Your basket is empty

Categories :

Similar artists

Albums

From
CD$11.49

Jazz - Released January 1, 2002 | Blue Note Records

Distinctions Elu par Citizen Jazz
Smile is a good showcase for pianist Jacky Terrasson's patented blend of mischief and mastery. A kind of companion piece to the superb A Paris (Blue Note, 2000), two tracks extend its "I love Paris" theme: the dazzling "Parisian Thoroughfare," and the luscious, dreamy "Sous le Ciel de Paris," (aka "Paris Skies"). This CD is a typically eclectic Terrasson mix, combining the classic and contemporary with formidable technique and playfulness. Terrasson personalizes the title track by infusing it with his own little theme, a kind of cowboy refrain, and giving it a smooth, propulsive flow in tricky five/four rhythm. It's a startling conception, and beautifully realized. Another show-stopper is the haunting "The Dolphin," by Brazilian composer Luis Eca, where bassist Sean Smith delivers a bold and brilliant extended solo, full of lyricism and swing. On "My Funny Valentine," the trio defies the laws of nature: they burn this overdone classic and make it rare. Elsewhere, Terrasson deranges Stevie Wonder, funking it up with Remi Vignolo's electric bass; he meditates on "Nardis" over a deep, steady groove of bass and drums, and takes an intricate, unpredictable solo journey on "Autumn Leaves." Terrasson has been called "flamboyant," but this overlooks the sensitivity in his playing. While he's known for being adventurous, he's no showoff: his respect for the music and the listener is always evident. Two more things are certain: Terrasson sounds like nobody else, and this CD is full of surprise and delight. © Judith Schlesinger /TiVo
From
HI-RES$17.99
CD$14.99
53

Jazz - Released September 27, 2019 | Blue Note

Hi-Res
His fifteenth album is called 53! “Why 53? Simply because I wrote and recorded this music during my 53 rd year, and on this occasion I wanted to make a record that really reflected me. At the age of 53, a man begins to feel he has reached a form of maturity, he is at his peak, and so can look at life with hindsight and see things more clearly. With this record I wanted to give everything of myself, to take risks, while assuming my career, my artistic choices, my life … and my age!” Jacky Terrasson perfectly follows that roadmap on this 15th album as a leader in his 30-year career...Though this time around, the master of covers (“This way that I have to totally take over a piece by passing it through a formal and stylistic deconstruction process that renews how you see the piece. I have always loved indulging in this kind of transformation, it is like my signature in a way.”) opts for his own compositions. We find sixteen tracks that are deliberately shaped like songs and magnified by dense and precise arrangements. Capable of both pyrotechnic flamboyancy and delicate touches, the brilliant Terrasson fills his album with nods towards his idols. We find influences from Keith Jarrett in the aptly named Kiss Jannett for Me, and Ahmad Jamal on the opening of The Call. He also alternates between groovy sounds on the very pop-like This is Mine (after Charlie Chaplin’s theme Smile) and lyrical touches with the ballad La Part des anges. Jacky Terrasson even quotes Mozart on Lacrimosa with an excerpt from his Requiem. Such eclecticism!So as to highlight this kaleidoscopic richness even more, he offers up several rhythmic sections: Géraud Portal/Ali Jackson, Sylvain Romano/Gregory Hutchinson and Thomas Bramerie/Lukmil Perez. A diversity that gives concrete form to the different facets of his compositions. This could well be one of Jacky Terrasson’s greatest records... © Clotilde Maréchal/Qobuz
From
CD$17.99

