagnoli (drums)

1. Another Road to Timbuctu

2. Il Tempo del Sogno

3. Calédonian Flowers

4. Moto Perpetuo

5. Giovedì Listen

6. Dou Dou

7. Medley: Devil's Game/Labbra Bianche

8. L' Afflato Prodromo del Misantropo

9. Il Diavolo E l'Acquasanta

10. Qualche Anno Dopo

Fresu (trumpet, flugelhorn, multi-effects) and co-leader Bebo Ferra (acoustic & electric guitars, multi-effects) are nothing short of stunning here - and Paolino Dalla Porta (double-bass) and Stefano Bagnoli (drums) do much more than simply lay the groundwork to support the soloists, constantly illustrating that they're equal members of this fine quartet. These players have worked together in the past in various settings, and know each other well - a familiarity that makes for almost telepathic communication. Fresu and Ferra, from time to time, are both utilising amazing effects with their instruments - it's hard to tell if there's any overdubbing going on, or if they're managing the multiple layers of sound through electronic means. I suspect it's the latter - the tracks have a `live' feel that's undeniable. Whichever the case, it's extremely effective and contributes enormously to the energy and depth of the performances on this disc, never coming across as `gimmicky' in the least. 

Kicking right in with `Another road to Timbuctu', the opener, the band plays with a bright fire that never goes out, even on the more laid-back, relaxed numbers which temper the energy level thoughtfully. I've heard Ferra play before as well (alongside Fresu on some occasions), and my lingering impression had been of a careful artisan creating incredibly beautiful music on an acoustic guitar. There are tunes here where that is the case - but when the band begins to really cook, he wields the electric guitar and guitar synthesizer to generate some pretty impressive bolts of lightning...but that beauty is always there, never sacrificing melody for volume. 

Fresu's trumpet playing is almost beyond description. I remember reading somewhere that when he played a festival in Europe in the early 80s as a virtual unknown, the great Italian trumpeter Enrico Rava heard him and was astonished at his command of the instrument. His tone is clean and strong - an especially difficult feat on quieter passages - and his breath control is phenomenal. There are several points during this album when I find myself almost holding my breath, waiting for him to end a note - some of them seem to go on forever. 

Return to Forever: Hymn of the Seventh Galaxy (1973)

Return To Forever : Hymn of the Seventh Galaxy (1973)

Studio Album, released in 1973

Songs / Tracks Listing

1. Hymn of the Seventh Galaxy (3:31)

2. After the Cosmic Rain (8:25)

3. Captain Señor Mouse (9:01)

4. Theme to the Mothership (8:49)

5. Space Circus, Pt. 1 & Pt. 2 (5:42)

6. Game Maker (6:46)

Total Time: 42:14

Line-up / Musicians

- Chick Corea / organ, piano, composer, gongs, harpsichord) 

- Bill Connors / guitar, electric guitar

- Stanley Clarke / bass, arranger, composer, guitar

- Lenny White / percussion, bongos, conga, drums

Another raw, uncompromising fusion classic that still sounds wonderfully fresh now, some 30 years after it was unleashed on an unsuspecting public. 

I'm sure this outing dropped some jaws in its day, especially considering that the 2 previous RTF discs (Return to Forever, Light As A Feather) were steeped in airy Brazilian jazz-samba sensibilities. Here, Chick Corea and his trusty bassist Stanley Clarke (just returning to electric bass) would change their whole sound and direction, adding in heavy rock and more orchestrated ensemble playing. An early lineup (which included drummer Steve Gadd, percussionist Mingo Lewis and guitarist Earl Klugh) gave way to the scorching lineup of Corea, Clarke, drummer Lenny White and a young unknown guitarist in the person of Bill Connors. Chick and Stanley's new musings were well served by the 2 new members. Lenny White's drumming combined the best aspects of a great jazz drummer, the ferocious power of a rocker and the funkiness of Clyde Stubblefield (James Brown) or Bernard Purdie. Bill Connors bought to the table a yearning to combine John Coltrane and Cream-period Eric Clapton into a unique musical voice. The new band was NEVER shy about flexing its musical muscles or taking chances right and left. 

