Tord Gustavsen/Stanko/EST
Posted by: Diccus62 on 23 November 2009
Nic Naim and my own will have helped to move me out of my musical comfort zone. I have long thought Jazz held something for me. I have tried many of the old jazz guys and think they are fine but it doesn't really get me. However I really enjoyed Tomasz Stanko and I think I am now hooked. E.S.T. however have hit me between the eyes and I can't stop playing them.... particularly 'behind the yashmak' which absolutely blows me away. Live - OMG
Have been listening to Tord Gustavsen on Myspace and I like what i hear. I have tho clearly missed the tour this autumn. Where should I start with this guy?
It's nice to be out of my comfort zone - thanks Nic
Have been listening to Tord Gustavsen on Myspace and I like what i hear. I have tho clearly missed the tour this autumn. Where should I start with this guy?
It's nice to be out of my comfort zone - thanks Nic
Posted on: 06 December 2009 by fred simon
quote:Originally posted by hungryhalibut:quote:Can you be specific about what it was that you "could not stand" in McCandless' playing on Since Forever but which somehow didn't bother you on Remember the River?
'Could not stand' is probably not my best description ever!! His playing seemed over dominant, and did not really seem to 'fit in' - I just wanted him to shut up and let me hear the other players. An emotional thing really, rather than something I can easily rationalise, or try to explain.
Hi Nigel,
Thanks for your reply. I have a few thoughts I'll share in the hopes of furthering your enjoyment, although I suppose if you've already returned it then the horse has left the barn.
Someone else raised a similar issue regarding McCandless' dominance of the solo space, which is entirely accurate. Rest assured, however, that this is the case only because that's what I wanted. Paul never plays any more than is called for, and I definitely wanted him to be the dominant solo/breath voice. Interestingly, if you were to delve into a deeper side-by-side comparison of Remember the River and Since Forever you'd find that he plays just as much on the former as the latter, certainly no less. The bottom line is that Paul is not a player who hogs musical space ... he's as giving and generous as a musician can be, so what you're hearing is exactly what I want you to hear.
There are a few good reasons for all of this, one being that it's very clear to me that McCandless is one of the absolutely greatest world-class soloists, and so naturally I wanted to give him most of the solo space. I see myself as a composer first, and while as an ensemble player I certainly communicate the meat and bones of the compositions very well, as a soloist I'm just above-average. Whereas McCandless is, as I said, one of the very best soloists in the world ... if I'm being honest with myself and my music, it seems a no-brainer to decide who gets the lion's share of solos.
Tying in to this same idea, as the composer/arranger I want my melodies to be carried by an instrument capable of making the notes sail and soar in time. That's a characteristic much better suited to breath instruments like Paul's multicolored woodwinds than to the piano, whose sustain can only decay after a note has been struck. In fact, I very much consider my own "singing" voice to be the result of the woodwind doubling the piano in unison ... that's the sound I want.
Finally, I consider my main strength to be as a composer, and given that I'm the sole composer on the album (except for the Zawinul tune) and sole arranger, I feel that my musical voice is more than adequately represented in the music as a whole ... there's plenty of "Fredness." I feel very akin to Duke Ellington in this regard, who considered his orchestra to be his instrument, and gave more solo space to the best soloists in the band.
I hope you will trust me on this: Paul "fits in" no less well on Since Forever than on Remember the River, and the ratio of his solo space to that of the other musicians is the same on both albums. Frankly, I actually consider them to be volume 1 and 2 of a pair ... the only significant difference is the addition of drums which serves to expand the textural and rhythmic palette. I only wish you hadn't returned Since Forever so that you could give it some more time, especially with my thoughts on this in mind.
All the best,
Fred
Posted on: 07 December 2009 by hungryhalibut
Fred
Thanks for taking the time to provide that insight into your work. I shall get another copy and give it the attention it deserves.
Best regards
Nigel
Thanks for taking the time to provide that insight into your work. I shall get another copy and give it the attention it deserves.
Best regards
Nigel
Posted on: 08 December 2009 by bdnyc
Hi Fred-
I hadn't kept up with all of the releases, (who can?),and hadn't realized that you had a new CD out. I've really enjoyed Dreamhouse and RTR, so I look forward to another "record".
