Jazzwise October 2014 Issue Albums Reviewed List

All these albums are reviewed in the October 2014 issue of Jazzwise which is out now – to read them all click here to subscribe and get a FANTASTIC FREE CD

New Release Album Reviews

1032K That Which Is Planted Passin’ Thru

Mina Agossi Fresh Plus Loin Music

Fred Thelonious Baker Life Suite First Hand Records

Lizzie Ball Hasta Siempre/Hasta Siempre Otra Vez Classical Kicks

Jim Black Trio Actuality Winter & Winter

Stefano Bollani Joy in Spite of Everything ECM

Stanley Clarke UP Mack Avenue

Cloudmakers Trio Abstract Forces Whirlwind Recordings

Echo Engine Windjammer Blue Scene Focus

Farmers By Nature Love and Ghosts AUM Fidelity AUM

Fofoulah Fofoulah Glitter Beat

Tom Harrell Trip High Note

Wayne Horvitz 55: Music and Dance in Concrete Other Room Music

Ahmad Jamal featuring Yusef Lateef Live At The Olympia Jazz Village

Al Jarreau My Old Friend: Celebrating George Duke Concord Records

Mark Jennett Everybody Says Don’t Jazzizit Records

Darius Jones/ Matthew Shipp Cosmic Lieder: The Darkseid Recital AUM Fidelity

Frank Kimbrough Quartet Palmetto

Jacob Karlzon 3 Shine ACT

Manu Katché Live in Concert ACT

Diana Krall Wallflower Verve

Noel Langley Edentide Suntara

Azar Lawrence The Seeker Sunnyside

Jerry Léonide The Key ACT

Dave Liebman – Steve Dalachinsky The Fallout Of Dreams RogueArt

Mammal Hands Animalia Gondwana Records

Dominic J Marshall Trio Spirit Speech Origin Records

Louis Moholo-Moholo Unit For The Blue Notes Ogun

Sarah Moule Songs From The Floating World Red Ram Records

Orquestra Jazz de Matosinhos Jazz Composers Forum – Today’s EuropeanAmerican Big Band Writing Toap

Quadraceratops Quadraceratops Efpi Records

Rebirth Brass Band Move Your Body Basin Street Records

Marc Ribot Trio Live At The Village Vanguard Pi Recordings

Jochen Rueckert We Make the Rules Whirlwind Records

Adam Schroeder Let’s Capri

Louis Sclavis Quartet Silk and Salt Melodies ECM

Torben Snekkestad and Barry Guy Slip Slide and Collide Maya recordings

Omar Sosa Promise Ota SKP

Martin Speake and Douglas Finch Sound Clouds Pumpkin Records

Tommaso Starace Quartet Italian Short Stories EmArcy

Henri Texier Hope Quartet Label Bleu

Tricotism Fingerbustin’ Raymer Sound

Mark Turner Lathe Of Heaven ECM

Wesseltoft, Schwarz, Berglund Trialogue Jazzland

Bugge Wesseltoft’s OK World OK World Jazzland

Miguel Zenón Identities Are Changeable Miel Music


Short Cuts// New Releases

Laurie Antonioli Songs of Shadow, Songs of Light Origin

Ed Barker Simple Truth www.edbarker.co.uk

Bearetown Leaning Jazz Jazz Wide

Ian Carey / Ben Stolorow Duocracy Kabocha

Ceccarelli Pilc Bramerie Twenty Bonsai Music

The Cellar and Point Ambit Cuneiform

Frank Harrison Trio Lunaris Linus Records

Frederik Köster Die Verwandlung Traumton

Luigi Di Nunzio inexistent Abeat Records

Penguin Café The Red Book Editions Penguin Café Ltd

Persson Danielsson Sundby The Second Time Around Live in UMEA Imogena Records

Simona Premazzi The Lucid Dreamer Inner Circle

Primitive Arkestra Dolphy’s Hat (Live) Slam

Howard Riley To Be Continued Slam

Elliott Sharp’s Terraplane 4am Always Yellowbird

Alex LoRe Dream House Inner Circle

Jan Lundgren Trio Flowers of Sendai Bee Jazz

Rotem Sivan Trio For Emotional Use Only Fresh Sound New Talent

Strayhorn Quartet One Drop Love Chant Soulito

Kevin MacKenzie/Steve Hamilton Midnight Without You Laundry Room Music

Baptiste Trotignon Hit Naïve


Reissues / Archive Reviews

Cannonball Adderley Sophisticated Swing/Cannonball’s Sharpshooters Cheesecake Records

