As this duo session’s title implies, the warm acoustic of the studio in Lugano in which it was recorded is an active participant too. Drawing on material old and new, the group makes a strong, uplifting statement for artistic conviction as well as social and political justice, as made explicitly clear by Moor Mother’s impassioned, rabble-rousing call for resistance and victory on the title-track. 10 Modern Jazz Albums To Listen To. Finding Gabriel signals a radical departure from Mehldau’s very recent recording projects, namely his stellar acoustic trio’s Seymour Reads the Constitution and solo piano investigations of JS Bach on After Bach. But whether recent or current, nothing stops Corea’s irrepressible musicality and pleasure in jamming with kindred spirits from exerting its melodiously laidback charm. Ten original, wildly different tunes are buoyed by a band of young London Turks including guitarist Rob Luft and double-bassist Misha Mullov-Abbado, who play, tease and solo their way through the likes of the eponymous opener, in which Zawadzki’s clarion voice tells of regeneration and rebirth; a bittersweet, time-bending ballad, ‘Keeper’, and a long psychedelic instrumental suitably titled ‘Twisty Moon’. As exemplified on the fine opening track, ‘Another London’, Janisch’s band also fashions ear-catching textures by drawing on vocabulary that may have been once decried but could be creeping back into fashion, such as the string-like synthesizer pads of late 1970s/80s fusion. Grenfell Tower’s stubborn symbol of murderous social schism stands accusingly at the record’s heart, as ‘Wake (for Grenfell)’ turns a Langston Hughes line into a mournful work-song chant, pointedly soured by Kinoshi’s tart alto tone. Rec. The programming is well thought through, with a sumptuously romantic ‘Save The Last Dance For Me’, followed by the freest cut of the set, a gnarly but not alienating ‘Mumbo Jumbo’, before we revel in the dramatics of ‘You Only Live Twice’ and a melancholic but life-affirming ‘Lush Life’. 2018. The ensemble instrumental palette is an eclectic one, and the soundscape is agitated and ominous in places but for the most part is dream-like, kaleidoscopic, and a bit trippy. Naturally, it helps to have Petra Haden on board. Poet Xana adds transcendent tower-block dreams in which, “my heart bursts out of my chest like a rocket/As I gather stars in my pocket”. Free-improv-meets-serialism it may be, but these three constantly unveil their diverse but devoted jazz roots. The tunes are well-crafted with ‘Råk’ a highlight, switching from a hammering metal riff to Miles-like funk-rock with Wesseltoft excelling on a raw Fender sound. A joyful listen. Andy Robson, ➜ Read our Thomas Morgan interview: “For me music has always been the most natural and the deepest way to share something with people”, Joe Lovano (ts, tarogato, perc), Marilyn Crispell (p) and Carmen Castaldi (d, perc). Music that’s so studio based, so long in the pot, can grow fussy, over-egged: but, helped by partner and producer Noel Langley, Ahmed has kept a light touch, mixing large ensemble themes with threads of electronics, a little anarchy from her Kaoss Pad, and an array of soloists, notably women, who contribute spark and edge. | All rights reserved, “If this isn’t a candidate for record of the year from many reviewers, I’ll be very surprised…” so began Alyn Shipton’s prescient five-star review of the Branford Marsalis Quartet's, The Secret Between the Shadow and the Soul, Michael Janisch: “People have become so tribal, which is what humans do anyway. The album also features a hair-raising performance by the late Kenny Kirkland. Bugge Wesseltoft, for his jazztronica innovations with his New Conception of Jazz and Berglund and Öström for their contribution to the highly influential EST, the piano trio that gave birth to a million other contemporary Euro-jazz piano trios. Owing much to the style of Warne Marsh, Dharma Days eerie and oddly beautiful compositions foreshadowed the cerebral mood with which Turner and guitarist Kurt Rosenwinkel would later achieve more widespread renown in the modern jazz scene, like with the live album The Remedy (Artistshare, 2007). Trumpeter Collins assembled a spectacular line-up for this very impressive album, balancing an all-American rhythm section with a strong UK frontline. Or rather, simply listen to these modern jazz artists who will get you nodding and snapping along off the bat.. Herne Hill, Lovano’s dialogue with Crispell’s piano on ‘Seeds of Change’ eerily invoke Bobby Wellins’ and Stan Tracey’s ‘Starless and Bible Black’ for this listener, the brief unison melodies in ‘Razzle Dazzle’ and ‘Sparkle Lights’ invite quietly scintillating piano/sax conversations, and Lovano on the Hungarian tarogato dreamily and then urgently reacts to Castaldi’s intensifying snaps and clangs on ‘Mystic’. Andy Robson, ➜ Read our Yazz Ahmed interview: “Music has helped me identify who I am”, Matana Roberts (as, cl, v), Hannah Marcus (g, acc, fiddle, v), Sam Shalabi (g, oud, v), Nicholas Coloia (b, v), Ryan Sawyer (d, vib, jaw harp, bells, v), Steve Swell (tb, v), Ryan White (vib), Thierry Amar, Nadia Moss, Jessica Moss and Ian Haysksy (v). There’s also a diversity of styles that keeps the listener curious and surprised. October 2017. But Mehldau tackles it from an interesting alternative perspective, honed from several years absorbing religious texts. The Dave Holland Quintet’s Extended Play: Live at Birdland (ECM) marked the peak of bassist Dave Holland’s power group, featuring drummer Billy Kilson, saxophonist Chris Potter, trombonist Robin Eubanks, and vibraphonist Steve Nelson. With many artists and extensive catalogues of music, a new jazz listener can feel intimidated. Rec. But Kinoshi’s debut bursts with often achieved ambition, and time is on her side. Roberts has kept her conceptual focus and creative engine finely tuned to deliver work that has structural invention and a deep poignancy that should move anybody interested in real lives. Featuring new lyrics by Imogen Ryall to an Andy Bey scat solo, the title-track, ‘Believin’ It’, crystallises all of Martin’s outstanding qualities: infallible pocket, dazzling technique, lustrous timbre and phrasing to die for. Moreover, he is in the producer’s chair and his programming and effects bring additional nuance to the mix, filtering and thinning out a vocal to make it a touch more wistful, or drawing a sensual digital muffle over some of the synthesizer parts. Lacking the obvious thematic baggage elsewhere, that tune floats free into its own atmosphere. For the folks out there who think jazz is just bland elevator music, listen up! 0208 677 0012, © MA Music, Leisure & Travel Ltd And as we have traversed this great genre of music, we’ve turned a bit of a blind eye to more modern releases. 30-31 October 2018. Other surprises abound: bet you don’t see ‘Men of Harlech’ coming on the Suffragette-inspired ‘Deeds Not Words,’ or the brass spikes that crunch against the Mardi Gras piano rolls of ‘Ruby Bridges’. 2018. 2016-2019. It’s quite scary at times, and that’s what Worlds Collide is about”, Alice Zawadzki: “This pain of Spring often comes from the way we lay ourselves on the line again and again, especially in love”, Yazz Ahmed interview: “Music has helped me identify who I am”, Abdullah Ibrahim interview: "In our music there’s no such thing as a mistake and, actually, maybe in life itself there’s no such thing as a mistake either ", Double-bassist Thomas Morgan: “For me music has always been the most natural and the deepest way to share something with people”, Gwilym Simcock: “I want to have an emotional experience when I listen to music.
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