Cheers,
Bruce
I hadn't kept up with all of the releases, (who can?),and hadn't realized that you had a new CD out. I've really enjoyed Dreamhouse and RTR, so I look forward to another "record".
Cheers,
Bruce
Posted on: 08 December 2009 by ewemon
Couldn't see this listed in anyones post but great album.
Posted on: 08 December 2009 by fred simon
quote:Originally posted by hungryhalibut:
Fred
Thanks for taking the time to provide that insight into your work. I shall get another copy and give it the attention it deserves.
Best regards
Nigel
Great ... very sporting of you, Nigel. I feel bad you have to buy it twice, although not that bad!
Please let us know how round two goes.
All the best,
Fred
Posted on: 09 December 2009 by fred simon
quote:Originally posted by bdnyc:
Hi Fred-
I hadn't kept up with all of the releases, (who can?),and hadn't realized that you had a new CD out. I've really enjoyed Dreamhouse and RTR, so I look forward to another "record".
Cheers,
Bruce
Thanks for the kind words, Bruce. I think you'll really dig Since Forever.
Which, by the way, is a record ... it's an audio recording, and it's also an album for that matter ... a collection of pieces. Still perfectly usable words. I do.
All the best,
Fred
Posted on: 13 December 2009 by bdnyc
Hi Lontano and company-
I got a copy of EST's CD "Seven Days of Falling" (on the ACT label) recently and it has portions which are very oddly recorded. As I listen to a ton of piano jazz, from Art Tatum, Teddy Wilson and Bud Powell all the way to younger modern players, I have to say that the sound of the piano on this disc is among the worst I have ever heard. Now, it may be an effect if the pianist was putting paper in the strings, or something similar, but I was wondering if you have experienced the same sort of rattling and edgy sound on this disc? Is this something they do often, or perhaps it is an artifact of the US pressing of this disc?
Thanks,
Bruce
I got a copy of EST's CD "Seven Days of Falling" (on the ACT label) recently and it has portions which are very oddly recorded. As I listen to a ton of piano jazz, from Art Tatum, Teddy Wilson and Bud Powell all the way to younger modern players, I have to say that the sound of the piano on this disc is among the worst I have ever heard. Now, it may be an effect if the pianist was putting paper in the strings, or something similar, but I was wondering if you have experienced the same sort of rattling and edgy sound on this disc? Is this something they do often, or perhaps it is an artifact of the US pressing of this disc?
Thanks,
Bruce
Posted on: 14 December 2009 by Lontano
Bruce - this in intentional. E.S.T. incorporate electronics into their sound and particularly on the first track of this set use some distortion on the piano. It is part of what makes them a little different to the regular type of trio and why they made such an impact here in Europe.
When I have seen then live, Esbjorn was often twiddling with gadgets to get different sound effects from hid piano. So unless you have a dodgy pressing, which is highly unlikely, then this is the sound they set out to achieve.
Here is a review for you from the BBC of Seven Days. Look out for the hidden track at the end of the disc with Charlie Haden's son doing the vocals.
"Sweden's EST are a bit of a phenomenon. Over the last few years they've sold a truckload of records, sent critics into ecstasies and won themselves a devoted following through live performances all over the place, Now, fresh from winning Best International Act at the BBC Jazz Awards, they're back with the follow up to last year's hugely successful Strange Place for Snow.And all this from a straightahead acoustic piano trio.
Well, not quite straightahead. Like Brad Mehldau, they're quietly breathing new life into a tried and tested format.Their strength is their sound; E.S.Tunderstand the studio, treating it like the trio's fourth instrument rather than a means of simply documenting their playing.
Stylistically, they borrow from rock, electronica and Americana. Mournful, quietly ecstatic ballads alternate with more riff based, rhythmically insistent workouts. A bit like Aussie improvisers The Necks, E.S.T can build up from nothing to blissfully gripping climaxes that (particularly in a live setting) set the hairs on the back of your neck standing to attention.
