07th Mar2017

Barb Jungr ‘Every Grain of Sand’ 15th Anniversay Edition LP/CD (Linn) 4/5

by ukvibe

Combining cabaret, theatre and music has been a key ingredient to Barb Jungr’s career to date, and this timely re-issue of arguably her strongest album (elsewhere she has interpreted the music of Jacques Brel and Nina Simone) coincides with the fifteenth anniversary of the original release. The Dylan songbook only continues to rise in stature with time and the excellent ACE compilation, ‘Black America sings Dylan’, showcased just how differently musicians could interpret his music. In the case of Jungr, she skilfully reworks the songs in ways that you might never have thought imaginable where folk and jazz interweave effortlessly with the chanson tradition. Jungr is very ably assisted in bringing the project to fruition by her long-time pianist and collaborator Simon Wallace, with jazzy licks provided by saxophonist Mark Lockheart who has equally carved out his own parallel career with some excellent solo work.
If the tone is gentle and refined on the gospel-tinged piano and vocals of, ‘I’ll be your baby tonight’, then the tempo goes up a notch or two on the accordion led, ‘Things have changed’. Above all else, the singer’s love of Dylan’s repertoire comes shining through, as illustrated on the lovely reading of, ‘I want you’. A personal favourite interpretation of this writer arrives in the shape of the jazz-inflected take on, ‘If not for you’, with the subtle use of strings and the delicate soprano saxophone musings of Lockheart.

New sleeve notes by Barb Jungr reminisce on the original 2002 recording and help place the music in a wider historical context. A lengthy UK tour commences in March and goes on all the way into May with tour dates at venues as far apart as the Pizza Express in London on 29 March and her native north-west at the Plaza in Stockport on 21 April.The European dimension to the tour kicks off with a concert in Berlin on 6 March. 

Tim Stenhouse

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06th Mar2017

Yotam Silberstein ‘The Village’ (Jazz & People) 3/5

by ukvibe

Guitarist/composer Yotam Silberstein’s fifth release as leader is a quartet outing with Aaron Goldberg on piano, Reuben Rogers on bass, and Gregory Hutchinson on drums. The New York based Tel-Aviv born guitarist has brought together many influences for this recording, including music from the Middle East, Brazil, Spain, Portugal, Argentina and Uruguay; all forged together into a likeable jazz setting that makes for a pleasant listen.
The musicianship throughout this session is impeccable, perhaps not surprising given the quality of the rhythm section at hand. “I was so happy in the studio looking around and seeing my band members who are each virtuosos on their instruments, and dear friends; they understand and support my musical vision and play my music as if they wrote it!” says Silberstein. And indeed, there is a wonderful cohesion to the music being performed with excellent interplay and soloing from all four musicians. Silberstein himself has a wonderful feel for the traditional language of jazz guitar, bringing to mind thoughts of Kenny Burrell, Wes Montgomery and Grant Green. His South American influences shine brightly throughout this album, resulting in a light and harmonious nature to the performance.

Whilst the quality of the musicianship throughout “The Village” is never in question, the compositions are not always the strongest point. It’s all a little too familiar and lacking in surprises, but it does hinge together well, even if this listener found himself wandering off at times. That said, there is plenty to enjoy, with tunes like the delicious “Fuzz” and the gorgeous “Stav” adding a touch of undoubted class and skill to the proceedings. These two tracks in particular prove that Silberstein has a splendid talent, one which allows his band the freedom to express themselves on a more emotional level, not just a technical one. “October” reflects well the fact that it was written on a beautiful Autumn day, and the rhythmic, infectious qualities of “Parabens” and “Milonga Girls” provide excitement and joy to the ear.

Perhaps not an album that will stay near the front of the CD player for years to come, “The Village” is nonetheless a fine recording, with some lovely highlights, especially for any jazz guitar officianados out there.

Mike Gates

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05th Mar2017

Pauline Ganty ‘Après’ LP/CD/DIG (QFTF) 4/5

by ukvibe

Après is a warm winter release. Full of light and heart. Pauline Ganty’s songs feel like a lush breeze. “Under the stars, someone’s dancing”. The opening song “Under The Moon” is an airy Bossa like pop song. A percussive piano vamp is grooving along and the melody develops. Pauline Ganty exceeds all expectations.

