Jazz

There's no denying the benefit of stable longevity, but neither is there anything wrong with change. Following three ACT recordings that featured her trio--together since Scattering Poems (ACT, 2003)--supporting a series of vocalists, Julia HA1/4lsmann moved to ECM, where the pianist was afforded greater freedom to more fully explore her trio's potential on 2008's The End Of A Summer and 2011's Imprint. Both albums presented a trio beyond anything left to prove and functioning in thoroughly egalitarian fashion, both compositionally and in performance...

The Sea Cabinet is singer-songwriter m: Gwyneth Herbert's sixth album release, her first since All the Ghosts (Naim, 2009). That album's Herbert compositions drew comparisons with such iconic British songwriters as Ray Davies and Paul McCartney--comparisons which were spot-on but for the crucial fact that Herbert unfailingly sees the world from a woman's point of view--while the elasticity and phrasing of her vocals were rightly likened to m: Joni Mitchell...

With Lento Korean Vocalist m: Youn Sun Nah once again captivates with an eclectic mix of source material and her ability to evidently manipulate her voice to achieve any effect she so chooses. Nah has crafted a style so purely her own and so compelling, the only valid point of comparison is her previous work. In that vein, Lento represents a less overtly surprising album than her previous endeavor, Same Girl, taking instead a more consistently somber tone. And while nothing quite reaches the attenuated seduction of Same Girl's "Favorite Things," which startled with its inventive distillation of this often visited classic, Lento once again displays Nah's hallmark emotive range and intellectual acuity, darting from languish, to allurement, to ferment with startling ease...

Satoko Fujii New Trio – Spring Storm (Libra, 2013) ****Satoko Fujii Ma-Do – Time Stands Still (Not Two, 2013) **** By Dan Sorrells I was fortunate enough to see Satoko Fujii Ma-Do in June of 2011 (it’s uncommon for prominent jazz musicians to make their way up to Maine, let alone prominent international musicians). Just two days before, the quartet had recorded Time Stands Still in New York City, and a mere three months later bassist Norikatsu Koreyasu passed away, prompting the dissolution of the group. The New Trio soon formed as a vehicle for Fujii’s small ensemble compositions, a “standard” piano trio featuring young drummer Takashi Itani and bassist Todd Nicholson, who had previously relocated to Tokyo. Spring Storm is their first album, released at nearly the same time as Ma-Do’s swan song. Fujii’s small groups have always placed rhythm in the foreground: her pieces oscillate between sturdy, regimented grooves and spiraling, unmoored freedom. In this respect, the differences between Time Stands Still and Spring Storm are slight; Horikoshi tends towards short bursts of emphasis, while Itani’s drumming is more of a mass accumulation of sound. Both approach Fujii’s music from a similar, energetic angle. Likewise for Nicholson and Koreyasu, two workhorse bassists who bring a swing feel to even the wildest climes. When they pull out their bows, Nicholson is weak in the knees, woozy and sad. Late in Spring Storm, his long arco song on “Maebure” is an arresting change in pace. Koreyasu’s bow is what allowed him to be most free; “Fortitude” captures well his soaring, idiosyncratic bow work, like the very soul of the bass itself trying to leave its constrictive wooden body, a wild twisting spirit that builds a parallel tension to the staccato vamp the rest of the band hammers out. And Fujii—well, Fujii has her usual moments of unbearably catchy syncopation, the dense clots of sound, the brilliant lyrical turns in the midst of what seems to be barely-controlled chaos. You always know what to expect with her. This isn't a slight against an improviser—the unpredictable nature of improvised music is a standard that holds up best when improvisation is compared with other forms of music. Considered within improvisation, a certain notion of "what to expect" (even if we can't always put it into words) is exactly what allows us to pinpoint our favorite musicians, or feel excited when we see a collaboration of artists we’ve never heard play together. Consistency is her hallmark. One listen to “Broken Time” from Time Stands Still, as perfect an encapsulation of Fujii as one could hope to find, makes a strong argument. Even if you're inclined to say she's treading the same ground with Time Stands Still and Spring Storm, that'd be unfair: what she's really done over the years is refined an approach, mastered a methodology that continually delivers the goods. And these albums are great, both of them. It’s tempting to dismiss the New Trio as Ma-Do without Natsuki Tamura’s mighty trumpet, but that would be missing the whole picture. Blustery tracks like “Fuki” remind us that we’re working in different spaces, with different musicians: when the rhythm section comes back in after a solo piano spot halfway though, it sounds like someone trying to tear down a building with hand tools. It’s a level of intensity that’s not so much beyond Ma-Do as of an entirely different cast. I always come back to the idea of ma when faced with Fujii’s music. It’s a concept she likes to invoke. It’s slippery though, more robust than simple translations often suggest: something like the natural space we perceive between things, or the interval that exists between two phenomena. Perhaps what we should listen for when we listen to these albums is this idea of ma: with Spring Storm, what the interval between groups means, and the manifestation of space between musicians newly working together. With Time Stands Still, the natural pauses in