Svennson's piano is economical, melodic, sounding often like Keith Jarrett on a note ration. Sometimes he uses the piano as a percussion instrument (which technically is exactly what it is), pulling minimalist figures of clicks and marimba like tones from its interior. His restraint makes his dazzling solo flights all the more impressive.Dan Berglund's superbly elastic bass is given lots of solo space for languidly intricate runs, chiming harmonics or bowed, fuzzed lines reminiscent of legions of prog rock guitarists (talking of which, there's more than a hint of Radioheadin some of the tunes here).Magnus Öström'sdrums give the quiet hiss of brushed cymbals or metronomic clatterings and earthy grooves that support and inspire; check the sweaty intensity of "O.O.R.I.P", where the trio generate a humid, intensefunk. Finally in a hidden track, Josh Haden (Charlie's son) turns up for a fragile vocal reading of the earlier "Believe Beleft Below".
Seven Days of Falling is gritty, romantic, melancholic and uplifting by turns. If you've wondered what the fuss is all about, this is the place to start, while the converted will need no encouragement. Highly recommended."
And another review, stylus magazine
"It starts with an almost imperceptible and sweet melancholy, the quietest, loveliest piano for an age, slow and deliberate but not clean. Half-heard backwashes of cymbal and the plangent lope of a double-bass note are swept in by the gentle, tidal momentum of the piano, as it reaches crest and swell, swell and crest, but never flood. At three-minutes and twenty seconds in, when the piano line slowly rises and then delicately tails off time and again, I could quite happily melt and never hear another sound again. “Ballad For The Unborn”, Seven Days Of Falling’s opening track, is a guided, controlled and beautiful piece of music, redolent of solitary, early-evening beach strolls. As introductions go, it’s a fine one.
Sweden isn’t the first place you think of when the word ‘jazz’ is mentioned, but it would seem as if America’s first art form is actually thriving there if the Esbjörn Svensson Trio are anything to go by. Like Australia’s The Necks they’re ostensibly a simple three-piece based around piano, bass and drums who introduce a wealth of other sounds and textures into their music through thoughtful use of the studio. Esbjörn Svensson Trio though don’t ply their trade in hour-long tectonic suites of glacial repetition, instead preferring, especially on Seven Days…, to move in a field of concise, melodic and rock-inflected modern jazz.
Seven Days Of Falling reminds me of many, many things. At times on the title track Esbjörn Svensson’s piano seems to echo the half-melodies Thom Yorke succumbed to during the Kid A / Amnesiac axis, a recollection furthered by the textures employed via Dan Berglund’s bass guitar, bowed, fuzzed and flanged through a host of devices until it becomes unrecognisable. Magnus Öström’s metallic, industrial drums begin “Mingle In The Mincing Machine” like a piece of electronica; elsewhere his accelerating beats move from jazz into dance and back again with ease. “Elevation Of Love” sounds like the instrumentals from Lambchop’s new album(s) refracted through the last ten years of postrock, and its upbeat tone guides the overall feel of Seven Days Of Falling, even amidst the calm, spacious beauty of ballads like “Why She Couldn’t Come”, which is seemingly constructed using the empty spaces between bass-notes borrowed from “A Whiter Shade Of Pale”. The opening of “Did They Ever Tell Cousteau?” reminds me of Roni Size’s “Brown Paper Bag” as played by a children’s jazz orchestra. “In My Garage”, in thrall to a thrilling momentum, couldn’t sound less like The Strokes despite its suggestive title; rather it sounds like Plaid’s most melodic moments transcribed for a jazz band, which is a wonderful thing.
Far too emotive and varied to be lost under the banner of ‘chill out’, Seven Days… is nevertheless an accessible and open record that swings between the gorgeously plaintive and the refreshingly exciting. If rock music’s ambitious / pretentious sons can borrow from jazz to up their credibility, then here’s no reason why jazz can’t take a little something back. E.S.T. do that wonderfully."
When I have seen then live, Esbjorn was often twiddling with gadgets to get different sound effects from hid piano. So unless you have a dodgy pressing, which is highly unlikely, then this is the sound they set out to achieve.
Here is a review for you from the BBC of Seven Days. Look out for the hidden track at the end of the disc with Charlie Haden's son doing the vocals.
"Sweden's EST are a bit of a phenomenon. Over the last few years they've sold a truckload of records, sent critics into ecstasies and won themselves a devoted following through live performances all over the place, Now, fresh from winning Best International Act at the BBC Jazz Awards, they're back with the follow up to last year's hugely successful Strange Place for Snow.And all this from a straightahead acoustic piano trio.
