Trumpeter Collins assembled a spectacular line-up for this very impressive album, balancing an all-American rhythm section with a strong UK frontline. She reckons with being child-free in a society that constantly reminds her how she’s running out of biological time. Music reviews, ratings, news and more. His three solo improvisations offer a very different level of emotional depth, being introvert and involving. Many of the pieces are his; others are by saxophonist Tom Harrison, a frequent associate who was unable to make the session, Gillard being his replacement. Opener “Alewife” finds 21-year-old singer-songwriter Claire Cottrill revisiting suicidal thoughts that she had in eighth grade, and over the next 10 tracks, we are with her through so many growing pains and regrets. The 50 Best Albums of 2019. Duke Ellington’s ‘Azalea’ is a standard-song stroll sprung off Yonathan Avishai’s inventive comping, Abdullah Ibrahim’s ‘Kofifi Blue’ gets some Armstrong-like end-note shakes, while ‘Sir Duke’ has its famous melody burnished with an almost baroque courtliness.
What binds all of the music together is Simcock’s fulsome tone, clarity of line and the way in which his seemingly effortless pianism carves out hugely satisfying harmonic journeys. It’s a brilliant tribute to a great musician.Your contribution helps keep jazz strong on air and in the communityOur site uses cookies to tailor your experience, measure site performance and present relevant donation incentives and advertisements. The eight-piece band of brilliant musicians includes flamenco guitarist Niño Josele and saxophonist/flautist Jorge Pardo, who have both worked with the late, great Paco de Lucía.The 13th album by Canadian guitarist, composer and bandleader Eric St-Laurent features his usual trio with bassist Jordan O’Connor and percussionist Michel DeQuavedo. “U (Man Like)” is a piano ballad that urges men to do better. The sound is highly effective when cast against combinations of upright bass, guitar, brass and reeds. It was worth the wait. You’re unlikely to find anything else that sounds quite like Born in Tippo, Miss., Mose Allison started out as a trumpet player, became a bop piano man in New York and started writing songs — satirical, witty, philosophical and always bluesy. Words her godfather said about Horn’s artistry sum up the vocalist perfectly: “I’m really proud of you, because this music sounds like what Ella [Fitzgerald] or Billie [Holiday] or Abbey [Lincoln] or Nina [Simone] would have evolved into.”This gorgeous album is an ode to Chick Corea’s passion for Spanish music. There are some fine solos on offer, particularly from Abassi and O’Gallagher, but this is first and foremost an ensemble offering impressively helmed by a bandleader who is in the ascendant.
Eventually he leaves words behind entirely, sinking into cascading acoustic guitars and the soft tinkle of chimes. Perhaps most impressively, Croker has also edited performances so that the 10 tracks make a running time under 45 minutes – one side of a trusty C-90 – so the material is well paced towards the climactic closer ‘Understand Yourself’, which has an imperious, strikingly conscious vocal from Jamaican reggae sensation Chronixx. The heads-playing is occasionally a little ragged (though in an Ornette/Cherry good way), but this is a meeting of hearts and minds. (A part of the Lovano’s dialogue with Crispell’s piano on ‘Seeds of Change’ eerily invoke Bobby Wellins’ and Stan Tracey’s ‘Starless and Bible Black’ for this listener, the brief unison melodies in ‘Razzle Dazzle’ and ‘Sparkle Lights’ invite quietly scintillating piano/sax conversations, and Lovano on the Hungarian tarogato dreamily and then urgently reacts to Castaldi’s intensifying snaps and clangs on ‘Mystic’. As the subtitle makes clear this is a celebration of a grand milestone for the Art Ensemble of Chicago. In my excitement, I accidentally broke the CD in two while trying to remove it from the jewel case, and I had to wait a week for another to arrive. Free-improv-meets-serialism it may be, but these three constantly unveil their diverse but devoted jazz roots. It’s a moment representative of this warm, humble, and remarkably graceful album: a celebration of the act of creation that reaches its peak when there’s nothing left to say. At the start of this year, DaBaby made his ambitions clear, In one sense, Blood Incantation are traditionalists. If you have a burning hot desire to answer these questions, then you’re probably already obsessed with the RAP album. (That she also makes The record is a sublime peak for the interchange between pared-down Afrobeats and sax-infused dancehall, and Burna Boy’s supple, occasionally craggy vocals—in English, Igbo, Pidgin, Yoruba—deliver intimacy, romance, and politically biting messages about colonialism. Naturally, it helps to have Petra Haden on board. A cornucopia of delights. Brown knows what works and honors it here.Sam Barker is wary of taking the easy route in getting people to move their bodies. But Most rap songs are composed of two main elements: the rapping and the beat. A more aggressive ‘voice’ of the mob chants ‘Build That Wall!’ on ‘The Prophet is a Fool’, Mehldau’s most direct resistance to Trump-ism. Like the water Sprague often sings about, and by which she is so evidently moved, the music here is rippling and continuous, bedroom folk rendered with the meditative heart of new age. With an extraordinary vision and the talent to make it happen, Tara Kannangara reached out into the ether and brought something otherworldly into being. The three of them (plus producer Manfred Eicher) have boldly adopted a repertoire rooted in 12-tone serial forms, to produce what the saxophonist calls, “some of the most intimate and personal music I’ve recorded so far”.Castaldi’s bells-and-gongs soundscape for Lovano’s echoing first tenor entry on ‘One Time In’ presents the saxophonist with a wealth of tonal temptations. 21 décembre 2019 Montréal perd sa Maison du jazz