She carries her songs through a weightless wide, fantastic story space. Attached only to the essentials of meaningful music and songwriting. Strong lyrics, outstanding singing, great arrangements and a stunning band. Pauline Ganty voice and appearance is a mixture of a young Anita O’Day and Norah Jones.

All songs are originals of the 31 year old Swiss-French artist. Except for “Way to Blue”, a cover of a Nick Drake Song, which comes in a moody romantic timbre, reminiscent of an epic James Bond title song.

Without effort she manages her band mates. Three of Switzerland’s most well known jazz prodigies; Dominic Egli on Drums, Noé Macary playing Piano and Fabien Iannone featured on double bass. The technical supremacy of this band get’s right to the heart of the music. No pretentiousness, or macho show off. Each solo spot is another egoless statement contributing to Ganty’s musical direction and vision.

Even the saddest ballads on Après sound like Pauline Ganty is singing with a smile. It’s that sense of wisdom and foresight that she carries in her voice. Pauline Ganty takes you by the hand and installs sense and hope in each song. 

This is a well thought through feel good album, no matter how dark times might get. After winter must always come spring.

Shakro Guel

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04th Mar2017

Tim Kliphuis Trio and Orchestra ‘Reflecting the Seasons’ (Sony Classical) 4/5

by ukvibe

Nigel Kennedy’s interpretation of Vivaldi’s ‘The four seasons’ became a best seller back in the 1980s and ever since the violinist has flirted with jazz, world roots and classical projects to critical acclaim. How, though, might the Vivaldi opus work as a fusion of folk, jazz and classical idioms? This is the conundrum that Dutch violinist Tim Kliphuis set himself with his trio made up of guitarist NIgel Clark and double bassist Roy Percy, supplemented by additional strings as and where required. The result is a delicate balance of improvisation and a more faithful representation of Vivaldi’s work that will probably have classical music pundits fuming, but is likely to appeal to a wider audience that simply wants to hear quality music.
A graduate of the Amsterdam Conservatoire, Kliphuis had a chance encounter with maestro jazz violinist Stéphane Grappelli that entirely changed his outlook on music and led to the Dutchman becoming deeply interested in improvisational music. To be clear, this is not a jazzed up take on Vivaldi that Jacques Loussier might have attempted. Rather, it is a combination of country folk, meets swing jazz and with classical elements that all come together cohesively.

In 1999, Kliphuis joined Belgian jazz manouche (gypsy jazz) guitarist Fapy Lafertin and started exploring this guitar tradition. This experience has unquestionably rubbed off on Kliphuis who on, ‘Summer II’, tears into a straight ahead swing performance after the solo double bass intro whereas, ‘Summer I’ comes across as the kind of vehicle that Grappelli would have excelled on. The much loved, ‘Spring I’, receives an uptempo country folk reading with improvised sections while on ‘Autumn II’, one can certainly hear the influence of Django Reinhardt with plucked violin strings. In a more meditative mood, ‘Spring II’ is more faithful to the classical baroque tradition, though where the violin plays a solo.

Is it classical? Jazz and non-classical critics would most likely reply: does it matter? Particularly if a personalised interpretation helps to enhance the quality of the music and offer new perspectives. In this endeavour, the music contained within wins out handsomely and even purists are left to dwell on how this differs from the original. Tim Kliphuis has ince performed with some of the jazz guitar greats and these include among others, Herb Geller, Bucky Pizzarelli and Martin Taylor, not forgetting one of the pioneers of the electric guitar, Les Paul.

