German pianist Julia Hülsmann offers a view from the outside, entrusting the raw emotion to tenor saxophonist Uli Kempendorff. Sarah Tandy splits keyboard duties with Joe Armon-Jones, but it’s her Rhodes’ glistening, slow flow which adds impressionistic colour, on ‘Mirrors’ especially. 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. John Fordham. As the 78-year-old Chick Corea reminded UK audiences at this summer’s Love Supreme festival, wear and tear doesn’t touch the relish, grace and inventiveness with which he has performed in a multiplicity of styles all his life. 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. 2019YearinReview, Jazz, RSX. As well as singularly beautiful versions of the Ivan Lins classic, ‘Love Dance’, vibist Joe Locke’s Bobby Hutcherson tribute ‘A Little More Each Day’ and the Gordon Jenkins/Johnny Mercer standard, ‘P.S I Love You’, there are deeply swinging takes on Curtis Lewis’s ‘The Great City’ and Roc Hillman’s ‘Come Runnin’ (Martin’s own homages to Shirley Horn and Lena Horne respectively), there are stellar re-imaginings of Joni Mitchell’s ‘You Dream Flat Tires’, Michael Franks’ ‘Rainy Night in Tokyo’, plus John Surman and Karin Krog’s enchantingly folk-like ‘Cherry Tree Song’. Nor is this all Frisell: ‘Red River Valley’ is done a capella; some treatments are straightahead, and are the more emotionally direct for that: ‘God’s Wing’ed Horse’ is breathtakingly beautiful, while others, like the climactic ‘Where Have All the Flowers Gone’ is re-visioned deep, dead and blue, with no escape from the minimalist chording. Fluid. Veteran underground shapeshifters the Flying Luttenbachers mashed together styles on a pair of new albums, grafting death-metal aggression onto bits of modern composition and No Wave–y art-funk, with plenty of live-wire improvisation, while Sunwatchers explored their own ecstatic yet party-friendly punk-jazz hybrid on their galvanizing opus Illegal Moves (an album that sported maybe the year’s best cover art in any genre). Dedicated to Thelonius Monk, ‘Hat and Beard’ appears on Eric Dolphy’s most critically beloved album ‘Out to Lunch!’ (1964), a sprawling and enigmatic work that crystallised the “fuck you”-spirit of the free jazz scene in the 60s. At the other end of the spectrum — handily demonstrating how no jazz approach in 2019 was absolute — were a pair of releases by Norwegian drummer Paal Nilssen-Love, who aligned with musicians from Brazil and Japan (on New Brazilian Funk and New Japanese Noise, respectively) for hyperactive out-jazz exorcisms that each reached heights of vigorous mania but ultimately sounded nothing alike. John Fordham. And there’s plenty more: saxist André Roligheten jelled beautifully with drummer Gard Nilssen and bassist Petter Eldh on To Whom Buys a Record, an excellent set by Nilssen’s band Acoustic Unity that touches on springy, freewheeling post–Ornette Coleman swing and calm freeform reflection. With 10 points awarded to No.1 and one point awarded to No.10 in each writer’s chart – we’ve done the maths so you can just enjoy the music! This 1966 album, which comprises a single, continuous 40-minute track, marked the end of ‘Trane’s bop phase and the beginning of his explorations into the avant-garde. There are some fine solos on offer, particularly from Abassi and O’Gallagher, but this is first and foremost an ensemble offering impressively helmed by a bandleader who is in the ascendant. The world's defining voice in music and pop culture since 1952. There’s no sterility here, and no sense of anything being curtailed. Rec. Lady Day may not have written the words to this grotesque poem, but the lilting, haunting way her voice caresses the verses has made the song her own. Speak Love!. Miles Davis. And on a stark and riveting album by Blacks’ Myths, the rhythm section from Lewis’ album — bassist Luke Stewart and drummer Warren “Trae” Crudup III — distilled free improv and noisy blurt à la Lightning Bolt into volatile sound masses, interspersed with harrowing protest poetry. It should have happened a long time ago, but much better late than never. Since the mid-1990s, this 11-piece band has been the testing ground for Guillermo Klein’s tumbling, tango-influenced composition style — basically unbeholden to broader trends in pop, classical or jazz — and “Cristal” is among Los Guachos’ best efforts. 