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Moderne jazz - Verschenen op 21 augustus 2020 | Vision Fugitive

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Jazz - Verschenen op 21 augustus 2020 | Songlines

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Gospel - Verschenen op 21 augustus 2020 | Tyscot

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Moderne jazz - Verschenen op 21 augustus 2020 | Bonsaï Music

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Jazz - Verschenen op 14 augustus 2020 | Blue Note Records

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Before we marvel at the high-altitude interplay of the Bill Frisell Trio or the sometimes extreme sonic gyrations of its leader, let's begin at the most basic level—with stark, simple, standalone guitar declarations. Frisell opens several pieces on Valentine this way, in the clear. He'll send a carefully plucked single note out into the air, and then, after it subsides, he'll drop another. Tone is his only lure, and it's all he needs to suggest the framework of a tune like "Levees:" The initial phrase operates like an opening scene in a film, establishing a thick and specific atmosphere. Out of that blossoms a six-minute exploration in which Frisell, bassist Thomas Morgan and drummer Rudy Royston travel between strict tempo and drifty listlessness, blues repetition and free-jazz high dives, jittery conversation and disquieting silences. From a single note, there are many resonances; Frisell has been doing this kind of quiet alchemy for years, of course. Valentine is among the most rousing works in his extensive discography in part because it's so relentlessly visual. On just about every piece, Frisell and his trio work transfixingly together to conjure dirt-road sojurns and nature vistas out of thin air. They create contemplative spaces the jazz academy never visits. They dance through a blithe, lighthearted reading of Burt Bacharach's "What The World Needs Now" and a disquieting sorrow-filled version of "We Shall Overcome." And on many of Frisell's skeletal originals (the stunning "Keep Your Eyes Open," for example), they transform their three-way improvised abstractions into clear, singable music that has the sturdy narrative arc of classic country music. As these journeys unfold, it becomes clear that right along with the spontaneity there's some deep intention at work. The stylistic juxtapositions and sudden changes in density are hardly random. Neither are the fragile little introductions—somehow they're all Frisell needs to telegraph where he's going. As in so many aspects of life, the tone is set from the top. © Tom Moon/Qobuz
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Gospel - Verschenen op 14 augustus 2020 | Tyscot

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Jazz - Verschenen op 31 juli 2020 | META-Dash

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Jazz - Verschenen op 30 juli 2020 | Tratore

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Jazz - Verschenen op 17 juli 2020 | SJB Record

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Jazz - Verschenen op 17 juli 2020 | Posi-Tone Records

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Jazz - Verschenen op 10 juli 2020 | Sunnyside

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Jazz - Verschenen op 3 juli 2020 | Deanne Matley

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Jazz - Verschenen op 2 juli 2020 | Eric Thézé

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Jazz - Verschenen op 26 juni 2020 | ECM

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Marcin Wasilewski has been a resident at ECM for sixteen years. And for 25 years, the Munich label has turned the Polish pianist and his trio of fellow countrymen (Slawomir Kurkiewicz on double bass and Michał Miśkiewicza on drums) into an intimate and pure workshop. To celebrate this anniversary, the band invited tenor saxophone giant Joe Lovano to their cosy fiesta. The American's lyricism, which is never raucous, is perfectly lined up in the piano inherited from Bill Evans and Keith Jarrett from the Polishman who always expresses himself economically. But it’s not only wisdom and recollection that we find here. Wasilewski knows how to be voluble and even unpredictable, like on the determined Cadenza, and even mysterious like his improvisations on Vashkar, the only cover on the record by Carla Bley. © Max Dembo/Qobuz
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Jazz - Verschenen op 19 juni 2020 | Stockfisch Records

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Jazz - Verschenen op 14 juni 2020 | Fonè Records

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Jazz - Verschenen op 12 juni 2020 | Igloo

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Jazz - Verschenen op 5 juni 2020 | Posi-Tone Records

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Jazz - Verschenen op 5 juni 2020 | Outside in Music

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Jazz - Verschenen op 5 juni 2020 | Igloo

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Jazz in het magazine