Well, not quite straightahead. Like Brad Mehldau, they're quietly breathing new life into a tried and tested format.Their strength is their sound; E.S.Tunderstand the studio, treating it like the trio's fourth instrument rather than a means of simply documenting their playing.
Stylistically, they borrow from rock, electronica and Americana. Mournful, quietly ecstatic ballads alternate with more riff based, rhythmically insistent workouts. A bit like Aussie improvisers The Necks, E.S.T can build up from nothing to blissfully gripping climaxes that (particularly in a live setting) set the hairs on the back of your neck standing to attention.
Svennson's piano is economical, melodic, sounding often like Keith Jarrett on a note ration. Sometimes he uses the piano as a percussion instrument (which technically is exactly what it is), pulling minimalist figures of clicks and marimba like tones from its interior. His restraint makes his dazzling solo flights all the more impressive.Dan Berglund's superbly elastic bass is given lots of solo space for languidly intricate runs, chiming harmonics or bowed, fuzzed lines reminiscent of legions of prog rock guitarists (talking of which, there's more than a hint of Radioheadin some of the tunes here).Magnus Öström'sdrums give the quiet hiss of brushed cymbals or metronomic clatterings and earthy grooves that support and inspire; check the sweaty intensity of "O.O.R.I.P", where the trio generate a humid, intensefunk. Finally in a hidden track, Josh Haden (Charlie's son) turns up for a fragile vocal reading of the earlier "Believe Beleft Below".
Seven Days of Falling is gritty, romantic, melancholic and uplifting by turns. If you've wondered what the fuss is all about, this is the place to start, while the converted will need no encouragement. Highly recommended."
And another review, stylus magazine
"It starts with an almost imperceptible and sweet melancholy, the quietest, loveliest piano for an age, slow and deliberate but not clean. Half-heard backwashes of cymbal and the plangent lope of a double-bass note are swept in by the gentle, tidal momentum of the piano, as it reaches crest and swell, swell and crest, but never flood. At three-minutes and twenty seconds in, when the piano line slowly rises and then delicately tails off time and again, I could quite happily melt and never hear another sound again. “Ballad For The Unborn”, Seven Days Of Falling’s opening track, is a guided, controlled and beautiful piece of music, redolent of solitary, early-evening beach strolls. As introductions go, it’s a fine one.
Sweden isn’t the first place you think of when the word ‘jazz’ is mentioned, but it would seem as if America’s first art form is actually thriving there if the Esbjörn Svensson Trio are anything to go by. Like Australia’s The Necks they’re ostensibly a simple three-piece based around piano, bass and drums who introduce a wealth of other sounds and textures into their music through thoughtful use of the studio. Esbjörn Svensson Trio though don’t ply their trade in hour-long tectonic suites of glacial repetition, instead preferring, especially on Seven Days…, to move in a field of concise, melodic and rock-inflected modern jazz.
Seven Days Of Falling reminds me of many, many things. At times on the title track Esbjörn Svensson’s piano seems to echo the half-melodies Thom Yorke succumbed to during the Kid A / Amnesiac axis, a recollection furthered by the textures employed via Dan Berglund’s bass guitar, bowed, fuzzed and flanged through a host of devices until it becomes unrecognisable. Magnus Öström’s metallic, industrial drums begin “Mingle In The Mincing Machine” like a piece of electronica; elsewhere his accelerating beats move from jazz into dance and back again with ease. “Elevation Of Love” sounds like the instrumentals from Lambchop’s new album(s) refracted through the last ten years of postrock, and its upbeat tone guides the overall feel of Seven Days Of Falling, even amidst the calm, spacious beauty of ballads like “Why She Couldn’t Come”, which is seemingly constructed using the empty spaces between bass-notes borrowed from “A Whiter Shade Of Pale”. The opening of “Did They Ever Tell Cousteau?” reminds me of Roni Size’s “Brown Paper Bag” as played by a children’s jazz orchestra. “In My Garage”, in thrall to a thrilling momentum, couldn’t sound less like The Strokes despite its suggestive title; rather it sounds like Plaid’s most melodic moments transcribed for a jazz band, which is a wonderful thing.
