Albums

Contemporary Jazz - Released February 15, 2019 | New Amsterdam

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Contemporary Jazz - Released February 1, 2019 | Intakt Records

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Contemporary Jazz - Released February 1, 2019 | TRAIN FANTOME

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Contemporary Jazz - Released January 25, 2019 | No Format!

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Contemporary Jazz - Released December 21, 2018 | Daniel Picazo

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Contemporary Jazz - Released December 20, 2018 | Housemaster Records

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Contemporary Jazz - Released December 7, 2018 | Footprint Records

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Contemporary Jazz - Released December 7, 2018 | ONJ Records

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Contemporary Jazz - Released November 23, 2018 | 22a Music

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Contemporary Jazz - Released November 23, 2018 | Whirlwind Recordings

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Contemporary Jazz - Released November 16, 2018 | Winter and Winter

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Contemporary Jazz - Released November 16, 2018 | ONJ Records

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Contemporary Jazz - Released November 8, 2018 | VIP

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Contemporary Jazz - Released November 2, 2018 | 22a Music

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Contemporary Jazz - Released October 26, 2018 | Whirlwind Recordings

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Contemporary Jazz - Released October 19, 2018 | Picap

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Contemporary Jazz - Released September 21, 2018 | Intakt Records

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Contemporary Jazz - Released September 21, 2018 | Outnote Records

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The first sound you hear on trombonist Samuel Blaser's witchy 2018 album, Early in the Mornin', is veteran saxophonist Oliver Lake seemingly invoking the rising sun with a guttural rubato solo. This is no dewy AM yoga stretch, but a muscle-stiff groan to the universe. It sets the tone for what is to come on an album that finds the Swiss-born Blaser balancing his love of rustic blues traditions with more heady, spectral delights. Here, the trombonist plays both his own evocative original compositions and deftly reimagined traditional pieces, including work songs, blues standards, and songs from the British folk heritage. He even brings the concept full circle, literally evoking the rounded, throaty vocals of Lead Belly with his trombone on "Black Betty." Along with Lake, who plays on two tracks, Blaser generously shares the spotlight throughout with his longtime bandmates pianist Russ Lossing, bassist Masa Kamaguchi, and drummer Gerry Hemingway. Also supplying his own brand of kinetic, serpentine magic on two tracks is guest trumpeter Wallace Roney. Many of the cuts here showcase Blaser's robust tone and wide-swinging improvisations framed by the burnt sparkle of Lossing's keyboard and the organic tumult of Kamaguchi and Hemingway's interlocking rhythms. It's an atmospheric blend that brings to mind the legendary '70s Detroit Tribe Records albums of trombonist Phil Ranelin. The sound is especially redolent on cuts like the fractured, organ-rich ballad "Tom Sherman's Barroom," the funky atonalist swamp boogie of "Creepy Crawler," and the deep space modalism of "Mal's Blues." Elsewhere, Roney brings a similarly '70s-esque dark energy, communing with Blaser and Lake on the rhythmically mutative, gospel menace of "Levee Camp Moan Blues," and then shifting from spare dusky tones to fiery group squalls on "The House Carpenter." These tracks all smolder with a lively, almost ancestral energy, conjuring a strange and unpredictable celebration of blues and other rural folk traditions. ~ Matt Collar
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Contemporary Jazz - Released September 21, 2018 | Laborie Jazz

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Contemporary Jazz - Released September 21, 2018 | Laborie Jazz

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Contemporary Jazz in the magazine