The opening title cut makes it screamingly clear that this was a band of great musical minds to be reckoned with, highlighted by tight ensemble passages and reckless abandon working together in amazing ways. The song has a very endearing hanging on for dear life quality to it. "After The Cosmic Rain" gives bassist Stanley Clarke a chance to shine with thick fuzzy propulsive bass lines and a nasty, snarly solo, not unlike a more manic Jack Bruce (in fact, Stanley used the same bass as Jack, a Gibson EB-3, famous for its fuzzy somewhat muddy sound. Shortly after these recordings, Stanley would trade it in for the crisp, crackling Alembic sound that would become his stock in trade.) 

"Captain Señor Mouse" is a classic Corea musing featuring a manic and beautiful flamenco-inspired melody line and a dizzying variety of time changes, plus crafty use of exaggerated dynamics and tight, passionate ensemble work from everybody. "Theme To The Mothership" by stark contrast is a more open-ended full-throttle piece, giving Bill Connors a chance to unleash a soaring melodic solo, beginning with thick slicing sustained notes and gradually building to a barely controlled fury before miraculously landing right on the next ensemble passage. After this, Corea lets forth a brilliant ring-modulated Fender Rhodes solo that would have been right at home on a Soft Machine or Hatfield and the North disc. 

"Space Circus" begins with low-key child-like whimsy before charging into a full-on funk workout, with everybody trading off searing phrases like Muhammad Ali and Joe Frasier in the ring. "The Gamemaker" sneaks up on you with a mysterious series of organ chords and Corea gently musing over the top of it gradually morphing into a repeating keyboard figure that frames the piece that the band picks up on and adds momentum to. From that point, Corea and Connors engage in a duel to the death, beating each other creatively silly as Clarke and White drive it along at a furious pace, leading to a nail-biting unison-passage ending. 

This is a disc that will leave you exhausted in a wonderful way, kind of like a good downhill ski run or roller coaster ride. This is tightly played and orchestrated fusion at its boldest, rawest and uncompromising for its time. While subsequent RTF albums were more refined, and guitarist Al DiMeola may have been a superior technician/chopsmeister, Bill Connors just had a raw soulfulness and passionate abandon that DiMeola could never get close to (plus I happen to LOVE that thick, slicing tone of Bill's). The album's raw, in-your-face production just adds to the charm of hearing a new band flexing its musical muscles and breaking new ground. 

Egberto Gismonti Trio: Zig Zag (1995)

Egberto Gismonti Trio: Zig Zag (1995)

This album brings Egberto Gismonti (mainly at his custom-made violões, just a couple of tracks at the piano), Nando Carneiro (violão, a discrete keyboarding), and Zeca Assumpção (double bass). The album comprises a broad dynamic range, from the peaceful, melancholic, and meditative to the aggressive, percussive, and dissonant. It brings a major difference from albums such as Dança Das Cabeças in the sense that the musical themes are delivered in a more direct manner, while Dança was more ambiguous. From the excellent music of this album, the northeastern-inspired bass solo of "Orixás" and the beautiful theme "Forrobodó" can be mentioned.

 

Title

1 Zig Zag   Gismonti      11:06

2 Mestiço and Caboclo Gismonti 15:12

3 Orixás   Gismonti   9:19

4 Carta de Amor Gismonti 3:59

5 Um Anjo Gismonti 5:59

6 Forrobodó Gismonti 8:59

Zeca Assumpção Double Bass

Nando Carneiro Guitar, Synthesizer

Egberto Gismonti Guitar, Guitar (10 String), Piano

John Scofield: Bump (1999)

John Scofield has always been a jazz improviser in funk-rocker's garb, from his days at Berklee College of Music to his three-year stint touring and recording with Miles Davis in the '80s. He follows up his much-acclaimed Medeski, Martin & Wood collaboration A GO GO with another all-star groove fest that burrows ever deeper into the funk.

