Sélection JAZZ NEWS

Four months after winning his second Grammy Award in the R&B category for Black Radio 2, pianist Robert Glasper re-assembles the acoustic jazz trio that played on his first two Blue Note recordings. Bassist Vicente Archer and drummer Damion Reid assist the pianist in a live audience recording from Capitol's famed Studio A. Covered is far from a return to an acoustic piano trio for Glasper. Instead, it's an acoustic approach to the directions he employed on his early Blue Note dates, and the R&B and hip-hop engagements on Black Radio. With the redo of "I Don't Even Care," Black Radio 2 commences with a nearly elliptical air, but Reid's skittering snare creates a dance rhythm while Archer's bassline plays the changes and tastefully fills Glasper's ever widening melodic circle. With post-bop flourishes, he nonetheless remains close to the harmonic center, uncovering its richness in the process. The rhythm section's intro to Radiohead's "Reckoner" is lithe and almost funky before Glasper uses the melody's limited palette as a circular, restrained, yet emotionally moving exploration of its possibilities. The album's centerpiece is the 13-minute "In Case You Forgot." It begins with a knotty, angular solo piano intro (check "Silly Rabbit" from 2007's In My Element), with single-note syncopations and mid-register arpeggios cascading around a four-note bassline with classical embellishments. When the rhythm section enters, they weave jazz standards and modern pop songs together -- from Freddie Hubbard's "Up Jumped Spring" and Cyndi Lauper's "Time After Time" to Bonnie Raitt's "I Can't Make You Love Me," among others -- with sharp, sudden cuts from Glasper before they all climb headlong into their own sprint. Scattered throughout the set is Glasper's sincere but wry dialogue with his audience. A considerable strength from the trio is their ability to translate the appeal of neo-soul ballads such as Musiq (Soulchild)'s "So Beautiful," Jhené Aiko's "The Worst," and Bilal's "Levels" as jazz, even equating them with standards. An example is "Stella by Starlight," whose canny arrangement simultaneously celebrates, decodes, and cracks open Bill Evans' lyricism atop triple-timed brushed snare -- think drum'n'bass -- and a bumping bassline. Harry Belafonte delivers an earnest, grainy, proud and poignant spoken word appearance on "Got Over." Set closer "I'm Dying of Thirst" offers a shadowy melody to a Latin-tinged tom-tom and bass groove as a children's chorus recites the names of African-Americans shot by police; it results in a statement of dignity and self-determination. Glasper's piano alternates between contemplative vamp and haunting elegy before it whispers to a finish. Covered may be a return to the acoustic piano trio, but cedes none of the ground gained by the Black Radio albums. This is Glasper refusing to be reined in by any format or artistic desire but his own. This set is welcoming, open, and warm: it invites fans of all of his musical pursuits along for the ride. © Thom Jurek /TiVo

De Amerikaanse zangeres Melody Gardot breekt door als jazz-zangeres, maar is de laatste jaren flink aan het experimenteren met andere stijlen. Zo liet ze zich al inspireren door latin-muziek en op het album Currency of Man uit 2014 vermengt Gardot ook funk, soul en gospel door haar songs. De Amerikaanse koos ervoor ditmaal geen persoonlijke teksten te gebruiken maar te zingen over de mensen die ze in Los Angeles ontmoette en kraakt daarbij ook enkele maatschappijkritische noten. © TiVo

De Amerikaanse zangeres Melody Gardot breekt door als jazz-zangeres, maar is de laatste jaren flink aan het experimenteren met andere stijlen. Zo liet ze zich al inspireren door latin-muziek en op het album Currency of Man uit 2014 vermengt Gardot ook funk, soul en gospel door haar songs. De Amerikaanse koos ervoor ditmaal geen persoonlijke teksten te gebruiken maar te zingen over de mensen die ze in Los Angeles ontmoette en kraakt daarbij ook enkele maatschappijkritische noten. © TiVo