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RodH

New Jazz Albums

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On 1/29/2019 at 10:12 AM, morris said:

This thread is going cause me to buy several more albums.:--D

So, are you saying you have OACD? 

(Obsessive Album Collecting Disorder)

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On 2/25/2019 at 8:36 PM, Rod H said:

Speaking of John Coltrane, here's a little insight into how jazz is different.

 

You know, I've heard, and enjoyed Coletrane, but I have to admit that this is the first time I've truly understood his brilliance, and talent.  

 

Very cool - thanks Rod!

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Posted (edited)

Cornelius

From Jazziz  magazine: "Multi-talented Japanese musical purveyor Cornelius (née Keigo Oyamada) seems to construct his music from a number of endless influences. On “Audio Architecture” from his Ripple Waves album, released last year, he borrows a little from pop, jazz, avant-garde and electronic music. The result is a mind-bending romp that is both playful and cerebral. “Audio Architecture” was originally written for the exhibit of the same name that took place at 21_21 Design Sight Museum in Tokyo, Japan, which saw nine different directors create unique videos for the track, out of which Cornelius chose this one for its official standalone video."  LINK.

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Edited by dcl
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We are big fans of Bill Frisell, this is his latest: 

"...opening with "All in Fun" from the 1939 musical Very Warm for May. The loose, relaxed intro showcases the guitarist's abundant gift for lyricism and inventive rhythmic notions. The bassist answers and embellishes with a gentle swing before the tune becomes a more open-ended improvisational device. The Carter Family's "Wildwood Flower" also appeared on Small Town, but here it's part of a melody that concludes with a heartbreakingly beautiful reading of Doc Pomus & Mort Shuman's Drifters' classic "Save the Last Dance for Me." The interplay on the latter, with its in-the-moment harmonic and rhythmic exchanges, is truly remarkable. They resurrect Motian's lovely yet slightly angular "Mumbo Jumbo" with Frisell extrapolating on the melody and chord voicings that open onto Morgan's suggestions via harmonic counterpoint in the knottier passages. Where the earlier album boasted John Barry's theme from Goldfinger, "You Only Live Twice" appears here, with Frisell articulating some of his loveliest rubato playing, languidly quoting from Ferrante & Teicher's Midnight Cowboy theme. Morgan responds to the guitarist's lines in tango rhythms. Billy Strayhorn's "Lush Life" is revealed in all of its Debussy-ian glory and stands in sharp -- but wonderful -- contrast to the approach on the two Thelonious Monk tunes in the title track and "Pannonica," where angles, knots, and subtle humor are offered as holistic harmonic devices. These tunes, with their good-natured inquisitiveness and mischief, are both set highlights. "Red River Valley" (Frisell first cut it with Gary Peacock on 1994’s Just So Happens) is sprightly, swinging, and full of subtle grooves in its lyrical articulation, before the closer: a read of the standard "In the Wee Small Hours of the Morning" that echoes Frank Sinatra's immortal vocal reading from the mid-'50s. Its economical approach whispers with bittersweet tenderness and delivers gorgeous soloing from Morgan and Frisell. Epistrophy is a companion to Small Town, but it is also an extension of the intimate, communicative union shared by this duo in near symbiosis. Together they create a gold standard for live performance."

 

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Sherry and I shared a conversation with jazz singer Anne Bisson yesterday in the Gathers Lounge. She autographed one of her albums for us. She was singing in the Focal room for 3days of Axpona. She was a joy to talk with.

 

ray

 

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Posted (edited)

I have been a fan of jazz since high school thanks to a man named Ollie Berger who provided sound reinforcement for our production of West Side Story in 1968. Ollie taught me a lot about music, audio, recording, miking techniques, etc while I worked with him on and off until he passed away in 1987. At his funeral I was surprised to learn from his widow that he had bequethed his entire collection of 50's and 60's jazz to me (about 3,000 LPs and a few 100 RTR tapes). Sadly I have to admit that there are still many titles I haven't listened to.

 

I pretty much stopped adding to my music collection soon after Zack was born (November 1995). When he started college and joined the jazz combo he was constantly asking me for suggestions for new (old) material so I ripped several hundred classic jazz titles for him. In return he has been sending me links to new jazz (No BS! Brass Band, Plini, Snarky Puppy, etc.) and buying me CDs for my birthday, Christmas and Father's Day.

 

One of those gifts was this 2018 album by the Norwegian rock/jazz/fusion band Owane who are reminiscent of 70's fusion goups like Return to Forever. Hope you enjoy it.

 

 

Owane biography:
Øyvind Owane Pedersen - Born May 27, 1993 (Sortland, Norway)

OWANE is the artist moniker for musician Oyvind 'Owane' PEDERSEN. Oyvind started out as DJ Owane with most of his online exposure related to electronic dance music among other projects, but under project OWANE PEDERSEN goes through what he calls discovery of his inner jazz mentality. With the help of his music producer and recording engineer Josef 7, he released 3 records up to 2018.

Edited by zumbini
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8 hours ago, zumbini said:

Hope you enjoy it.

 

Zack has great taste.  That was very enjoyable.  Thanks very much for suggesting it.  =D=~^

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"Drummer Manu Katche blossomed as a contemporary jazz drummer and band leader, emerging in the mid-2000s after having played with his share of popular musicians. Born in Saint Maur Des Fossés, France he studied classical piano at age seven in Paris, and at age 15 enrolled at the Conservatorie Nationale de Paris. He then became a session and concert drummer with a wide range, touring and recording with  Peter Gabriel, Sting, Jan Garbarek, Joni Mitchell, Gloria Estefan,  Michael McDonald, Simple Minds, Afro Celt Sound System, Jeff Beck, Al DiMeola,  Dire Straits, Loreena McKennitt and Youssou N'Dour."

 

This is his 2016 recording; earlier releases such as Neighbourhood, Playground & Third Round are very fine.

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  • "...a ruminative, elegiac album far... In some ways, Cohen's move toward a more classical, ambient sound makes sense, as he is recording material specifically with the ECM stylistic tradition in mind. Cohen also composed these songs in the wake of his father's death, and the trumpeter's grief seems to permeate everything on Into the Silence. He even bookends the album with the funereal "Life and Death," in which he moans, Miles Davis-like, through muted trumpet, his band in a slow march beside him...The group members have an organic, focused intensity as if they hang on each phrase together. This intensity is well matched by the production, which sounds typically warm and full of natural reverb, as if recorded in a church instead of Studios La Buissonne in Pernes-les-Fontaines, France. Other tracks, like the slowly rolling "Dream Like a Child" and the quietly discordant "Behind the Broken Glass," also benefit from this group interplay, with Cohen leading his band through ambient soundscapes that, much like one's emotions after the death of a loved one, are supple and sad one minute, and sharp and tangled the next."
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Another recent release:  Terrence Herd, album:  Born to Play  (on Tidal)

 

Try the track:  Straight Funky

 

Here's another...not crazy about the track, but Oh Man, the video is nice to watch.  (for purely musically academic purposes --of course!)  

 

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