Albert Ayler Trio Spiritual Unity ESP

Jaki Byard The Late Show High Note

Donald Byrd Four Classic Albums Byrd’s Word/Byrd’s Eye View/ All Night Long/ Byrd Blows On Beacon Hill Avid

Ray Charles King Of Cool – The Genius Of Ray Charles Atlantic/Rhino

Flat Earth Society Boot & Berg/X-Legged Sally/Call Sheets, Riders and Chicken Mushroom BONK/IGLOO

Carlos Garnett Black Love/Journey To Enlightenment Soul Brother

Stan Getz England 1958 / Chicago 1957 Solar

Dizzy Gillespie The Greatest Trumpet Of Them All American Jazz Classics

Grant Green Oleo Essential Jazz Classics

Charlie Haden / Jim Hall Impulse!

Herbie Hancock The Warner Bros. Years (1969-72) Warner Bros./Rhino

Gene Krupa Second Set/Four Classic Albums Sing, Sing, Sing/ Gene Krupa Quartet/ Krupa Rocks/The Jazz Rhythms Of Gene Krupa Avid

Gene Ludwig/Pat Martino Trio Young Guns Highnote

Johnny Mbizo Dyani Rejoice / Together Cadillac Records

Howard McGhee West Coast 1945-1947 Uptown

Thelonious Monk & Sonny Rollins Complete Recordings Essential Jazz Classics

Baden Powell Solitude on Guitar Sony

Sun Ra And His Arkestra In The Orbit Of Ra Strut

Enrico Rava and Paolo Fresu Shades of Chet Via Vento Jazz

Annie Ross/Christopher Logue/Tony Kinsey Quintet Loguerhythms – Songs From The Establishment EL Records

David Sancious Forest Of Feelings/ Transformation (The Speed Of Love) Esoteric Eclec

Nina Simone Little Girl Blue Masterworks

Nina Simone Nina Simone And Her Friends Bethlehem Records

Nina Simone At The Village Gate Masterworks

Mark Springer Piano Cherry Red / Exit

Various Artists Greater Lengths: An All Saints Compilation All Saints

Cedar Walton Reliving The Moment High Note


Short Cuts//Reissues

Trigger Alpert Trigger Happy Fresh Sound

Louis Armstrong Integrale Vol. 13: A Song Was Born Fremaux

Chet Baker Get Chet Cheese Cake

Ray Barretto Eye of the Beholder / Can You Feel It Expansion

Count Basie Broadway Basie’s Way / Hollywood Basie’s Way American Jazz Classics

Conte Candoli Sincerely Conte Verse

Jimmy Cleveland Complete Recordings Essential Jazz Classics

Peggy Connelly That Old Black Magic Verse

Chris Connor Witchcraft Atlantic

João Donato The Sound of Brazil Sony Music

Coleman Hawkins Alive! At The Village Gate American Jazz Classics

Billy Hawks New Genius of the Blues and Heavy Soul BGP

Bill Jennings Architect of Soul Jazz Fresh Sound

Miucha and Tom Jobim Miucha and Tom Jobim /Miucha and Antonio Carlos Jobim Sony

Marty Paich Jazz City Workshop Verse

Frank Rosolino I Play Trombone Verse

Various Artists Four Horns and a Lush Life Verse

Sarah Vaughan Wonderful Sarah Master Jazz Records

Australian Jazz Album Round-Up September 2014

This month we take a look at a meeting of two creative pianists from both sides of the Pacific, another stunning debut, this time from a Western Australian trio and finally a meeting of classy musicians from across the ditch. Live, we take a look at a great show from Sylvan Coda.

– Michael Prescott, Jazz Presenter 5MBS, Australia

Alister Spence & Myra Melford

Everything Here Is Possible          Self Release    ★★★★

Alister Spence (p), Myra Melford (p), Rec 9 November 2012

This is a genuine meeting of like minds, two free flowing improvisatory pianists creating in real time. This project came to fruition when Melford brought her Trio 3 project to Australia in late 2012.  Spence is responsible for an excellent series of recordings for Rufus Records, including “Flux” (2003) And “Far Flung” (2012), both featuring Necks bassist Lloyd Swanton, whilst Melford needs no introduction. Although they had corresponded by email, they actually met for the first time on the afternoon of the recording and did not discuss what they would record. The resulting music is made up entirely of spontaneous improvisations for 2 pianos over 5 longish tracks. Although this is “free” music, largely devoid of structure, it is not unmelodic or unapproachable. There are many changes in timbre and form, evoking a wide range of emotional responses. It is also not frenetic meaning the whole is accessible and does not descend into a chaotic noise. Both pianists employ prepared piano on two tracks to great effect. The title of this album is very appropriate, when two creative musicians come together to improvise with a clean palette, everything IS possible and here they prove that “free” can be beautiful also.