Tim Stenhouse

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03rd Mar2017

Carminho ‘Canta Tom Jobim’ (Warner Portugal) 4/5

by ukvibe

Portugese fado and Brazilian bossa nova are normally perceived as entirely separate music forms, though of course the historical links between the two countries go back several centuries. To this writer’s knowledge, this is the first project to devote itself entirely to fado interpretations of the Jobim songbook, though there must surely exist other individual songs of Jobim that have been recorded by fado singers over time.
Twenty-eight year old singer Carminhohas largely remained faithful to the originals, but cleverly reflected on how this can be adapted to the fado idiom, and invited some major league Brazilian singers who know exactly how Jobim should be sung and performed. To assist greatly in proceedings, the authentic Brazilian instrumentation of Jobim family members Paulo on guitar and Daniel on piano with Paulo Braga on drums and the magnificent cello and arrangements of Jacques Morelenbaum adds a dose of Carioca magic.
The pairing of Carminho with Marisa Monte works best of all and in, ‘Estrada do sol’, you have a potential hit single for the lusophone market. This surely calls for a duet project. Monte’s voice is not unlike the purity of sound that emanates from Gal Costa and it is the sheer vulnerability here that is so emotive and appealing. Jobim has always been a master of the melancholic and this is beautifully illustrated on, ‘Falando do amor’, where Carminho duets with the poet-singer-songwriter extraordinaire, Chico Burque. For uplifting music, the opener, ‘A felicidade’ could hardly be bettered and, ‘O grande amor’ is virtually as enticing. A gorgeous piano intro to the classic, ‘Wave’, is embellished by some beautiful harmony vocals. This project is no less than a musical love letter to Tom Jobim and one can but imagine Tom somewhere in heaven, probably dancing a little samba to the music.

Tim Stenhouse

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02nd Mar2017

Colin Vallon Trio ‘Danse’ (ECM) 3/5

by ukvibe

Swiss-French pianist Colin Vallon has made a name for himself firstly with the independent Hatology label in 2007 for whom he recorded, ‘Ailleurs’, before debuting on ECM in 2011 with ‘Rruga’. This new album marks his third for the label and was recorded in Lugano with the young accompanists, Patrice Moret on double bass and Julian Sartorius on drums and follows on from, ‘Le Vent’, from 2014.The reposing opener, ‘Sisyphe’, has been receiving regular radio exposure and is by far the strongest piece on the album while, ‘Morn’, has a truly hypnotic quality that is endearing. Another beautifully flowing number that has something of a classical music influence is, ‘Tsunami’, with fine and sensitive drumming from Sartorius. In reality, leader Vallon has been influenced to a large extent by contemporary music that encompasses Ligeti as much as Monk, and he has equally soaked up the lefter-leaning pop hues of both Bjork and Radiohead. A minimalist approach surfaces on the repetitive riffs from the rhythm section on, ‘Tinguely’, composed by Moret.
If the album tapers off somewhat in the second half, then with greater experience and wisdom, the trio will undoubtedly add greater variety to tempi and improve their already excellent compositional skills and this is indeed hinted at on the somewhat chaotic intro to, ‘L’onde’. This writer also warmed to the gentle rambling of, ‘Kid’. A promising new recording from a young trio that is heading in the right direction.

Tim Stenhouse

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01st Mar2017

The Manhattans ‘I Kinda Miss You: The Anthology Columbia Records 1973-1987’ 2 CD (SoulMusic) 4/5

by ukvibe

Classic soul formation, The Manhattans, are something of an institution and can be mentioned in the same breath as the likes of The Intruders, The O’Jays and The Temptations as a group that have stood the test of time remarkably well and have a clear musical identity, with a track record of consistently quality songs that they can justifiably be proud of. This anthology is the most comprehensive of any to date and takes the listener through the group’s early breakthrough until the late 1980s when lead singer Gerald Alston then set off on a solo career. 
If the 1973 debut for Columbia, ‘There’s no me without you’, showed plenty of early promise minus a hit single, then the template for their musical style was already starting to be cemented at this stage and the follow up album from 1974 included a catchy hook of a chorus in, ‘That’s how much I love you’, which hit the higher échelons of the R & B chart. Superb collective harmonies and the aching lead vocals of Gerald Alston were always likely to win through and the stunning, ‘Summertime in the city’, was a clear indication that everything was now in place with an epic sound including harp and Philly inspired voices. By the third album, simply titled, ‘The Manhattans’, from 1975, the group hit the big time with the popular love ballad, ‘Kiss and say goodbye’, which became a number one R & B hit and entered the top forty of adult contemporary music, a somewhat bizarre genre for sure, but clear evidence of the mass appeal of the group sound. This formula was added to with the 1976 album, ‘Feels so good’, with another hit in, ‘I kinda miss you’ while in ,’Hurt’, the baritone vocal intro hints at Barry White in his prime, before the sweetest of lead vocals takes over. proceedings.