Pianist Kenny Barron's first bossa nova album—West Side Story Bossa Nova—was recorded in March 1963. The session was led by Barron's older brother Bill, a gifted arranger and saxophonist. Kenny Barron played on three tracks—Jet Song, Something's Coming and Maria. The other tracks were handled by pianist Steve Kuhn, along with Willie Thomas (tp) Kenny Burrell (g) Henry Grimes (b) Charlie Persip (d) and Jose Soares (perc). [Photo above of Kenny Barron by Carol Friedman] Fifty years later, Kenny Barron has released another—Kenny Barron & The Brazilian Knights (Sunnyside)—and it's beautiful. The album has all the lyricism and tenderness you'd expect from a pianist of Barron's taste and technique. Recorded in Rio de Janeiro in June 2012, the sidemen include Claudio Roditi  (trumpet and flugelhorn), Idriss Boudrioua (alto sax), Mauricio Einhorn (harmonica), Alberto Chimelli (keyboards), Lula Galvao (guitar), Sergio Barrozo (bass) and Rafael Barata (drums). In many ways, this is a tribute album honoring the music of bossa nova composers Johnny Alf (who died in 2010) and Mauricio Einhorn [pictured], who plays here. Other song choices include Antonio Carlos Jobim's Triste, Baden Powell's So Por Amor and Alberto Chimelli's Chorinho Carioca. Barron's own Sonia Braga is here, too. On this album, we get to hear Barron's magnificent chord voicings in a swaying Brazilian setting. Since the bossa's lineage can be traced back in part to jazz, Barron's sound and phrasing fit in neatly. If you're unfamiliar with Einhorn's bossa harmonica, you're in for a treat. He manipulates the instrument to sound more like a reed instrument than accordion sidekick, which is a relief. And Claudio Roditi is sublime on both trumpet and flugelhorn. What makes this album special is how delicate the group plays together. Songs surge without overloading, and melodies rule. And by recording in Rio, Barron is supported by an authentic bossa sound and feel. For me, a perfect bossa nova is like a glorious sundae. There's sweet texture without sugary thickness, a festive spirit without percussionists hijacking the feel, and an explosion of joy without melodies sliding into gooey nostalgia. Once again, Barron's taste triumphs—this time with the breezy skills of Brazilian peers. What you get are surf-and-sand bossas that deftly avoid tilting commercial or folk. Barron's brother Bill, who died in 1989, would be proud. JazzWax tracks: You'll find Kenny Barron & The Brazilian Knights (Sunnyside) here. JazzWax clips: Here's Maria from Bill Barron's West Side Story Bossa Nova from 1963, with Kenny Barron on piano...  Maria And here's Johnny Alf's Rapaz De Bem, from Kenny Barron & The Brazilian Knights...  Rapaz De Bem

The ArtistWorks Online Fingerstyle Guitar School with Martin Taylor is the perfect place to get one-on-one guitar lessons from Martin Taylor online. This Summer, ArtistWorks is giving away two archtops from Peerless, makers of Martin Taylor's own signature guitar. The prize pack features ...