Scofield spins a rainbow of tone colors from his electronic trick bag while his guests-Medeski, Martin and Wood bassist Chris Wood, Soul Coughing sample wizard Mark De Gli Antoni, and the rhythm sections of jam band faves Sex Mob and Deep Banana Blackout--keep the big beats flowing. "Three Sisters" and the stuttering "Drop & Roll" are Crescent City soul struts peppered with wah-wah, digital delay and the guitarist's axe run through a Leslie organ amp. And for a little Latin flavor, Scofield kicks it with a seductive, samba-fied trio on "Swingnova."

Recorded at Avatar Studios, New York, New York in 1999.

Personnel includes: John Scofield (acoustic & electric guitars); Mark De Gli Antoni (keyboards); Tony Scherr, Chris Wood (acoustic & electric basses); David Livolsi (electric bass); Eric Kalb, Kenny Wollesen (drums); Johnny Almendra (bongos, congas, tambourine, percussion); Johnny Durkin (congas).

01. Three sisters

02. Chichon

03. Beep beep

04. Kelpers

05. groan man

06. Fez

07. Blackout

08. Kilgeffen

09. We are not alone

10. Swinganova

11. Drop and roll

12. Kilgeffen (reprise)

Keith Jarrett: Dark Intervals (1987)

Keith Jarrett-Dark Intervals (1987)

1 Opening 12:51  

2 Hymn 4:55  

3 Americana 7:05  

4 Entrance 2:54  

5 Parallels 4:56  

6 Fire Dance 6:50  

7 Ritual Prayer 7:10  

8 Recitative 11:16

Recorded live at Suntory Hall, Tokyo, Japan on April 11, 1987.

Recorded live in Tokyo in 1987, DARK INTERVALS is a somber work, as its title suggests. The eight pieces range from the hypnotic and melancholy "Opening," to the Copland-esque "Americana." This set is of a piece with Keith Jarrett's more composed and near-classical works, rather than his solo explorations which are grounded in his mix of jazz, gospel, and folk (as on THE KOLN CONCERT, SUN BEAR CONCERTS, and FACING YOU).

It's a well-linked set; all of the pieces adhere to their introspective moods and move along with a mid-tempo grace. The sound is exceptional--this could well be a studio recording for all its rich warmth, though the applause at the end of each piece reveals otherwise.

Solo performer: Keith Jarrett (piano).

Personnel: Keith Jarrett (piano).

Recording information: Suntory Hall, Tokyo, Japan (04/11/1987).

...This music is incredible. KJ didnt hold anything back when playing this (as if he ever did). these are unusually short for keith, but not lacking in quality at all. while this may not be one of keith's more celebrated works, it is excellent, and, keith himself included two tracks from this cd on his recent release of selected recordings (as ECM recently did with many of their artists). my favorite track on the cd, which also happens to be one of the ones that keith selected for the recent ECM release, is 'Americana'. this song is absolutely beautiful and im sure i've listened to it hundreds of times. i know that i've left that song alone on repeat both while in bed and while on the comp. late at night. this was some of the first KJ i ever heard on his own (i had heard him w/ miles before, but thats very different). i highly recommend this cd to anyone interested in great dark improvised piano. another great example of keith's genius and ability to utilize his masterful technique when he chooses, but, more importantly, to restrain his use and speak with fewer notes when he so chooses also. keith is a master of the keys, but doesnt use this ability for show; he is one of the most tasteful pianists to ever live and knows how to use understatement

Jacky Terrasson & Cassandra Wilson: Rendevous (1997)

Jacky Terrasson & Cassandra Wilson: Rendevous (1997)