Click here for more info and samples


Abbey-Foster-FalleAbbey, Foster, Falle                   ★★★★

Brotherhood                      Newmarket

Nick Abbey (b), Chris Foster (p), Ben Falle (d). Rec. 30 July, 1 August 2012

This is an accomplished and confident debut from three musicians from Perth, Western Australia. The members are separately listed as this is not a trio with an obvious leader; all contribute equally to the performance and the songwriting. And what tunes they are, bursting with hummable melodies, danceable rhythms and adventurous, flying improvisations. This is very comptempory jazz, closer to the European trios Phronesis and EST than Bill Evans. The mood throughout this disc is mostly upbeat and this apparent from the outset with the album opener, Foster’s delightful “Betty”, a gorgeous tune explored beautifully by Foster and Abbey. After three tunes from Foster comes bassist Abbey’s “Maelstrom”, a tour de force with its incessant driving rhythm and catchy melody. The pace slows before another burst from the final track, “Brotherhood”. It’s the confidence and the apparent ease that this trio displays that is so striking for their first outing. They appear to be the complete package, excellent songwriting, great use of rhythm and intelligent but emotive solos from all members. More than this, they also they listen to each other’s playing leading to lively and engaging interplay. One cannot help but be impressed and thoroughly enjoy this trio’s first foray into recording.

Click here for more info and samples



Dog                           Rattle   ★★★

Kevin Field (p), Roger Manins (s), Olivier Holland (b), Ron Sampson (d). Rec April 2014

“Dog” is not exactly the most attractive band name and not really indicative of the music contained therein. It is actually a collection of some of New Zealand’s finest, including Manins, who worked extensively with the late Bernie McGann, and veteran drummer Sampson. Together they make one joyous racket over 10 tracks, with the songwriting equally spread among the band. The album kicks off with Sampson’s Push Biker, with its incessant one note intro from piano and sax before the tension releases with the theme stated by Manins. This pacey opening continues over most of the disc with standouts being ”Road To Damascus”; ” Sounds Like Orange” and “Peter The Magnificent” The tempo is subdued within the inclusion of three ballads but it’s the up-tempo numbers that really lift this album to great heights. Experience can count for much and when a quartet of seasoned players comes together their collective experience can lead to inspired sessions and this is what has occurred here. All members of the group contribute great tunes and then enhance them by thoughtful arrangements and flowing improvisations, particularly Manins and Field. In this case the Dog has had its day and may there be more to come!

Click here for more info and samples


Christopher Hale’s Sylvan Coda

Dunstan Playhouse, Adelaide

Johnny-Tedesco-and-Chris-HaleYou know a show is special when the audience jumps to its collective feet as soon as the last note is played; this was one of those shows. Sylvan Coda, brainchild of six string semi acoustic bass guitarist Christopher Hale, was performing as part of The Adelaide Guitar Festival. The music is a mix of jazz and flamenco but dominated by neither. The concert, based on the superb 2010 “Sylvan Coda” album (Which Way Music), was delivered by almost the same band that recorded the CD. This gig buzzed from the first chord, propelled by a fine rhythm section, led by Hale and assisted by Ben Vanderwal on drums with the fabulous Johnny Tedesco on percussion. Tedesco further mesmerised the gathered with a stunning display of flamenco dance, demonstrating an amazing agility and lightening fast feet. Gian Slater, voice, was impressive throughout, adding real colour to the music with wordless vocals, while Nathan Slater was brilliant on nylon string guitar. Finally Julian Banks’ tenor saxophone ably completed the front line. Those familiar with the aforementioned album were struck with the elevation of that very good album into a simply stunning performance littered with highlights from all. The intensity was sustained throughout this performance, making it one of 2014’s highlights.

Click here for more info


Partisans – Swamp ★★★★

Whirlwind Recordings
Julian Siegel (ts, ss, clt, b clt), Phil Robson (g), Thad Kelly (el b) and Gene Calderazzo (d). Rec. 2014
By treating us mean, those Partisans keep us keen: this is only their fifth album in 18 years and their first in five since the splendid By Proxy. But, of course, Swamp is worth the wait. It has all those signature sounds: that sax and guitar frontline is all the fresher for their time apart as they lock down, all batteries re-charged.

