Reviews: jazz Italia Pt I - Massa in Three and Four

This column has tended to have good fortune with Italian pianists. We have had the pleasure of featuring several excellent albums by Robert Magris, and now we have a pair from Dino Massa:  Anime Diverse - a quartet date, and Un Po Come Noi, a trio outing.

     B Resourcefulness with personnel is nothing untoward for jazz players, but Massa must have the biggest local databae on record. between hthe two discs offered here, and the playlistson You Tube and other online sources show Massa with a truly diverse array of players and, cliched as it may sound all, including the vocalists, are top-notch.

For the quartet set, bassist Danele Sorreto, who's about as close to a "regular" as we've been able to document, appears with Elio Coppola on drums and Valerio Virzo on tenor horn. There's track entitled 'McKoy's Blues" and its rathe fitting as Massa's sound does recall the great McKoy Tyner. But don't be mistaken - this is no clone. Massa and the band skip, ump, stomp and softly pedal through the 8 tracks with an irrepressible joy and sensitivity that is highly individualised but very welcome and endearing. That and 'Per un Amico" (for a Friend) mark the standouts from this disc.
The trio outing features the conventional arranngement, with Piero Leveratto on bass and Claudio Borrelli on drums supporting - really collaborating - with the leader. The overall feel is "smokier" as in classic jazz club ambience and tone-feel. The execution though, is similarly high level. Every note comes in with ust the amount of weight that one would expect and makes way for the next without hitch or undue flourish. Massa, just being introduced to this writer, clearly knows the idiom, and is committed to the highest level of expression, both individual and collectively.
Simply put, this is an Italian jazz outing (dual) that you will enjoy immensely and will wish to repeat - a lot.  

Coltrane at the Double

From our friends at Jazziz magazine, "music to the ears" of Coltrane fans - like me

If it’s a John Coltrane fix you need, two August releases will set you right up.

On August 6, Mosaic Records will release The Complete Sun Ship Session, which includes newly discovered and previously unissued alternate takes from one of the final studio sessions by the John Coltrane Quartet. The three-LP set will also be made available on a two-disc set through Verve Records on April 16.

Sun Ship, recorded August 26, 1965, though, was not issued until 1971, one of several Coltrane albums issued by Impulse Records after his death. And Sun Ship was, like many jazz albums, the product of editing between takes, a process overseen by John’s widow, Alice.

f the last sessions by the classic John Coltrane Quartet (Coltrane, pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones). The

“This Complete Sun Ship Session edition is much more,” writes David Wild in the liner notes. “Sourced from newly discovered original reels, the set includes the album’s five original compositions, unedited, in sequence of recording, with all of the takes as they evolved, as well as the surrounding conversations. More than just a sampling of a few alternate takes, The Complete Sun Ship Session offers a rare opportunity to eavesdrop on an iconic master at work.”

In other Coltrane news, the Concord Music Group will reissue a remastered and expanded edition of the saxophonist’s Afro Blue Impressions album on August 30. The two-CD set, which includes three bonus tracks and new liner notes, celebrates the 40th anniversary of Pablo Records, the label founded by Norman Granz in 1973. After releasing more than 350 albums in a span of less than 15 years, Granz sold Pablo to Fantasy in 1987, which in turn merged with Concord Records in 2004 to form Concord Music Group.

Afro Blue Impressions represents an anniversary within an anniversary. By the time Granz launched Pablo in 1973, he’d already stockpiled several years worth of previously recorded tour performances in his vaults, including these sets from Stockholm and Berlin in late 1963 (October and November, respectively). This new two-disc reissue of the classic Coltrane Pablo album — originally released as a double-LP in 1977 — arrives just a few weeks ahead of the 50th anniversary of the original concerts.

Coltrane fronts a stellar quartet on both European dates that includes McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. In addition to the nine tracks that appeared in the original Afro Blue Impressions double album, the reissue also includes three bonus tracks from the Stockholm date: “Naima,” “I Want To Talk About You” and “My Favorite Things.”

“These tracks brim with the wonder and the power of discovery,” writes Neil Tesser, author of the new liner notes accompanying the reissue. “At this juncture, the Coltrane Quartet existed in a state analogous to quantum mechanics. … Each new performance yielded new insights. As the musicians gathered this data and sifted through it, they would arrive at the polished theories underlying the eventual masterworks to come, such as the album Crescent and the monumental suite A Love Supreme — achievements that would then launch a new age of chaotic discovery, on such albums as Om, Sun Ship and Meditations. How much those recordings will resonate on their 50th anniversaries will likely engender some controversy; Coltrane didn’t live long enough to complete the journey that began with them, and the jury remains out, even decades later, regarding the impact of that work. But history long ago weighed the import of his work in 1963, when his music stretched and struggled its way toward becoming Coltrane’s iconic stylistic statement.”

For more information about John Coltrane, go to www.JohnColtrane.com.

Resident Be-Bop Alien: Roberto Magris' latest

There's a whole lot to be said for consistency. Over the course of the last two decades (at least), piano man Roberto Magris has - across vastly changing line-ups, formats and styles - has presented a unified body of work that briliantly showcases the very vital links between conventional bebop and contemporary inventions. In other words, he's kept going forward, even when he reaches back.

this latest double-disc is no exception - brimming with a sense of adventure and delivered with uniform skill and passion amongst all the players.