Jazz - Released January 1, 2000 | Blue Note Records

Jacky Terrasson's 1999 album, What It Is, represented something of a risk. The young pianist's first three albums were barebones trio affairs that had won him rave reviews, whereas What It Is featured additional instruments and was more slickly produced. Gone, it seemed, was the sparse, acoustic approach that had originally given Terrasson his fame. But while this new direction yielded mixed results and left some fans a bit befuddled, one had to respect Terrasson's need to grow and evolve as an artist.Terrasson does much better with his follow-up, A Paris, an homage to the city of his youth and early adulthood. While not a return to the simple piano trio format (there are five guest musicians in addition to two alternating rhythm sections), the album has a spontaneous, natural sound that was lacking from the studio-centric What It Is. What's more, A Paris is packed with new and varied ideas that work, not to mention passionate, fiery playing throughout.Only the last two tracks are originals, the fewest ever on a Terrasson album. "Rue de Lombards," a funk fragment that sounds like an in-studio improvisation, is credited to Terrasson, drummer Terreon Gully, and bassist Remi Vignolo. The rest of the tracks are Terrasson's highly personal readings of songs from French culture. Most will not be familiar to American listeners, with the possible exception of "La Marseillaise" -- the French national anthem -- and the Edith Piaf classic "La Vie en Rose," played in a calypso feel by Terrasson and percussionist Minino Gara.Guitarist Bireli Lagrene's cameos on the bluesy title track and the swinging "Que Reste-T'Il de Nos Amours?" are nothing short of brilliant. The latter, which bears an uncanny likeness to Lerner & Loewe's "Almost Like Being in Love," features Terrasson on Fender Rhodes electric piano. Saxophonist Stefano di Battista also makes two fine appearances, playing tenor on the fast, tense "Jeux Interdits" and soprano on the lively and pretty "L'Aigle Noir," one of the two originals. Both Lagrene and Battista return for the brief, full-company finale, an intoxicating funk line by Terrasson titled "Métro." Another highlight is Terrasson resuscitating his funk version of Cole Porter's "I Love Paris," the only song by an American writer and the very one that led off Terrasson's 1994 debut album. Bassist Ugonna Okegwo and drummer Leon Parker, Terrasson's trio mates from his first three albums, both return to play on the Porter track, as well as the opening Piaf number "Plaisir d'Amour" and an exquisite reading of Jacques Brel's "Ne Me Quitte Pas." The latter briefly features Gregoire Maret on harmonica, who played on What It Is. Several rather short pieces are grouped right around the middle of the album, giving that part of the program a collage-like feel that can seem a bit superficial. That aside, Terrasson has pulled off something rare: a concept album that succeeds on a variety of creative levels. In the process, he's given exposure to several excellent European musicians, not to mention some beautiful French music that American audiences ought to hear. © David R. Adler /TiVo
From
CD$17.99

Jazz - Released November 7, 2020 | UMG Recordings, Inc.

From
CD$13.99

Jazz - Released January 1, 1997 | Blue Note Records

For this notable set, pianist Jacky Terrasson teams up with the smoky, chance-taking vocalist Cassandra Wilson, either Lonnie Plaxico or Kenny Davis on bass and percussionist Mino Cinelu. The music is quite impressionistic and atmospheric. Terrasson and Wilson stick to standards, but their renditions of such songs as "Old Devil Moon," "My Ship," "Tea for Two" and even "Tennessee Waltz" are quite haunting and floating, slightly disturbing and occasionally sensuous. Terrasson, who takes "Autumn Leaves" and "Chicago 1987" (the one non-standard) as solo pieces, was on his way to forming his own style, while Wilson had certainly found her niche. An intriguing matchup. © Scott Yanow /TiVo
From
CD$10.49

Jazz - Released January 1, 1996 | Blue Note Records

The talented young pianist Jacky Terrasson and his trio (with bassist Ugonna Okegwo and drummer Leon Parker) find something new to say on a few standards (including a rare up-tempo version of "For Sentimental Reasons") and introduce five of Terrasson's originals. Although he has does not have an original style yet, Terrasson displays a great deal of potential for the future. Highlights include "I Should Care," "Just One of Those Things," and a medley of his "Reach" with "Smoke Gets in Your Eyes." © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 1995 | Blue Note Records

Jacky Terrasson delights in turning standards inside out. On his eponymously titled debut CD he gives odd rhythms to "I Love Paris," purposely speeds up and slows down the tempo on "Bye Bye Blackbird," takes "I Fall in Love Too Easily" very slowly, does his best to disguise "Bye Bye Blackbird," and shows a grasp of dynamics worthy of Ahmad Jamal. It is fortunate that bassist Ugonna Okegwo and drummer Leon Parker are very alert (or perhaps well-rehearsed), because to the uninitiated listener these eccentric and rather quirky performances are often quite unpredictable and occasionally jarring. Well worth checking out. © Scott Yanow /TiVo
From
CD$13.99