Tracklist

1. Old Devil Moon

2. Chan’s Song

3. Tennessee Waltz

4. Little Boy Lost

5. Autumn Leaves

6. It Might As Well Be Spring

7. My Ship

8. I Remember You

9. Tea For Two

10. If Even I Would Leave You

11. Chicago 1987 

Musicians

Jacky Terrasson - piano, electric piano

Cassandra Wilson - vocals

Lonnie Plaxico, Kenny Davis - bass

Mino Cinelu - percussion

Throughout Cassandra Wilson's career, jazz critics have been presuming to tell her what to do. Instead, she maintains her own impressive balance among jazz standards, other popular songs, and originals, and among a "jazz" approach, a guitar-based country blues spareness, and art-pop inspired by one of her greatest influences, Joni Mitchell. Here she reminds us that she can bring tremendous freshness to standards. Star pianist Jacky Terrasson makes it almost easy for her. His standout contribution, though, is a tinkling, decidedly late-autumnal solo "Autumn Leaves." Bassist Lonnie Plaxico and percussionist Mino Cinelu contribute impressively on a trap-setless disc, on such numbers as a sad-soul "Tea for Two," and a slowed, bluesy rendition of "Tennessee Waltz." --Peter Monaghan

These 2 supreme contemporary jazz talents have collaborated on what will become known as a classic jazz record. Each artist graciously allows the other to shine throughout this incredible recording, but without over-the-top flourishes and histrionics - this is a pure, soul-filled jazz recording, a smoky smooth effort. All players on the album contribute, each putting their own stamp on the result - a rare treat. 

Tord Gustavsen Trio: Being There (2007)

Since its 2003 ECM debut Changing Places, pianist Tord Gustavsen's trio has gradually been working its way out of a core concept that initially mined a surprising and remarkable wealth of what, on first glance, appeared to be a limited scope of tempo and dynamic. Like an ever-expanding series of concentric circles, Gustavsen, bassist Harald Johnsen and drummer Jarle Vesperstad have evolved their approach, introducing greater breadth so subtly that, unless one listens to previous albums including The Ground (ECM, 2005), one might think that little has changed.

To say that Being There is the trio's most extroverted album yet, still needs to be contextualized within the framework that has defined the group since its inception. The opener, "At Home," possesses the same slow-tempo melancholy so prominent on Changing Places, with Vespestad continuing to approach his kit so gently that, rather than striking it, he almost seems to be breathing on it. But within the first thirty seconds of "Vicar Street" it's clear that the trio is entering new territory. More rhythmically insistent, and with an opening vamp occupying nearly half the tune before Gustavsen's ever-lyrical theme emerges, it's not exactly aggressive, but it's clearly a more assertive stance for this typically understated group.

That's not to suggest that the trio's attention to nuance has been abandoned. It is, in fact, their keen attention to space, dynamic and tempo (which for many would be nearly imperceptible shifts) that speaks so powerfully. Still, while Gustavsen has long been influenced by the sounds of gospel, blues and the music of New Orleans, he's not previously written a piece as plainly funky as "Blessed Feet," or as energized as the Spanish-tinged "Where We Went."

Being There is the first album to feature writing by someone other than Gustavsen, although it's clear that Johnsen, who contributes the bittersweet "Karmosin," is no less melodically-minded. There's a tempo to be found, but the trio approaches it so elastically and with such avoidance of the obvious, that it's barely felt.

A trio that so steadfastly avoids overt displays of virtuosity might challenge the more literal-minded to question its garnered acclaim. As silence can sometimes speak as loudly as thunder, and insofar as careful elaboration of melody can be just as compelling as more vivid expansion, Gustavsen's trio makes a clear case for the elusive power of restraint. Consistently beautiful while evocatively resonant on a larger scale, Being There finds the trio continuing to develop its distinctive aesthetic, where the spaces between the notes have equal value to the notes themselves. 

Track Listing: At Home; Vicar Street; Draw Near; Blessed Feet; Sani; Interlude; Karmosin; Still There; Where We Went; Cocoon; Around You; Vesper; Wide Open. 

Personnel: Tord Gustavsen: piano; Harald Johnsen: double-bass; Jarle Vespestad: drums. 