Look no further than the dazzling West African dance vibe of ‘Flip The Sneck’ that somehow morphs into the gnarliest of guitar breaks. Yet compare and contrast to the intimate chamber feel of ‘Thin Man’ with its geometric patterns, and restrained melody. And beneath it all lies Calderazzo’s fluently flowing rhythms, like some percussive Ariel, tied to neither time nor place yet always in a state of readiness to pair powerfully with Kelly’s bass. Siegel’s range of colours continues to grow, with clarinet now added to his chorus of horns.

This band can be as neurotically edged as you want (‘Veto’) or just plain happy (the gorgeous opening to ‘Overview’). But when it comes down to it, this is just a band that loves playing: and this is an album you’ll love listening to. Please though, not another five-year wait: some of us are getting on a bit.

– Andy Robson


Australian Jazz Album Round-Up July 2014

The diversity of Australian jazz is evident from this month’s new releases, a recently unearthed quintet recording of some of Australia’s best from 23 years ago, a staggeringly original collection from a new but obviously talented composer/arranger and finally a live show from a well established piano trio. Also this month, we look at Julien Wilson’s great trio in performance, following on from the recent review of his trio’s “Swailing” album.

– Michael Prescott, Jazz Presenter 5MBS, Australia

TheHunters-PointersHunters & Pointers

The Hunters & Pointers          Which Way music      ★★★★

Graeme Lyall (alto sax), John Hoffman (t, fh), Tony Gould (p), Ben Robertson (b), Tony Floyd, George Polyhronakos (d). Rec 28 March, 23 June, 6 August & 24 November 1991

Way back, 23 years ago, a bunch of mates who just happened to be some of Australia’s best, decided to play some gigs at a Melbourne pub, well, just four to be precise. For some reason all were recorded onto VHS tape and then stuck in a cupboard. Fortunately for us, the cupboard has now been prised open and this resulting album, culled from those tapes, is packed to the rafters with superb performances from everyone involved. There are just 5 lengthy excursions, from the engrossing 23 minute rendition of Freddie Hubbard’s “Little Sunflower” to the 8 glorious minutes of Gershwin’s “Someone To Watch Over Me”. These are performances that were not confined by either a studio or concert expectations, this is a group of great musicians getting together to play in a relaxed atmosphere. And that’s what makes this so special; the soloists stretch out with inventive and melodic solos, clearly enjoying themselves. The album kicks off with Lyall and Hoffman playing intertwining lines before the rest of the band joins in on John Klenner’s 1931 standard, “Just Friends”, leading into a Tony Gould solo of power and beauty. There follows one of many Graeme Lyall’s fine alto solos, perfect tone, elegant melodic lines and just sheer class. Robertson also displays a superior ability throughout. This album makes a strong case for such live recordings, the band are not playing to any agenda and so, freed of their constraints, turn in one hell of a performance. The recording quality is also excellent throughout. This album may also contain a first for a jazz album; the uncredited sixth track is Graeme Lyall’s telling of a lengthy cleaned up version of the joke that somehow gave the band its name. Bring on Volume 2!

­– Michael Prescott

More Info and samples here


Tilman-Robinson-NetworkTilman Robinson

Network Of Lines        listen here collective ★★★★

Tilman Robinson (t, laptop, perc), Peter Knight (t laptop), Callum G’froerer (t), Erkki Veltheim (v), Judith Hamann (c), Brett Thompson (g, b), Berish Bilander (p), Sam Zerna (b), Hugh Harvey (d), Melanie Robinson (c), Joe Talia & Josh Barber (perc). Rec. date not stated

From the outset it’s apparent that this is an extraordinary work by an outstanding new composer and arranger. The scope and range of his compositions is as wide as the Australian desert. The collection is inspired by Italo Calvino’s novel “If On A Winter’s Night A Traveller” and kicks off with “Winter‘s Night”, commencing with a deep drone and bass motif before evoking the tracks title with piano and eerie percussion. This segues into “Malbork, Cimmeria” a joyful brass, almost mariachi romp with a memorable hook from the leader’s trombone. “In Search Of An Anchor” is a minor masterpiece, mournful, repetitive before building to a midpoint climax followed by a slow, quiet second half with a reflective cello leading the way. Throughout the album themes come in and out, returning in completely different contexts as if to demonstrate just broad Tilman’s talent is. This is an album of great emotion; there are times it is so joyful that one feels like dancing, on other tunes sadness and melancholy ensues. All of this is underscored by a seeming endless well of unforgettable and hook laden melodies. The more one listens to the album the more it gets under your skin and the more it demands to be heard. On the strength of this, Tilman should be granted everything he wants to make his next brilliant musical statement.