Jazz - Released January 1, 2007 | Blue Note Records

Since winning the Thelonious Monk Piano competition in 1993, Jacky Terrasson has more than validated the judges' opinions with a consistently outstanding series of CDs. Mirror provides a rare opportunity to enjoy Terrasson in a solo piano setting. He recasts the old favorite from the Duke Ellington songbook by mixing a different vamp, adding an ominous tremolo and even taking breaks to tap on the piano's wood surface, while never losing his focus on its theme and delivering a fresh, exciting interpretation. The choppy setting of "Just a Gigolo" is an obvious nod to Thelonious Monk (who liked to toy with this standard) though Terrasson's take is even more adventurous and playful. The pianist's romp through "Cherokee" hints only briefly at the melody, showcasing his improvising with a variation of its chord changes in the bassline. His touching setting of "America the Beautiful" suggests hope in a time of turmoil. Terrasson's five originals also prove to be memorable performances. His rapid-fire "Mirror" is breathtaking, while his "Tragic Mulatto Blues" blends a heartfelt theme with a bit of turmoil. Jacky Terrasson's Mirror leaves a lasting reflection of his immense talent. © Ken Dryden /TiVo
From
CD$14.99
53

Jazz - Released September 27, 2019 | Blue Note

His fifteenth album is called 53! “Why 53? Simply because I wrote and recorded this music during my 53 rd year, and on this occasion I wanted to make a record that really reflected me. At the age of 53, a man begins to feel he has reached a form of maturity, he is at his peak, and so can look at life with hindsight and see things more clearly. With this record I wanted to give everything of myself, to take risks, while assuming my career, my artistic choices, my life … and my age!” Jacky Terrasson perfectly follows that roadmap on this 15th album as a leader in his 30-year career...Though this time around, the master of covers (“This way that I have to totally take over a piece by passing it through a formal and stylistic deconstruction process that renews how you see the piece. I have always loved indulging in this kind of transformation, it is like my signature in a way.”) opts for his own compositions. We find sixteen tracks that are deliberately shaped like songs and magnified by dense and precise arrangements. Capable of both pyrotechnic flamboyancy and delicate touches, the brilliant Terrasson fills his album with nods towards his idols. We find influences from Keith Jarrett in the aptly named Kiss Jannett for Me, and Ahmad Jamal on the opening of The Call. He also alternates between groovy sounds on the very pop-like This is Mine (after Charlie Chaplin’s theme Smile) and lyrical touches with the ballad La Part des anges. Jacky Terrasson even quotes Mozart on Lacrimosa with an excerpt from his Requiem. Such eclecticism!So as to highlight this kaleidoscopic richness even more, he offers up several rhythmic sections: Géraud Portal/Ali Jackson, Sylvain Romano/Gregory Hutchinson and Thomas Bramerie/Lukmil Perez. A diversity that gives concrete form to the different facets of his compositions. This could well be one of Jacky Terrasson’s greatest records... © Clotilde Maréchal/Qobuz
From
CD$10.49

Jazz - Released January 1, 2001 | Blue Note Records

Kindred is unusual in that it's a co-led session, pairing two of the most creative young improvisers in jazz: vibraphonist Stefon Harris and pianist Jacky Terrasson. (Harris frequently switches over to the more percussive-sounding marimba.) On most tracks they're joined by bassist Tarus Mateen and drummer Terreon Gully, with Idris Muhammad replacing Gully in two instances. Gully's drumming is so integral to the excitement of the session that he could practically share top billing with the two co-leaders. Harris and Terrasson establish their rapport in a variety of ways -- playing up-tempo cat and mouse on a duo version of "What Is This Thing Called Love," trading melodic passages on the ballad "Never Let Me Go," and soloing simultaneously on Bud Powell's "John's Abbey." Much of this is wonderful, although at times the dialogue seems forced; the two can get bogged down in a kind of back-and-forth mimicry that renders their moves predictable. In their determination to share the spotlight, they wind up stepping on each other. That said, there is a good deal of stellar playing on the album. The up-tempo numbers -- "Tank's Tune," Terrasson's "Rat Race," and Randy Weston's "Little Niles" -- spark furious yet uncluttered quartet interplay. Two mellower selections -- Buster Williams' "Deja" and Harris' "Shané" -- ripple with harmonic subtlety. Harris' flowing arrangement of "Summertime" features a nearly Bacharachian substitute progression on the last eight bars. Terrasson's bright Latin funk arrangement of "Body and Soul" omits the last A section in favor of a newly written vamp, and sounds its final clipped chord, of all places, at the end of the bridge -- bold thinking. When players as gifted as Harris and Terrasson put their heads together, there are bound to be ample rewards. As a team, however, they are at their best when they don't force the dialogue issue. © David R. Adler /TiVo
From
HI-RES$14.99
CD$12.99