2018. Selwyn Harris, Yazz Ahmed (t, flhn, v, Kaoss pad, perc), Noel Langley (t, flhn, ky, v), Camilla George, Tori Freestone, Helena Kay, Josie Simons (s, v), Gemma Moore, Nubya Garcia (s), Becca Toft (t, v), Alex Ridout, Chloe Abbott (t), Carol Jarvis, Rosie Turton (tb, v), George Crowley (bcl), Alcyona Mick, Nadia Sherrif (ky), Sarah Tandy (ky, v), Sam Halkvist (g), Shirley Teteh (g, v), Johanna Burnheart (vn, v), Charlie Pyne (b, v), Ralph Wyld (vib), Sophie Alloway (d, v), Tom Jenkins (d), Corrina Silverster (perc, v) and Sheila Maurice-Grey (v). But was anybody ready for his debut album — self-recorded three years ago with his quintet, Good Vibes, and released by Blue Note in May — to be so fully formed? Yet Croker also has a more marked Afro-house sensibility in some of his writing and arranging, which puts the onus as much on soaring unison lines with saxophonist Irwin Hall as it does on the leader’s solos, which blend radiant timbres with spinning phrases. Boomer” clapback. Dedicated to Egberto Gismonti, the concluding three-movement, ‘Many Worlds Away’, ranges from the hieratic to the rhapsodic to the ecstatic. This is a quietly intimate dialogue of course, but almost everything in it glows. The music evokes the clatter of crowds revolting using raucous horns, synth noise, pugnacious rhythms, and Mehldau's own careening runs. (Most of that group’s members are dead). While a grand scale of ideas has become one of AEC’s signes particuliers the group also excels on folk-like laments, such as the popular ‘Odwalla’, the reprise of which is as affecting as ever. Roberts confronts the nightmarish rituals of the Ku Klux Klan on the gut-wrenching "All Things Beautiful," which opens to a raucous blues-edged cacophony of horns that unfold her harrowing and time-stopping narrative. This track from ‘Places of Worship’ (2013) is emblematic of Henriksen’s approach to jazz, where washes of electronic textures form the canvas for his reedy, Undefinable and unmissable: Meet the rising artists radically altering London’s jazz scene. That snappy, syncopated drumbeat — it’s played live on an actual kit, by the way — is the only reason you need to listen to this 2002 track by nu-jazz pioneers The Cinematic Orchestra. She weaves the alto saxophone of Roman Filiu together with the tenor of Chris Cheek and her own line-driven piano style. The Freedom PrinciplePure spontaneity reigned on Peace Planet / Box of Light, a two-album set by drummer-bandleader Whit Dickey. Kenny G Greatest Hits Full Album 2019 The Best Songs Of Kenny G Best Saxophone Love Songs 2019 https://youtu.be/IN3DnZgZ3HI --Nate Chinen, Waiting Game, the new double album by Terri Lyne Carrington and Social Science, is a direct response to America's sociopolitical climate, exploring race, gender, class, sexuality and faith through a range of musical genres. If anything, Martin’s reworking of Pat Metheny’s ‘Timeline’, for which she has penned new lyrics, is even more spectacular, with her control of the rapid-fire melodic line a thing of wonder. Billboard is part of MRC Media and Info, a division of MRC. Jazz has continued to evolve and whether it’s swing, hot, cool, Bebop, modal, free or fusion, we salute this remarkable genre with the 15 Best Jazz Songs. The heart of the album is in the ballad playing. With star names, newcomers and a few jazz legends, our end-of-year Top 20s demonstrate peak creativity levels among contemporary artists, as well as archival aces aplenty. Nominated for the 2018 Mercury Prize, the torch-bearers of London’s contemporary jazz scene stir an intoxicating brew of free jazz, punk, Afrobeat and dub. Nick Hasted, ➜ Read our Cassie Kinoshi interview: 'I feel like, in Britain, we don’t like to acknowledge the problems we have', Michael Janisch (b, el b), George Crowley (ts), John O’Gallagher (as), Jason Palmer (t), Rez Abassi (g), John Escreet (p, ky), Andrew Bain and Clarence Penn (d). Mark Allen Group 0208 677 0012, © MA Music, Leisure & Travel Ltd This follow-up to Simcock’s Mercury Prize-shortlisted 2011 ACT debut, the brilliant Good Days At Schloss Elmau, was penned primarily on the road while the pianist was touring the world as part of the Pat Metheny Quartet. BUT these are songs that lend themselves well to the type of jazz choreography that is popular today. On this 2-CD release (one studio set and one live) revered founder, multi-reedist and composer Roscoe Mitchell and his trusty co-leader, drummer-percussionist Famoudou Don Moye, are joined by a brilliant cast of guests that provides the adequate resources to build an intricate, kaleidoscopic orchestral work that is a logical, coherent outgrowth of the original small group with its vast array of instruments.
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