Far too emotive and varied to be lost under the banner of ‘chill out’, Seven Days… is nevertheless an accessible and open record that swings between the gorgeously plaintive and the refreshingly exciting. If rock music’s ambitious / pretentious sons can borrow from jazz to up their credibility, then here’s no reason why jazz can’t take a little something back. E.S.T. do that wonderfully."
Posted on: 14 December 2009 by Trylobyte
I am surprised that no-one has mentioned the Neil Cowley Trio. Definitely worth checking out as far as trios go.
Posted on: 14 December 2009 by bdnyc
Hi Lontano,
Thanks for your detailed reply. I had jumped too quickly to my conclusion based on the first few minutes of the first track. At points they are more naturally recorded, and at points each instrumentalist is being manipulated in various ways, either in the playing or recording.
For similarly open minded fans of piano jazz who would welcome more modern touches, I have really enjoyed Brad Mehldau's "Largo" and "Anything Goes", both of which move the piano trio forward from the basic template established all those years ago by Bill Evans, Ahmad Jamal, Oscar Peterson, and their many peers and disciples.
Another favorite of mine is the brilliant, poetic Lynne Arriale, who has featured covers of popular music on many of her recordings from the last ten years. They are more naturalistic recordings, and beautifully melodic playing.
Good listening,
Bruce
Thanks for your detailed reply. I had jumped too quickly to my conclusion based on the first few minutes of the first track. At points they are more naturally recorded, and at points each instrumentalist is being manipulated in various ways, either in the playing or recording.
For similarly open minded fans of piano jazz who would welcome more modern touches, I have really enjoyed Brad Mehldau's "Largo" and "Anything Goes", both of which move the piano trio forward from the basic template established all those years ago by Bill Evans, Ahmad Jamal, Oscar Peterson, and their many peers and disciples.
Another favorite of mine is the brilliant, poetic Lynne Arriale, who has featured covers of popular music on many of her recordings from the last ten years. They are more naturalistic recordings, and beautifully melodic playing.
Good listening,
Bruce
Posted on: 14 December 2009 by Lontano
quote:Originally posted by Trylobyte:
I am surprised that no-one has mentioned the Neil Cowley Trio. Definitely worth checking out as far as trios go.
Yep, that's a good recommendation.
Posted on: 14 December 2009 by Lontano
quote:Originally posted by bdnyc:
Hi Lontano,
Thanks for your detailed reply. I had jumped too quickly to my conclusion based on the first few minutes of the first track. At points they are more naturally recorded, and at points each instrumentalist is being manipulated in various ways, either in the playing or recording.
For similarly open minded fans of piano jazz who would welcome more modern touches, I have really enjoyed Brad Mehldau's "Largo" and "Anything Goes", both of which move the piano trio forward from the basic template established all those years ago by Bill Evans, Ahmad Jamal, Oscar Peterson, and their many peers and disciples.
Another favorite of mine is the brilliant, poetic Lynne Arriale, who has featured covers of popular music on many of her recordings from the last ten years. They are more naturalistic recordings, and beautifully melodic playing.
Good listening,
Bruce
Bruce, Thanks. I have one Lynne Arriale album which I should give a spin sometime. I like the Largo album by Brad and will spin Anything Goes again to listen more carefully soon.
Have you tried any of the albums from The Bad Plus? - good guys from your side of the pond trying to push the boundaries as well. I have seen them live several times now and they are very exciting.
Cheers
Adrian
Posted on: 14 December 2009 by markah
quote:Originally posted by Lontano:
Have you tried any of the albums from The Bad Plus? - good guys from your side of the pond trying to push the boundaries as well. I have seen them live several times now and they are very exciting.
Cheers
Adrian
I'll second that! Seeing them live really helped me understand what they are all about. I'd love to see them again.
Posted on: 15 December 2009 by DaveMS
quote:Originally posted by ewemon:
Couldn't see this listed in anyones post but great album.
Listening to this one right now. It has steadily grown on me. Fine stuff.
Posted on: 15 December 2009 by bdnyc
Hi Adrian-
I have a few of the Bad Plus's recent CD's and have enjoyed them. I haven't had the chance to see them live, although I would like to. There is so much amazing music available seemingly nightly in New York, that most weeks I have a few shows I harbor hopes of seeing and I run out of time or energy or money, etc. Many years ago Ethan Iverson bought a pair of speakers from me and he was very nice so that is one more vote from a musician for better audio, which is always nice to see.