– Michael Prescott

More Info and samples here


JexSaarelahtTrio-LiminalJex Saarelaht Trio

Liminal           Jazzhead        ★★★

Jex Saarelaht (p), Philip Rex (b), Niko Schauble (d). Rec 30 October 2013

The Jex Saarelaht Trio has been performing for over 20 years from its Melbourne base with the same line-up. The wealth of experience is very evident on this live recording from the esteemed Bennetts Lane. The interplay between the musicians is almost telepathic as they work their way through the programme of six Saarelaht’s originals which comprise this album. Saarelaht’s compositions are quite distinctive, particularly the opener, ironically titled “Closing” and the title track, strong melodies with powerful rhythmic drive and some funky bass lines, the perfect base for the group’s solos. This is very much a trio, with Saarelaht giving ample solo space to the rhythm section, who play with him and not behind. And a good thing to, especially as Rex and Schauble can solo with genuine originality, contributing much colour to the music. Saarelaht possess an endless stream of emotive melodic flourishes which seem to continually tumble out of the speakers during his improvisational excursions. The experience that this trio has garnered over 20 years is fully evident here, a live set packed with grace, beauty and a prime exhibit demonstrating that the piano led trio remains a vibrant component of jazz today.

– Michael Prescott

More Info and samples here


Julien Wilson

The Promethean, Adelaide

The venue is somewhat unique, a small intimate space (with a bar of course, this is Australia!) that only opens when there is a gig. On this occasion Julien Wilson was there with his trio to promote his excellent new CD “Swailing”, recently reviewed on this site. In the company of guitarist Stephen Magnusson and Steve Grant on accordion the trio mesmerised the gathered with tunes from 2007’s “Trio Live” and a sizeable chunk of the aforementioned album. The music, with is ECM like qualities, was perfect for this space, lovely, flowing accordion flourishes, subtle guitar lines and the leader’s luscious tenor sax washing over the enthusiastic audience. The absence of a rhythm section only made this music more sensuous and inviting. Whilst Magnusson and Grant covered rhythmic duties with controlled subtly all three musicians contributed solos of eloquence and passion. Wilson is possessed of a glorious Ben Webster like tone which he uses to great effect during his improvisational flights; he appears unable to play an ordinary solo. Likewise, Magnusson’s gorgeous tone and judicious choice of notes led to series of solos that blended in seamlessly with Grant’s accordion. On the strength of this performance I can only hope that the many demands on Wilson’s career will not mean that we have to wait another 7 years before this group reconvenes.

– Michael Prescott



Dylan Howe – Subterranean: New Designs on David Bowie’s Berlin ★★★★

Motorik MR1004

Dylan Howe (d), Brandon Allen, Julian Siegel (ts), Ross Stanley (p, synths), Mark Hodgson (b) with Adrian Utley (g), Steve Howe (koto) and Nick Pini (b). Rec. date not stated

As well as being ‘a funky little bastard’, according to his old mentor Ian Dury, Howe has proved a persistent little bugger by getting this splendid recording out against all the financial odds. He’s used a Kickstarter campaign, raising a community of backers to fund the project. It’s taken time – Howe’s been performing versions of this re-imagination of Bowie’s Berlin trilogy for some seven years – but the results are gorgeously intimate, road tested and subtle, growing organically over the years.

At times the band are haunting and spacey, as on ‘Art Decade’, yet can morph seamlessly into Stanley’s lyrical piano without drawing breath. Howe doesn’t meddle when he needn’t: ‘Warszawa’’s splendid theme sits unadorned, content in a stately tempo, yet magically it grows into a joyous little swinger, reflecting Howe’s deep rooted reverence for Blue Note. And then it draws itself up to its full height with a Coltranesque tenor break, Stanley again outstanding as the shackles are thrown off. Zawinul, with his bop and middle European roots, is the missing link here (the subtle use of synths echoes the master too), but this is Howe’s project for which he deserves huge credit. What, we wonder, does The Thin White Duke make of it?

– Andy Robson

Listen to the album below


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