Flora Purim: 500 Miles High (Live at Montreaux) (1974)

Flora Purim - 500 Miles High (1974)

Live at Montreaux

Tracks

1 O Cantador

2 Bridge

3 500 Miles High

4 Cravo e Canela (Cinnamon and Cloves)

5 Bahia

6 Uri (The Wind)

7 Jive Talk

Recorded when she was at the peak of popularity, a result of her stint with Chick Corea's Return to Forever, 500 Miles High presents Flora Purim in concert at the 1974 Montreux Jazz Festival. Accompanied by an all-star band including guitarist David Amaro, flutist Herbie Mann, keyboardist Pat Rebillot, bass legend Ron Carter, and husband (and star in his own right) Airto Moreira on drums, vocals, and various percussion, the Brazilian songstress delivers a fiery performance that must have been a joy to behold. Strictly speaking, this is really more of a band album than a Flora Purim album, as Airto and the guys are featured for extended instrumental romps. However, when Purim is in the spotlight, her vocal magic lifts the proceedings to a high level. The trademark "500 Miles High" is wilder and more electric than in its Return to Forever studio version. Special guest Milton Nascimento leads the ensemble through his "Cravo e Canela" (Cinnamon and Cloves), a joyously percussive highlight of the show. Elsewhere, Airto joins his wife for a vocal give-and-take while the band cooks along underneath. The lengthy set closer, "Jive Talk," is really more a showcase for him than for his wife, but when it kicks into high gear, it provides a scorching climax highlighted by the twosome's wordless vocals. Although a fine document of her live show, 500 Miles High is probably not the best place to go for an introduction to the vocal artistry of Flora Purim. Stories to Tell and Butterfly Dreams would serve this purpose better, as would Corea's Light as a Feather. Nonetheless, it's an enjoyably eclectic and exciting outing.

Rosario Giuliani: More Than Ever (2005)

Rosario Giuliani : More than Ever (2005)

Personnel

Benjamin Henocq - drums

Rosario Giuliani - soprano saxophone, alto saxophone

Remi Vignolo - double bass

Also: Jean-Michel Pilc (Piano), Richard Galliano (accordion)

Traks

1 More Than Ever

2 Seven Thoughts

3 Dream House

4 I Remember Astor

5 J.F.

6 Mr. R.G.

7 Suite et Poursuite I, II, III

8 Monsieur Martin

9 London By Night

10 Bianco E Nero

In his handful of releases stateside prior to this disc, Rosario Giuliani, a youngish Italian alto and soprano player, always displayed monster chops, great timing, and a rather staid bop/post bop/hard bop jazz vocabulary. And not much more. 

All that changes here. Refining the Jackie McLean/Phil Woods balls-to-the-wall approach, he's as likely here to go for a skewed, skitterish phrase as pound the metal to the floor. But perhaps the biggest difference is the overall musical context into which he's chosen to situate himself. It was a great decision to bring pianist Jean-Michel Pilc on board for half the numbers, and nearly as great to have Richard Galliano on accordion for just about the other half (they play together on one selection). 

Pilc is fast becoming one of the stellar jazz pianists of his generation, right up there with Brad Mehldau and Jacky Terrasson. Here his technique dazzles and coruscates as he pulls off one impossible passage after another, all squarely within the tune's vibe. Blessed with a spectacular sense of rhythm, he dances, spins, stutter-steps, stops, and starts, all the while painting a brilliant soundscape. His athletic pianisms jolt Giuliani out of his boppish comfort zone and goad him into some very deft, pleasing, and sophisticated solos. 

Galliano works similar but slightly different magic. His playing, coming from some ur-folk place, has so much depth of richness and emotion as to be almost overwhelming. He educes a poignancy and heartfelt character out of Giuliani that I've never heard from him before. Both Pilc and Galliano seem completely into the vibe here, and both produce some of their finest playing on record. 

As for the leader, as sometimes happens, he seems to have suddenly, overnight, come completely into his own distinct voice. There's a freedom and loose-limbedness in his playing where it used to be slightly pinched and restricted. He still retains that slightly sour sound favored by many modern altoists, but he's found a much greater range of expression and emotion, as well as a richer timbre, in this latest outing. 

A note about the rhythm section. Drummer Benjamin Henocq plays his butt off, deploying apposite world percussive, post-bop, and polyrhythmic stylings, and generally manhandling his kit in an entirely convincing display of controlled drumming pyrotechnics. And Remi Vignolo on double bass acquits himself admirably. 

An entirely satisfying outing, marking a huge advance in the career of Rosario Giuliani.