The second CD updates the group history from the very beginning of the 1980s when The Manhattans changed producer to Leo Graham and this collaboration resulted in their major hit, ‘Shining star’. They enjoyed further success with a pared down and respectful update on Sam Cooke’s immortal ‘You send me’ which, in the use of bassline intro, predates the Commodores’ mid-1980s pop hit, Nightshift’ by a few years. Modern soul fans will immediately recognise the uptempo synth bass and gorgeous harmonies of, ‘Crazy’, which became a soul boy anthem in 1983, while their songwriting talents were not ignored for, ‘Just the lovely talking’, was reprised by an emerging soul singer called Whitney Houston who had a later hit with it. A mid-1980s duet with Regina Belle and produced by Bobby Womack, ‘Where did we go wrong?’, was a minor hit for the band. Extremely detailed inner sleeve notes come courtesy of Mojo and record Collector soul aficionado and writer, Charles Waring, and as ever lovingly supplemented by graphic illustrations of album covers, labels and photos.

Tim Stenhouse 

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28th Feb2017

Ralph Towner ‘My Foolish Heart’ (ECM) 5/5

by ukvibe

One of the longest serving musicians on the ECM label, who has performed with the likes of Jan Garbarek, and others as well as with Oregon, Ralph Towner returns with a solo guitar project that has a quasi-live feel to the sound, yet still retains a wonderful intimacy. The project has as an underlying theme a warm tribute to the late great pianist Bill Evans, but is really a pretext for Towner to display his own dazzling virtuosity in a variety of musical settings and this he succeeds in accomplishing with aplomb. A folk feel is discernible on the opener, ‘Pilgrim’, and throughout the album, Towner delights in exploring the roots of different musical traditions, and on several pieces one can almost hear the nylon string guitar played flamenco style and there is both a finesse to and a freshness in the performances that is totally absorbing to the listener.
Towner was, as a then young pianist back in the 1960s, heavily influenced by the Bill Evans trio and their masterful interpretation of, ‘My foolish heart’, and hearing that reading had a major impact upon him. Thereafter, the twelve sting classical guitar became Ralph Towner’s main instrument of choice and is in fact the only non-original performed on this occasion. On ‘Dolomiti dance’, he seemingly goes back in time to the Elizabethan era and, perhaps, the music of John Dowland and approaches the music with great subtlety. Classical influences are not absent, especially on, ‘I’ll sing to you’, which could just as easily have been played by John Williams. There is fine comping from Towner on the pressing, ‘Saunter’, which at barely over the five minute mark is still the longest piece on the entire album while the guitarist’s dexterity is on show on, ‘Clarion call’, with fine interplay between his own hands. An exemplary ECM recording from a label that is enjoying renewed vitality. Ralph Towner is at his absolute best here.

Tim Stenhouse 

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27th Feb2017

Søren Bebe Trio ‘Home’ (Private Press) 5/5

by ukvibe

It sometimes feels that we might drown under the almost constant deluge of wonderful music from so many Scandinavian piano jazz trios. Whilst most, if not all of it is worthy music, I often find it difficult to distinguish between the various trios. It seems to me that very few have developed distinct identities. Off the top of my head I can only think of EST and Tord Gustavsen. Then, along comes Søren Bebe. Søren seems to have assimilated the influence of Gustavsen to good effect and yet, to me at least, seems to have established that all important individual group sound, subtly different from the others.I’ve been aware of the trio’s music for some time, since hearing ‘A Song For You’ from 2012 and thereafter ‘Eva’ an album from 2013 featuring bassist Marc Johnson. For this release, alongside Bebe on piano we have Kasper Tagel on bass and regular drummer Anders Mogensen. The album was recorded in Copenhagen in 2015 and was mixed and mastered by Jan Erik Kongshaug at the famed Rainbow Studio in Oslo. It seems very fitting that the veteran sound engineer known for his work with ECM is on hand here.