Jazz - Released January 19, 2015 | Universal Music Division Decca Records France

Hi-Res
Pianist Jacky Terrasson's Impulse! Records debut, 2015's Take This, is a sophisticated showcase for his virtuoso jazz chops and eclectic musical taste. Following up his 2012 effort, Gouache, Take This finds Terrasson investigating a mix of originals and unexpected covers, many of which are infused with a strong African and Cuban rhythmic influence. Supplying much of this rhythmic intensity is Terrasson's adventurous outfit featuring bassist Burniss Travis, drummer Lukmil Perez, and Malian percussionist Adama Diarra. Together, this group is responsible for many of the album's brightest moments, with updates of such classic jazz piano numbers as Bud Powell's "Un Poco Loco," and Miles Davis' "Blue and Green," to name a few. Also collaborating with Terrasson here is French vocalist/beatboxer Sly Johnson. A soulful, gifted singer with a bent toward throaty R&B, Johnson broke through in Paris as a member of the hip-hop act Saian Supa Crew, as well as performing with established jazz artists such as trumpeter Erik Truffaz. Here, he lends his vocals, as well as his unique human beatbox technique, to several tracks, often blending his various vocal pops and ticks into the rhythm section just as any percussionist might do. It's a nifty concept that works best when Johnson is out-front on cuts like the opening "Kiff" and an inspired duo reworking of the Beatles' "Come Together," where Johnson brings to mind the similarly inclined rhythmic vocal jazz of Bobby McFerrin and Al Jarreau. Elsewhere, Terrasson and his pan-global ensemble deliver engaging takes on Gotye's "Somebody That I Used to Know," the Paul Desmond-penned Dave Brubeck classic "Take Five," and a buoyant rendition Henri Salvador's Caribbean-infused "Maladie D'Amour." © Matt Collar /TiVo
From
CD$8.99

Jazz - Released January 1, 1998 | Blue Note Records

This is a very subtle date with the musicians utilizing dynamics and a lot of space (a little reminiscent in spots of Ahmad Jamal's Trio). Pianist Jacky Terrasson is so laidback in spots that it is almost as if he does not want to be recognized as the group's leader. Bassist Ugonna Okegwo works closely with him and drummer Leon Parker (famous for using a rather minimal drum set) fits into the concept well. Still, one often finds themselves listening to this music (a variety of originals and standards such as "Things Ain't What They Used to Be," "Sister Cheryl" and "Nature Boy") waiting for something to happen. "Love for Sale" (which is given the catchy bassline of "Chameleon") is a highlight of the intriguing but not essential live set. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 19, 2015 | Universal Music Division Decca Records France

Pianist Jacky Terrasson's Impulse! Records debut, 2015's Take This, is a sophisticated showcase for his virtuoso jazz chops and eclectic musical taste. Following up his 2012 effort, Gouache, Take This finds Terrasson investigating a mix of originals and unexpected covers, many of which are infused with a strong African and Cuban rhythmic influence. Supplying much of this rhythmic intensity is Terrasson's adventurous outfit featuring bassist Burniss Travis, drummer Lukmil Perez, and Malian percussionist Adama Diarra. Together, this group is responsible for many of the album's brightest moments, with updates of such classic jazz piano numbers as Bud Powell's "Un Poco Loco," and Miles Davis' "Blue and Green," to name a few. Also collaborating with Terrasson here is French vocalist/beatboxer Sly Johnson. A soulful, gifted singer with a bent toward throaty R&B, Johnson broke through in Paris as a member of the hip-hop act Saian Supa Crew, as well as performing with established jazz artists such as trumpeter Erik Truffaz. Here, he lends his vocals, as well as his unique human beatbox technique, to several tracks, often blending his various vocal pops and ticks into the rhythm section just as any percussionist might do. It's a nifty concept that works best when Johnson is out-front on cuts like the opening "Kiff" and an inspired duo reworking of the Beatles' "Come Together," where Johnson brings to mind the similarly inclined rhythmic vocal jazz of Bobby McFerrin and Al Jarreau. Elsewhere, Terrasson and his pan-global ensemble deliver engaging takes on Gotye's "Somebody That I Used to Know," the Paul Desmond-penned Dave Brubeck classic "Take Five," and a buoyant rendition Henri Salvador's Caribbean-infused "Maladie D'Amour." © Matt Collar /TiVo
From
CD$12.99