Anthony Dean-Harris Editor-in-Chief anthony.deanharris@nextbop.com / @i_ADH The Stepkids' quite awesome new single "The Lottery" just got a music video today that either reinforces every trombone joke I've ever made or makes me have to take back every trombone joke I've ever made. You be the judge.

"A Rise In The Road" -- the latest Yellowjackets album, and the first featuring Felix Pastorius!

Should you have missed it, fret not! You can now listen to @KTTunstall's lovely @WorldCafe performance online!

Review by Devon Wendell Photos by Bonnie Perkinson Hollywood, CA.  For the most part, it’s not just the music that has made The Annual Playboy Jazz Festival a Los Angeles summer tradition, but instead, it’s the music combined with the ever present party atmosphere.  And this year was no different. Amidst the clouds of pot smoke and spilled beer on the ground, The 35th Annual Playboy Jazz Festival featured an eclectic blend of artists in the genres of jazz, funk, pop, blues and more. Before getting to my highlights of Sunday’s program, I thought I’d include just a few exciting additions from Saturday’s show to follow up on Mike Katz’s coverage. Grace Kelly From pop to bop, the amazing 21 year old saxophone titan Grace Kelly played a stellar set which included be-bop and pop influences, playing bop style instrumentals and catchy pop infused jazz vocal tunes.  Kelly proved to be one of the most original and fascinating new faces in jazz. Her childlike vocals on “Nighttime Star,” fused with her vast knowledge of both bop and post-bop saxophone playing was astounding.  When she plays alto sax, you can hear Bird, Art Pepper and Jackie Mclean, but with a new, youthful, feminine and energetic swing to it. Kelly was joined by the legendary Phil Woods (also a major influence on her alto sax playing) for “Man With The Hat,” which the two had recorded together in 2011. Woods was in strong form and Kelly played like a waterfall, with endless ideas and a superb technique. This was easily one of the finest moments of the festival. Gregory Porter Gregory Porter’s performance at the festival demonstrated why he has received so many accolades from all over the world. This time out, Porter focused more on his gospel and R&B influences than jazz during his brief set, which made it all the more interesting. This was the case on Porter’s rendition of Cannonball Adderley’s “Work Song,” in which Porter opened the song with a few verses of Leadbelly’s “Alberta.” Porter’s controlled and carefully crafted phrasing along with his magnetic stage presence brought the Bowl crowd to church. Sunday’s program had a lot more fire and electricity than Saturday’s. It’s hard to imagine combining jazz and rock piano with a dance ensemble but acclaimed pianist Elew (joined by Jazzantiqua Dance Ensemble) did just that and made it work. Elew and Jazzantiqua Dance Ensemble Elew stood up while playing, looking like a mad scientist while he stared intensely at the audience. The Jazzantiqua Dance Ensemble did graceful, ballet interpretations of Elew’s readings of The Cranberries’ “Zombie” and The Killer’s “Mr. Brightside.” Elew fused the stride piano styles of James P. Johnson with Horace Silver. Though asking a lot of the festival audience, this was a fascinating experiment both visually and sonically. Chris and Dan Brubeck One of the purest jazz acts of the festival was The Brubeck Brothers, lead by Dave Brubeck’s sons, Chris Brubeck on bass and trombone, and Dan Brubeck on drums. The two were joined by Mike Demicco on guitar and Chuck Lamb on piano, making up a tight, focused, and dynamic quartet. The brothers paid a warm, heartfelt Father’s Day tribute to their legendary father, Dave Brubeck who passed away on December 5, 2012. Their set included many Brubeck classics such as; “Kathy’s Waltz,” “Blue Rondo A La Turk,” and “Take Five.” The group performed these songs with elegance, dynamics, and devotion. Pianist Lamb’s use of well spaced block chords were reminiscent of the late Brubeck’s piano style and Chris’s fusion style electric bass locked in tight with Dan’s soft and melodic drumming. Demicco’s guitar solos were tasteful and served the compositions perfectly.  Altogether, they produced a terrific performance – one that Dave Brubeck would surely have been proud of. Taj Mahal Very few artists know the history of American blues like Taj Mahal. At The festival, Mahal was joined by The Real Thing Tuba Band which consisted of four tuba players (Earl McIntyre, Howard J