The overarching feature of Bebe’s music is its lyricism. There is a clear lineage from Bill Evans to contemporary masters such as Keith Jarrett. Like, Gustavsen, there is often an emphasis on simple folk-like, almost mournful melodies.

The Danish pianist established the trio in 2007 and together they have released five previous albums.

The opening track ‘The Path Somewhere’ has an almost classical influence allied to a folk-like melody. Intensely melodic with bass and drums marking out a rhythmic pulse under the piano.

‘Tango for T’ follows and, like much of the album, it is very contemplative, and reveals its musical secrets gradually. Another melodic jewel.

One of the outstanding tracks for me is ‘A Simple Song’. It is exactly that. The trio asserts a hypnotic influence on the listener and it is impossible not to allow yourself to luxuriate in the soundscape that they create time and time again throughout the album.

This is not simply a pianist with rhythm section, each member of the trio is an equal partner in the music making and the trio breaths as one.

‘Look Out Now’ is another fantastic piece of music, seductive in its simplicity.

It would be easy to simply dismiss this as just an album of background music, but to do that would be to do the music and the musicians a grave disservice.

Along with the jazz music, Bebe has also produced a series of albums of music for Ballet classes. Listening to both it is clear that there are similarities between the two genres. Indeed, I suspect that Bebe sees no distinction between the two.

Bebe is justifiably proud of this album and has said that he considers it to be the trio’s “best album yet”. He goes on to say that “the record is the first time I’ve actually been true to my artistic vision. ‘Home’ is a quiet, slow album – the kind I’ve always wanted to make but didn’t have the guts to do.”

Listen to this album and you too, like me, will be transported to a better place.

Alan Musson

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23rd Feb2017

Chameleon ‘Chameleon: Expanded Edition’ (BBR) 4/5

by ukvibe

One of the lost treasures of the disco era, Chameleon were a one album outfit produced by and featuring two jazz instrumentalists in multi-reed player Azar Lawrence and trombonist Fred Wesley, the latter of whom was an integral member of the James Brown organisation and offshoots, the J.B’s. Lawrence had performed as part of McCoy Tyner’s band and with the more obscure sounding formation that comprised the mid-1970s period in Miles Davis’ career, on ‘Dark Magus’ from 1974. He led a parallel career as a leader on the jazz label Prestige and recorded two well received albums that long-term fans of spiritual jazz have warmed to. Both ‘New age’, featuring the vocals of Jean Carn, and ‘Summer Solstice’, are richly deserving of a re-issue at some stage.While this self-titled album release on Elektra records from 1979 was clearly aimed at the dancefloor, the quality of musicians on board elevated this album above the rest, and alongside elongated disco numbers, are jazz-tinged funk numbers, such as, ‘Mysteryoso’, which takes a leaf out of the Herbie Hancock Headhunters era. Elsewhere, there are contemplative soul songs with fine accompaniment from the likes of Gerald ‘Get down’ Brown on bass and Ronald Brune on drums. The pick of these is, ‘Game of life’, sung by Earl Alexander who doubles up on guitar.

As a memorable bonus, the two disco-oriented numbers are included in their full length 12″ versions and probably worth the purchase of the CD alone. While ‘Get up’ is the more conventional of the two dance tracks, ‘We’ll be dancin’ was the late 1970s in microcosm with beefy percussion including the obligatory syndrums and a stunning percussive breakdown, a fine horn section that included Earth, Wind and Fire hornman Andrew Woolfolk and the smooth lead vocals of Delbert Taylor. An underground disco hit for sure and one that thankfully has stood the test of time remarkably well.

To this writer’s knowledge, no follow up record was issued so this is all we have to represent the band and the liner notes written by Christian John Wilkane feature an interview with Azar Lawrence. A worthy re-issue item that would be all too easy to overlook.

Tim Stenhouse

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