Categories :

Albums

HI-RES$12.49
CD$7.99

Contemporary Jazz - Released March 29, 2019 | Dood

Hi-Res Distinctions Indispensable JAZZ NEWS
HI-RES$12.49
CD$7.99

Contemporary Jazz - Released March 1, 2019 | Nome

Hi-Res Distinctions Indispensable JAZZ NEWS
HI-RES$12.49
CD$7.99

Contemporary Jazz - Released November 16, 2018 | Gaya Music Production

Hi-Res Distinctions Indispensable JAZZ NEWS
HI-RES$13.49
CD$8.99

Jazz - Released November 9, 2018 | naïve

Hi-Res Distinctions Indispensable JAZZ NEWS
CD$11.99

Electronic/Dance - Released November 9, 2018 | Hubro

Distinctions Indispensable JAZZ NEWS
CD$8.99

Jazz - Released November 9, 2018 | Buda musique

Distinctions Indispensable JAZZ NEWS
HI-RES$10.99
CD$8.49

Jazz - Released November 9, 2018 | Zoot Records

Hi-Res Distinctions Indispensable JAZZ NEWS
CD$8.99

World - Released November 2, 2018 | Hors Cadres

Booklet Distinctions Indispensable JAZZ NEWS
HI-RES$17.99
CD$14.99

Jazz - Released October 26, 2018 | Impulse!

Hi-Res Distinctions Indispensable JAZZ NEWS - 5 Sterne Fono Forum Jazz
Label Impulse! has unearthed from its archives this previously unreleased concert from November 2007 between two absolute giants: Charlie Haden and Brad Mehldau. The bass player, who passed away in 2014, met the pianist for the first time in the early nineties. The spark was instantaneous, and the two virtuosos regularly worked together, both on stage and in studio. But never in duo. This 2007 live was the first time. At the invitation of Heidelberg Enjoy Jazz Festival, in Germany, Haden and Mehldau agreed to perform together in the magical setting of a church, the Christuskirche in Mannheim. And while the result was stunning, the tapes remained in storage for over a decade… "It’s thrilling to play with someone who improvises like this”, recalls the American pianist. “After all, this is the guy who did it first on his instrument. Those early records of the Ornette Coleman Quartet like This is Our Music or Change of the Century were not “free” in the sense that they abandoned the principles of harmony. They often were free of a fixed harmonic schema, though, and Charlie was improvising the harmony, from the ground up!"Above all else, it’s the depth of their complicity that shines through on this recording. The ease with which Charlie Haden and Brad Mehldau integrate space and silence in their exchanges is sublime. In terms of repertoire, they opted for classics  (Charlie Parker, Irving Berlin, Johnny Mercer, Gershwin, Kern…) that they stroke with their fingertips. © Marc Zisman/Qobuz
HI-RES$24.99
CD$19.99

