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Moderne jazz - Verschenen op 13 november 2020 | Label Bleu

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He’s not the only one taking jazz in new directions, though Roberto Negro’s unique technique sure does push the boundaries on a genre that sometimes seems a little coded. He has his own sound. His own voice. His own style. As the album opens, you’d be forgiven for thinking he had limited resources. His toolbox seems almost empty. And then suddenly, the magic kicks in. It’s impossible not to fall in love with Papier ciseau. It sounds like the soundtrack to a strange dream. A nightmare even. One with lots of layers (childhood, literature, cinema, fantasy, the city, space...) where anything is possible. Really, anything. It’s a world governed by balance, a concept that has always fascinated him. He jumps into the void with saxophonist Émile Parisien, bassist Valentin Ceccaldi and drummer Michele Rabbia. The playful title refers to the playground game rock-paper-scissors, setting the tone for the record. Negro owes as much to Gabriel Fauré’s music as he does to Jack DeJohnette's Special Edition, Nino Rota, John Zorn, Chilly Gonzales and Lennie Tristano, his idol. More of a composer and improviser than a jazzman, Roberto Negro flies over the landscapes, following chamber music sequences up with electro jingles. Yes, electronic sounds sometimes brighten up this crazy symphony. The atmosphere changes and morphs throughout; it’s oppressive on Toot, turning playful and comical on Apotheke. The pianist was born in Turin, grew up in Kinshasa, studied in Chambery and settled in Paris, so it’s hardly surprising that his sound is multifaceted. Like a Martial Solal on acid, Roberto Negro unveils his most ambitious record yet with Papier ciseau. A one-of-a-kind album that gets even more fascinating every time you hear it. © Marc Zisman/Qobuz
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Moderne jazz - Verschenen op 18 september 2020 | Bonsaï Music

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Moderne jazz - Verschenen op 21 augustus 2020 | Table Pounding Records

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Free jazz & Avant-garde jazz - Verschenen op 21 augustus 2020 | ONJ Records

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Moderne jazz - Verschenen op 24 april 2020 | Heavenly Sweetness

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Moderne jazz - Verschenen op 27 maart 2020 | Mélodie en sous-sol

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Jazz - Verschenen op 27 maart 2020 | Yolk

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Jazz - Verschenen op 14 februari 2020 | Exodus Records

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The new British jazz scene seems to be an indefinite source of talent, maintaining its creative flow with this first solo album released by Moses Boyd. Fans of the movement will already know that this eclectic young drummer has played alongside Shabaka Hutchings, Zara McFarlane, Nubya Garcia, Joe Armon-Jones, Theon Cross and Ashley Henry but also that he makes up one half of duo Binker & Moses, the wild project he pursues with saxophonist Binker Golding. The album Dark Matter sees Boyd as more of a producer than a drummer, with a wide narrative detailing who he is and what he represents: a musician dreaming of becoming the next Max Roach or Tony Williams, all while growing up listening to Dizzee Rascal and Wiley as well as more Caribbean style rhythms, reggae and electronic music. The power of Dark Matter comes from the way in which it brings together a huge cast of varied icons to create a single snapshot of today’s London. Rich in sound, the album’s DNA is made up of jazz but takes us on a journey from afrobeat (BTB) to dubstep (2 Far Gone) before a detour via post-rock (What Now?). With the voices of Poppy Ajudha, Obongjayar and Nonku Phiri and double bass from the ex-Jazz Warrior Gary Crosby, Moses Boyd has created an orgy of off-the-wall rhythms. An album even more unclassifiable than those made by his friends of the same UK jazz scene. Invigorating. © Marc Zisman/Qobuz
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Jazz - Verschenen op 8 november 2019 | JMS Productions

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Jazz - Verschenen op 18 oktober 2019 | Onze Heures Onze

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Moderne jazz - Verschenen op 20 september 2019 | Gaya Music Production