Just last week I sent a client to see this dream band playing a few blocks for him his hotel: Lee Konitz, Charlie Haden, Paul Motion and the youngster of the band was pianist Brad Mehldau; not bad for the corner bar!
In Lynne Arrial's discography, I particularly enjoy her records Melody on the Montreux label, and her more recent albums Arise and Come Together on Motema. Another easy recommendation for fans of piano jazz is the Fred Hersch collection titled Personal Favorites on the New York audiophile label Chesky records, which has stunning and very realistic production values.
My old favorite Tommy Flanagan may be less frequently mentioned than other players still on the recording and touring scenes, but if you don't know his work, try the excellent Sea Changes or Sunset and the Mockingbird which were recorded late in Tommy's life and show all of his characteristic mastery; melodic flow, subtle sense of swing, and his innate lyricism. He was the jazz pianist I was able to see the most, and like many players, the live experience was simply in a different league than even the finest recordings, but we do get a chance to hear the greats when they are gone via the wonders of the stereo....
Cheers,
Bruce
I have a few of the Bad Plus's recent CD's and have enjoyed them. I haven't had the chance to see them live, although I would like to. There is so much amazing music available seemingly nightly in New York, that most weeks I have a few shows I harbor hopes of seeing and I run out of time or energy or money, etc. Many years ago Ethan Iverson bought a pair of speakers from me and he was very nice so that is one more vote from a musician for better audio, which is always nice to see.
Just last week I sent a client to see this dream band playing a few blocks for him his hotel: Lee Konitz, Charlie Haden, Paul Motion and the youngster of the band was pianist Brad Mehldau; not bad for the corner bar!
In Lynne Arrial's discography, I particularly enjoy her records Melody on the Montreux label, and her more recent albums Arise and Come Together on Motema. Another easy recommendation for fans of piano jazz is the Fred Hersch collection titled Personal Favorites on the New York audiophile label Chesky records, which has stunning and very realistic production values.
My old favorite Tommy Flanagan may be less frequently mentioned than other players still on the recording and touring scenes, but if you don't know his work, try the excellent Sea Changes or Sunset and the Mockingbird which were recorded late in Tommy's life and show all of his characteristic mastery; melodic flow, subtle sense of swing, and his innate lyricism. He was the jazz pianist I was able to see the most, and like many players, the live experience was simply in a different league than even the finest recordings, but we do get a chance to hear the greats when they are gone via the wonders of the stereo....
Cheers,
Bruce
Posted on: 15 December 2009 by Lontano
Bruce - good to hear Ethan is into good reproduction.
I see that The Bad Plus are playing the Village Vanguard from Dec 28- Jan 3. I cannot think of a better venue to see them in. The drumming from Dave King is something else. You owe it to yourself to take a look - it really makes the CD's make more sense and to be honest they are better live than on record.
One of the things I really like about jazz is that you get to see great artists (who can sell out big concert halls) in small venues on a pretty regular basis. That line up of Haden/Konitz/Motian and Meldhau is exceptional though.
I am going to play Lynne Arriale next - I have her Live album
I do not have any Tommy Flanagan in my collection so will look out for some.
Cheers
I see that The Bad Plus are playing the Village Vanguard from Dec 28- Jan 3. I cannot think of a better venue to see them in. The drumming from Dave King is something else. You owe it to yourself to take a look - it really makes the CD's make more sense and to be honest they are better live than on record.
One of the things I really like about jazz is that you get to see great artists (who can sell out big concert halls) in small venues on a pretty regular basis. That line up of Haden/Konitz/Motian and Meldhau is exceptional though.
I am going to play Lynne Arriale next - I have her Live album
I do not have any Tommy Flanagan in my collection so will look out for some.
Cheers
Posted on: 19 December 2009 by bdnyc
Hi Adrian-
I won't be in town for the Bad Plus's New Years run, but I do look forward to seeing them live sometime.
I had one of those magical "perfect storm" listening experiences this week as I was inspired to go back to Lynne Arriale's "Get Back: The Tenth Anniversary recording" by her working trio. It is a superb recording on every level; musical merit and very natural and beautiful production values. Small jazz ensembles are often the most enjoyable listening for me, at least on my system, and it was such a nice reminder of why I bother to listen to something more complete than my trusty i Pod. I was held rapt, with my full attention drawn into the music, and it was so rich. Her live album is another excellent introduction to her unique artistry.