Contemporary Jazz - Released October 26, 2018 | International Anthem

Hi-Res Distinctions Indispensable JAZZ NEWS
Guiding the undulating, polyrhythmic, genre-ambiguous flow of drummer Makaya McCraven's ever-evolving "organic beat music," is a strategy not far removed from the one employed by Teo Macero and Miles Davis on Bitches Brew and subsequent dates: Here, moments from continuous improvised performances are digitally looped, cut, spliced, and edited into entirely new compositions. McCraven has been developing the approach for some time, though it came to fruition on 2015's brilliant In the Moment, culled from nearly 48 hours of live improvised performance at a single venue over a year, then processed and remixed into 19 individual pieces. McCraven takes a leap further out on the double-length Universal Beings. The set was recorded in four cities (New York, Chicago, London, and Los Angeles) with four ensembles. The players on these include bassist and fellow Chicagoan Junius Paul, cellist and former Chicagoan Tomeka Reid, U.K.-based saxophonists Nubya Garcia and Shabaka Hutchings, L.A. violist/arranger Miguel Atwood-Ferguson, percussionist Carlos Nino, and Chicago ex-pat and current Angeleno guitarist Jeff Parker, to name a few. As indicated by the drummer's genre term, the root of this utterly holistic music lies in wholly improvised sessions. All are different in feel. The New York session revolves around a gradually ratcheting spiritual dimension due in large part to Reid's canny interaction with transcendent harpist Brandee Younger. The rhythm section -- vibraphonist Joel Ross, bassist Dezron Douglas, and McCraven -- offer hypnotic hip-hop shuffles, riff-like feints, and drones in an incantatory pace across a suite of six pieces ranging in duration from 33 seconds to five-and-a-half minutes. The spirit and inspiration of Alice Coltrane permeates the music's flow in rhapsodic whole tones. The Chicago side commencing with "Pharaoh's Intro" stars Hutchings and Paul communicating in post-bop cadences carried by McCraven's frenetic drumming. It follows to "Atlantic Black" with fiery, Nigerian funk rhythms colored by cello and bassline pulses and saxophone loops over a spacy electric piano and a spiky Reid solo pushing the tune outward. It's brought back inside by the Afro-beat rhythms and dubwise basslines undergirding "Inner Flight." The London side skates between trippy, soulful, syncopated jazz-funk and modal jazz courtesy of Garcia's illustrious horn and Ashley Henry's Rhodes piano as the interplay between McCraven and bassist Daniel Casimir balances both ends of the spectrum; they create emphasis, tension, and release. The Los Angeles side contains virtually everything that previously transpired but goes somewhere new. Between frontline players -- guitarist Parker, alto saxophonist Josh Johnson, and Atwood-Ferguson -- harmonic ideas are introduced, exchanged, embellished, then repurposed to suit the polyrhythmic flow generated by McCraven, Nino, and bassist Anna Butterss. The seductive, groove-laden, post-midnight jazz in "Fifth Monk" is a stellar example. At the end of the recording, McCraven says "You guys got all that?" then laughs. Given all that's here, one wonders who he was speaking to, the engineers or the listeners? Universal Beings is unique from any other jazz recording in 2018: It marries virtuoso musicianship, technological savvy, a keen editor's ear for creative inspiration, and a plethora of almighty grooves. ~ Thom Jurek
HI-RES$12.49
CD$7.99

Alternative & Indie - Released October 19, 2018 | Les Disques du Festival Permanent

Hi-Res Distinctions Indispensable JAZZ NEWS
HI-RES$14.99
CD$12.99

Jazz - Released October 12, 2018 | Blue Note Records

Hi-Res Distinctions Indispensable JAZZ NEWS - 5 Sterne Fono Forum Jazz
After two staggering studio albums (When the Heart Emerges Glistening in 2011 and The Imagined Savior Is Far Easier to Paint in 2014) and one brilliant live album (A Rift in Decorum in 2017), all three released on Blue Note, Ambrose Akinmusire has changed gear with a multifaceted and ambitious work that mixes jazz, string quartet, poetry and rap. The Californian trumpeter has never been a stranger to taking a step into the unknown, but Origami Harvest is without a doubt his most daring work to date. And the most mind-boggling! At his side, pianist Sam Harris, drummer Marcus Gilmore, saxophonist Walter Smith III and, rather more unexpected, the Mivos string quartet and Victor Vázquez (alias Kool A.D.), previously an MC with hip-hop outfit Das Racist.Jazz, free, classical, funk, rap, soul and spoken word all collide here. One might criticise Akinmusire for his 360° vision. This composition is bursting at the seams as it moves from free jazz to R&B before returning to contemporary music or funk. The radical nature of the project can be explained by its origins. Judd Greenstein from the New York Ecstatic Music Festival, who commissioned the work, asked the Californian for his craziest idea. “I wanted to do a project about extremes and putting things that are seemingly opposite right next to each other", Akinmusire explained .Despite everything, there is a real fluidity to Origami Harvest, the composition is a perfect mirror for the time in which we live - its contradictions, its violence, its frenetic changes of pace and style... "Origami,” said Akinmusire, “refers to the different ways black people, especially men, have to bend, whether in failure or to fit a mould. Then I had a son while writing this and I thought about these cycles repeating: Harvest." You'll need to take a little time to digest such a creative flood. In an era unused to pauses, contemplation and taking one's time, Origami Harvest is a curious case. It's a blast of fresh air which does you good even as it baffles you. © Marc Zisman/Qobuz
HI-RES$10.99
CD$7.49