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Samy Thiébault’s talent feels like it’s not given the credit it deserves. Granted, he’s a likeable saxophone virtuoso, but there are plenty of those: he’s also a great musician! Ambitious as he is brilliant, every new discographic project of his only goes to confirm his talent. This time around, Thiébault took inspiration from the banks of the river Ganges. But Symphonic Tales is not just a mixture of jazz and raga: he outright transposes this blend onto the strings of the Orchestre symphonique de Bretagne conducted by Aurélien Azan Zielinski. The India that the Frenchman is portraying here is not from 2019 but rather a version from a story or Bollywood superproduction from the 1950s. With Adrien Chicot on the piano, Sylvain Romano on the double bass, Philippe Soirat on drums and Mossin Kawa on the tablas, the jazz player is well surrounded. Thiébault’s jazz has never made do with being just another worthy heir to the holy trinity of saxophonists (John Coltrane, Sonny Rollins, Wayne Shorter). With even more conviction than his previous albums, Samy Thiébault grabs his listeners by the hand to guarantee their presence on his abundant journey of sound. Perhaps he’s dreaming of playing like a modern Duke Ellington, whose 1972 Greatest Hits can be seen lying out in a corner on one of the images in the album’s booklet. Just like with Duke, Thiébault’s music allows us to travel through the music, and once the album is over, solid ground seems light years away. A guaranteed intoxicating trip. © Marc Zisman/Qobuz
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Jazz - Verschenen op 13 september 2019 | Jazz Village

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Remarkably, at 89 years young, pianist Ahmad Jamal is still making fine records. Imbued with sage experience and erudite taste, Jamal has an unerring sense of what still moves him and what he still wants to express. Though nowhere near the late career masterpiece of his 2016 release Marseille these mostly solo outtakes—recorded during that album's sessions—are very personal snapshots of the moment rather than any artistic statement. Ballades is Jamal noodling; his still fantastic touch on the keys and elastic blending of melody and rhythm make it worth a listen. The pianist, who first gained fame in 1958 with the release of At the Pershing, opens this set with a spacious solo take of Marseille's title track. A wry, relaxed version of "Poinciana" unfolds from his long connection to this signature tune. He's joined by longtime bassist James Cammack on three tracks, including an effective mashup between Rodgers & Hart's "Spring is Here" and Bill Evans' "Your Story." For those seeking undeniable evidence of Jamal's still vital genius there's the spontaneously composed and recorded "Because I Love You." The shimmering version of the Johnny Mercer/Johnny Mandel song, "Emily" which closes the album is a classic example of the unbridled imagination and formidable instrumental chops that Jamal can bring when playing by, and one suspects, for himself. © Robert Baird / Qobuz
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Jazz - Verschenen op 6 september 2019 | BMC Records

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Jazz - Verschenen op 30 augustus 2019 | ACT Music

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Jazz - Verschenen op 12 juli 2019 | ODIN

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Moderne jazz - Verschenen op 28 juni 2019 | Hubro

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Jazz - Verschenen op 7 juni 2019 | BREAKZ

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Jazz - Verschenen op 26 april 2019 | Yolk

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Oliva, Rainey, Boisseau are the international trio known as ‘Orbit’. In astronomy, an orbit is the trajectory of a star. In anatomy, it is the cavity of the cranium in which the eye and all its appendages can be found. Perhaps the pianist Stéphan Oliva, the drummer Tom Rainey and the bassist Sébastien Boisseau aim to combine the two into music? Who knows. What is certain, is the trajectory of their impeccably tight - but never bland - jazz. Oliva’s well-renowned impressionist piano, that draws inspiration from the likes of Bill Evans and Lennie Tristano, brings the calm as well as the storm. This cinema fan (he has revisited many film scores) is at one here with rhythms as versatile as himself. The balance is perfect between these three men. Oliva never steals the limelight and each works to refine their lyricism with elegance; rife with unexpected twists and very personal improvisations. © Max Dembo/Qobuz
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Jazz - Verschenen op 26 april 2019 | Pi Recordings

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Moderne jazz - Verschenen op 12 april 2019 | Signature - Radio France

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Jazz in het magazine