Live season: five new jazz albums
It has always been assumed that summer is the dead season in the record usinessb. All high-profile / significant releases are traditionally planned for the beginning of autumn,and then-for the new year. In short, the first period — when students return from vacation, the second-when people are preparing to celebrate and give everything in a row. Thank God, now no one really saves anything: there is material-it is released. Worthy music will find its audience in any season.
August and the beginning of September pleased us with jazz — generally speaking, any jazz. From old-school “cool” to all sorts of modernist things, from complex crowded Studio projects to minimalist hot “Zhivago”. Even the title to this review is difficult to come up with, so different everything is. But all five releases have something in common, namely, filling old forms with new content. And this is a worthy jazz super-task — in any season.
Leo Richardson “Move” Notable young London tenor saxophonist Leo Richardson and his second album as a leader. The album is an oxymoron: it seems to be old-school bebop with humming melodies and cheeky phrases, but it sounds absolutely modern. And the delivery itself: they play on the blue eye, as if nothing happened before them and nothing will happen after, despite the fact that Leo himself is the son of a professional jazz double bassist, that is, built into the tradition of British jazz by birthright. The Richardson-son mild, almost sangetsusei sound, but with power, speed and drive. The Quartet also plays aggressively, elastic: the crystal sound of the piano, beautiful unisons, powerful tutti, agile solos.They look like everyone, but at the same time like no one. The trick is still in your own handwriting, melodic gift. And sincerity, which is always felt: it is necessary to play such music in our century in some special way! And of course, it’s nice that modern British jazz is so diverse.Apple Music, Yandex.Music, Deezer
Stan Getz “Getz At the Gate”Some boom in detectable records. Sten Goetz recently had a bootleg from 1959 in Paris, with Marcial Soleil himself on the Phono (“Live in Paris, 1959”). And, s’il vous plait, here’s a 2 CD (or 3 LP) previously unreleased bootleg. The November 26, 1961 concert at new York’s Village Gate hall was carefully professionally recorded for a specific business purpose-to be released on record. Write down. But something went wrong, and these 16 tracks sat on the shelf for almost 60 years.I’m probably biased, but Getz doesn’t seem to have any bad albums: no live albums, not even bootlegs. He did not write music himself and was complaining about the fact that he did not finish his studies at the time and allegedly did not know the basics of composition. So I played mostly someone else’s stuff. But he’s a genius! Among other things, it seems to me that Goetz had a kind of intuitive, instantaneous sense of form-oneSoleil himself all the disparate pieces and improvisations into a single Gestalt. Therefore, any bootleg by Stan Getz is a complete work.Here, the Getz Quartet-pianist Steve Kuhn and rhythm section John Neves/Roy Haines-play a rather motley set of pieces. Both pleasant melodies-standards like “It’s Alright with Me”, “Like Someone In Love”, the iconic “Blues” authored by Getz himself, and modern jazz, “52nd Street Theme” by Thelonious monk. And suddenly – “Impressions” by John Coltrane, in which Kuhn very interestingly spins the theme.Apple Music, Yandex.Music, Deezer
Rick Braun ” Crossroads “This could be attributed to the smooth jazz style, adding the helpless epithet”shameless”. But no, we are not looking for easy ways. Of course, at first glance, everything is “smut”: pronounced simple melodies, elastic rhythms, soft groove, sweet sound.But still, this album is far from the meaningless relaxation of smooth jazz. Although Rick brown is from that American elite “smut” crowd, it’s worth listening to him. First-the master: phrasing, improvisation, energy, fire. Secondly, the melodies are bright, and the compositions are strong. Not just a gentle hiss into the saxophone-a lively elastic groove. Well, the sound is transparent, clean, but without the “smut” cotton candy.Apple Music, Deezer
Brian Lynch Big Band “the Omni-American Book Club” American trumpeter Brian Lynch was featured in the band of the late Art Blakey — and this is almost like getting a diploma of genius. In a solo career white (here it is important!) the trumpeter and been following this idiom for decades: creative post-BOP with all sorts of crossover moves. Let me explain: he sings the forgotten heroes of the trumpet, then plays Coltrane in Latin rhythms, and the music that he composes is at once lively, hot, but quite clever and complicated in form.To better imagine this, I will recall the only Russian concert by Bryan’s band — at the winter festival in Sochi in the Olympic year. This, in my opinion, was the best jazz concert of that festival in General. The audience reacted strangely: they came to dance-to clap, but had to listen. Someone left, but who listened — did not move. So this is such a post-modern BOP, you can say, for smart listening, but it does not pretend to be any relaxed “smut” or dancing “Latin”.The new album is simply opus magnum, the most ambitious and conceptual venture of the 62-year-old’s career. In short: this is a tribute to American literature written by African-Americans. Problematic, social, and so on. “Reading is a way to fill in the blanks of your world map,” says Brian Lynch. Whose and what ideas are expressed here through music-this we will hardly understand, but the continuity of African-American culture is felt in the sharp melodies, and in the hot style of play, and even in the names of songs: “Woody Shaw”, “Tribute to Blue (Mitchell)”.Russian people will be surprised that the character on the cover looks so similar to Mikhail Kozakov. Actors are not what they seem, and Lynch’s jazz, like the films of his namesake, is something eerily compelling because of its inexplicability. It remains to add that for the album, Lynch assembled a stellar team, including violinist Regina Carter and soprano saxophonist Dave Liebman (who played for miles Davis himself).Apple Music, Deezer
James Carter Organ Trio “Live From Newport Jazz” it’s no secret that tenor and soprano saxophonist James Carter is a great musician, and always comes up with something to push the boundaries of jazz. Now we have his live album with… music by guitarist Django Reinhardt! The first single from the album “Melodie au Crepuscule” was released in August. Already it was clear that a fresh hybrid had been invented here — Gypsy jazz plus modern jazz rhythms and an organ. And no guitars!The album, interestingly, represents Carter’s debut on Blue Note, and this label seems to be collecting all the more or less worthy ones. And Carter is practically a living classic.