Contemporary Jazz - Released October 5, 2018 | TRAIN FANTOME

Hi-Res Distinctions 4F de Télérama - Indispensable JAZZ NEWS
It takes guts to name your album L’Odyssée. But Fred Pallem has always been a real jazz adventurer, never happy to let the genre just run its cause... And his 2018 release is yet another daring and dense piece of work, built around strong rhythms and delicious arrangements. Here, Pallem, alongside his trusty Sacre du Tympan creates some layered pieces, often very funky and very filmic. Nothing surprising there, when you think of his 2017 album Soul Cinema about blaxploitation and his homage to François de Roubaix published the previous year, two records which have rubbed off on Odyssée. The Odyssée experience is like watching a spoof film that's part thriller, part comedy, with a sort of 70s vintage feel to it. The arrangements are precise and well crafted and the soloist parts are always very original. © Max Dembo/Qobuz
CD$9.99

Alternative & Indie - Released October 5, 2018 | Hubro

Distinctions Indispensable JAZZ NEWS
HI-RES$20.99
CD$17.99

Jazz - Released September 28, 2018 | ECM

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS - L'album du mois JAZZ NEWS - 5 Sterne Fono Forum Jazz
Following four albums that have helped established him on the contemporary jazz scene, Shai Maestro is taking a major step by combining with the ECM label. Still in a trio with his double bass accomplice Jorge Roeder and drummer Ofri Nehemya (who replaces regular Ziv Ravitz), the Israeli pianist is once again going down the path of sublime multi-layered narratives. The melodies are taken from jazz as well as Eastern traditional music, and even Western classical music. Whether he feels introspective (on Israeli Matti Caspi’s My Second Childhood) or overtly provocative (surprising interpretation of the classic These Foolish Things), he has kept his soft touch and refined musical language. Ever since 2012, when he released the first album with him as the frontman, his profoundly personal aesthetic has continued to impress. He possesses a strong narrative force and stays well wired into the times, like on the final composition What Else Needs To Happen?, in which Shai Maestro very subtly inserts the voice of Barack Obama giving a speech about gun control. © Marc Zisman/Qobuz
HI-RES$13.49
CD$8.99

Contemporary Jazz - Released September 21, 2018 | Gaya Music Production

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS
HI-RES$13.49
CD$8.99

Contemporary Jazz - Released September 21, 2018 | Label Bleu

Hi-Res Distinctions 4F de Télérama - Indispensable JAZZ NEWS
CD$8.99

World - Released September 14, 2018 | Cobalt

Distinctions 4F de Télérama - Indispensable JAZZ NEWS
HI-RES$20.99
CD$17.99

Jazz - Released September 7, 2018 | ECM

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS - 5 Sterne Fono Forum Jazz
Masterpiece alert! After working together in drummer Billy Hart’s quartet (All Our Reasons in 2012 and One Is The Other in 2014), Mark Turner and Ethan Iverson are collaborating in a duo for the first time, in a way reminiscent of the legendary tandem Warne Marsh/Lennie Tristano. Except that here, The Bad Plus’ saxophonist and former pianist almost turn their collaboration into a moment of chamber jazz. Their back-and-forths throughout this Temporary Kings dive deep in intimacy. Turner, who is undoubtedly one of his generation’s best tenors, blows small, often unexpected phrases in a most unique fashion − far from the Coltranian cannons. Iverson, in a spirit reminiscent of Paul Bley, makes his fingers whisper, delivering thrifty notes and chords. Together, they sometimes moor on the shores of Third Stream, Gunther Schuller’s movement which synthetized European classical music and jazz at the end of the fifties. But most importantly, Mark Turner and Ethan Iverson remain very natural in their improvisations. Even when they may seem a tad brainy. Moreover, they never let go of the thread of their narrations, each more beautiful than the last. © Marc Zisman/Qobuz
HI-RES$12.99
CD$8.99

Gospel - Released June 29, 2018 | Big Legal Mess Records

Hi-Res Distinctions Indispensable JAZZ NEWS