Good listening,
Bruce
I won't be in town for the Bad Plus's New Years run, but I do look forward to seeing them live sometime.
I had one of those magical "perfect storm" listening experiences this week as I was inspired to go back to Lynne Arriale's "Get Back: The Tenth Anniversary recording" by her working trio. It is a superb recording on every level; musical merit and very natural and beautiful production values. Small jazz ensembles are often the most enjoyable listening for me, at least on my system, and it was such a nice reminder of why I bother to listen to something more complete than my trusty i Pod. I was held rapt, with my full attention drawn into the music, and it was so rich. Her live album is another excellent introduction to her unique artistry.
Good listening,
Bruce
Posted on: 19 December 2009 by Oldnslow
A wonderful Lynne Arraile recording is her latest--Nuance, a quartet featuring Mike Brecker on trumpet and George Mraz on bass ---moving away from her regular trio seems to have opened up her playing--wonderful stuff. Also a fine recent piano trio record is Historicity by Vijar Iyer on ACT --very dynamic and quite original--with perhaps a little influence from the great Andrew Hill
Posted on: 20 December 2009 by Diccus62
Having a listen to The Bad Plus 'For all I care' on Spotify. It's rather wonderful. Did you see them at Ronnie Scott's Adrian?
What else is worth listening to?
What else is worth listening to?
Posted on: 20 December 2009 by markah
Diccus,
Have you tried Avishai Cohen? I posted the "Gently Disturbed" album on the 'listening to' thread this morning. "Continuo" and "At Home" are also very good.
Mark
Have you tried Avishai Cohen? I posted the "Gently Disturbed" album on the 'listening to' thread this morning. "Continuo" and "At Home" are also very good.
Mark
Posted on: 20 December 2009 by Lontano
quote:Originally posted by Diccus62:
Having a listen to The Bad Plus 'For all I care' on Spotify. It's rather wonderful. Did you see them at Ronnie Scott's Adrian?
What else is worth listening to?
Mark is right about Avishai Cohen. Great bass.
Anyway, I have seen the Bad Plus three times. Not at Ronnies. First time was at the Basement Jazz Club in Sydney where MilesSmiles and I had a splendid afternoon watching them play. Then I saw them supporting Charlie Haden at the Royal Festival Hall. And then recently Markah and I went to see them play at the Turner Sims in Southampton. They told after the show that they planned to spend a lot of time in Europe in 2010 as the European audiences were appreciative of their style so hopefully won't be long until they are around again.
If you like their CD's now, you will appreciate them even more after a live experience. You just do not realise what is going on with the drum kit when you listen to the CD, but when you see Dave King play drums it is mind boggling.
Prog, Suspicious Activitiy and These are the Vistas are all worth trying.
Cheers
Posted on: 20 December 2009 by Diccus62
quote:Avishai Cohen
No I haven't tried him, will check him out. Thanks for the info on Bad Plus. Will def keep an eye out for them in 2010 and listen more. The Sage in Gateshead seem to promote 'Outhere' jazz so hopefully they'll come North
Posted on: 27 December 2009 by bdnyc
Hi ECM fans-
There is a nice appreciative piece on ECM's 40th anniversary in today's New York Times Art's and Leisure section. www.nytimes.com.
Not quite as photogenic as Adrian's poster collection, but a nice overview for a wide general audience.
Good listening,
Bruce
There is a nice appreciative piece on ECM's 40th anniversary in today's New York Times Art's and Leisure section. www.nytimes.com.
Not quite as photogenic as Adrian's poster collection, but a nice overview for a wide general audience.
Good listening,
Bruce
Posted on: 28 December 2009 by Diccus62
Both of these were in my Christmas stocking - i think they are wonderful, sadly no one else in the house (or visitors) are as appreciative 
Posted on: 28 December 2009 by ewemon
quote:Originally posted by Diccus62:
Both of these were in my Christmas stocking - i think they are wonderful, sadly no one else in the house (or visitors) are as appreciative
Yep the Tord is great but have yet to buy the Benedikt disc.