Jazz - Released January 1, 2010 | Concord Jazz

Booklet
Jacky Terrasson's 11th CD and first for the Concord label is a lively affair, mostly in a trio setting with special guests spotted in, that addresses various avenues of contemporary jazz styles. Pop and Afro-Cuban or even South African flavors are sprinkled in with the technically challenging bop that the pianist excels in. Thelonious Monk Award-winning bassist from Michigan State University Ben Williams is in on this one, as well as cameo appearances from Gregoire Maret on harmonica and saxophonist Jacques Schwarz-Bart amidst Terrasson's acoustic piano, occasional electric keyboards, and some vocalizing. Echoes of Keith Jarrett, Frank Emilio Flynn, or Abdullah Ibrahim creep in as the gifted and oftentimes brilliant Terrasson bobs and weaves through this set of originals and highly modified versions of familiar tunes. A blurring fast "Beat Bop" hopped up with synthesizer accents, the contemporary "O Cafe, O Soleil" with Cyro Baptista's percussion work and handclapping reveling in the Capetown joy of Ibrahim, and the deliberate modal soul-funk of "Morning" all showcase vastly different interests for Terrasson. The pleasant pop trio jazz of "Gaux Girl" recalls Michael Jackson's "Liberian Girl," while the combination of Jackson's "Beat It" with the revered standard "Body and Soul" might seem odd until you hear Terrasson's free jazz tinkling to rubato and modal ideas, a thoroughly contemporary development, even adding a waltz tempo. There are stock or straight-laced versions of "'Round Midnight" and "You'd Be So Nice to Come Home To" that in this collection sound unusually common, but are played with a high degree of artistry and prowess. Push is one of Terrasson's most enjoyable and diverse recordings, a fine display of how he has both grown apart from what might be musically fashionable and matured exponentially. © Michael G. Nastos /TiVo
From
CD$13.99

Jazz - Released January 1, 1999 | Blue Note Records

This set is a bit of a departure for pianist Jacky Terrasson who has generally been heard in acoustic trio formats. Terrasson utilizes a variety of other musicians in larger ensembles for mostly original works (other than Ravel's "Bolero"). Among his sidemen are tenor-saxophonist Michael Brecker (who gets off a couple intense solos), flutist Jay Collins, Mino Cinelu on percussion and guitarist Adam Rodgers, among others; Xiomara Laugarts sings on "Better World," and on a few numbers, Terrasson plays a bit of electric piano. Overall, this set is open to the influences of world music and more funk-oriented jazz, yet Jacky Terrasson still sounds quite creative, explorative and individual. An intriguing program. © Scott Yanow /TiVo
From
CD$12.99

Jazz - Released January 1, 2010 | Concord Jazz

Jacky Terrasson's 11th CD and first for the Concord label is a lively affair, mostly in a trio setting with special guests spotted in, that addresses various avenues of contemporary jazz styles. Pop and Afro-Cuban or even South African flavors are sprinkled in with the technically challenging bop that the pianist excels in. Thelonious Monk Award-winning bassist from Michigan State University Ben Williams is in on this one, as well as cameo appearances from Gregoire Maret on harmonica and saxophonist Jacques Schwarz-Bart amidst Terrasson's acoustic piano, occasional electric keyboards, and some vocalizing. Echoes of Keith Jarrett, Frank Emilio Flynn, or Abdullah Ibrahim creep in as the gifted and oftentimes brilliant Terrasson bobs and weaves through this set of originals and highly modified versions of familiar tunes. A blurring fast "Beat Bop" hopped up with synthesizer accents, the contemporary "O Cafe, O Soleil" with Cyro Baptista's percussion work and handclapping reveling in the Capetown joy of Ibrahim, and the deliberate modal soul-funk of "Morning" all showcase vastly different interests for Terrasson. The pleasant pop trio jazz of "Gaux Girl" recalls Michael Jackson's "Liberian Girl," while the combination of Jackson's "Beat It" with the revered standard "Body and Soul" might seem odd until you hear Terrasson's free jazz tinkling to rubato and modal ideas, a thoroughly contemporary development, even adding a waltz tempo. There are stock or straight-laced versions of "'Round Midnight" and "You'd Be So Nice to Come Home To" that in this collection sound unusually common, but are played with a high degree of artistry and prowess. Push is one of Terrasson's most enjoyable and diverse recordings, a fine display of how he has both grown apart from what might be musically fashionable and matured exponentially. © Michael G. Nastos /TiVo