Sam Reed
Kendall Moore
Dominique Sanders
Steve Lambert
Brian Steever
Pablo Sanhueza

Through his jovial andassertive yet inclusive leadership, the crew plays with clear relish in their jaunt across this supposedly "alien" landscape, gathering in the process a rich trove of bebop era classics.

As an ardent student of the idiom, Magris manages to not only inject new life into the established material, but even further he manages to make the genre itself breathe anew, as if drawing it out of some time capsule after generations of being lost to the listening public. 

Of course, Magris is never content to merely retread or rehash the works of other, so in addition to the Fats Navarro gem "Nostalgia" and John Coltrane's "Giant Steps"
there are whimsically titled Magris originals like "Blues Clues on The Lunar Sand" and "Cosmic Storyville"

Magris' pianism is no matter of whimsy however. As much as his playing hits new heights, he appropriately plumbs new depths, crossing bewtween lighter and darker motifs with signature dexterity. His take on "Giant Steps" is especially signal here - all that one can say is that you will be pleasantly surprised.

And that level of reward is typical for this entire double-disc - another home run for the Magris-Collins JMood camp. The audio notebook closing this disc promises more explorations and we can  hardly wait., .
Ready for Reed

Fluid & more: CD Reviews

welcome aboard th Jazz Bus  for 2K11. Thanks to all our friends, contacts  and well-wishers for your support through 2010, and we intend to do even greater work this year as we advance improvised music. Our review bag today features the latest from soprano sax explorer,  Jane Ira Bloom, some freshly "reFused" sound from Heavy Tin, new Orleans 'force of nature' Trombone Shorty's "Backatown" and guitarist Chris Crocco and his aptly named Fluid Trio

Trombone Shorty - Backatown (Verve)

Visitors to the Monterery Jazz fest this past fall would have experienced the boundless energy and razor-sharp musicianship of Troy 'Trombone Shorty' Anderson. Now, Anderson, and his co-horts have attempted to bottle some of that "We do it all" spirit in this disc, and happily, little has been lost in the process. The infectious grooves are all there, undiluted and even if the madcap motions and shifts of the live show are not fully replicated in the sound, there's enough for the listener to put himself vicariously in the performance space. Anderson very nearly does it all - multiple instruments, and vocals on some tracks, but he does get some help, notably from rocker Lenny Kravitz on 'Something Beautiful". The instrumental tracks generally outshine the vocal one, but its all shot through with the leader's irrepressible optimism. This si good-time music for anytime.

Heavy Tin - reFused (Concinnity Records)
A similar spirit pervades this CD, a follow-up to the fused jazz disc released last fall.

Provocateurs BR Pearson on piano and Izzy Reel (bass) have added Viktor Lorak on drums to further round out their bop-funk explorations, and the difference can be heard on steamrolling tracks like "Hammer Dat!" and "Bop Bomb" Which is not to say that the group doesn't know how to ease up on the gas: "Sweet Beet" begins in classic ballad style, with Pearson's gently contemplative yet expansive pianisms and Lorak's subtle brush work, while "Simple Saviour" could have formed part of the soundtrack of any contemporary Oscar-worthy drama.

But its clear that reFused is meant  to convey the fun of the music, even the brief liner notes betray a sly sense of humour. The intention is to impart a feel-good vibe to the listener, but on the band's own terms, without pandering.

In that, they have succeeded handsomely.  



Jane Ira  Bloom - WingWalker (Outline)

Jane Ira Bloom is hardly the first jazz artist to reference the cosmos, but she's one of the cleverest.

Her latest exploration of inner and outer space is chock full of re-imaginings and re-constitutions of existing conventions. Early case in point: "Life on Cloud 8" presents a striking contrast to the blissful ignorance of "Cloud 9" and presents instead a strutting, struggling, even somewhat menacing kind of drudgery. Bloom is well aided in this by her collaborators- Mark Helias on bass, drummer Bobby Previte and Dawn Clement on piano and Fender Rhodes.
'Freud's Convertible" suggests a stroll rather than a drive, but one in which the iconic psychoanalyst is attentive to the varied stimuli of his environment;Bloom's soprano suggests waves of thoughts and ideas - thorny issues being confronted, if not resolved. "Rooftops Speak Dreams" conjures up lazy nights of fascination, gazing at the stars from some preferred vantage point.

Of particular note is the final track, and the only cover, "I Could Have Danced All Night". Yanking it from the heady, romantic delirium of "My Fair Lady" Bloom's solo rendition instead sounds like the wishful thinking of a dance marathon loser, or maybe the wistful recollections of one who can no longer dance at all.





The Chris Crocco Fluid Trio +
Guitarist Chris Crocco has devoted his career thus far to the quest for authentic expression - ie, he has sought to let his music speak to whatever his life experiences may be at the particular time.

Such phrases may seem lofty, but in various musical combinations, Crocco has made his explorations palpable, and this latest iteration is no exception, boasting both impressive compositions and instrumental dynamism, as one might expect from the presence of George Garzone, Peter Slavov and Francisco Mela.

The songs vary in both tempo (fast to slow) and pitch (loud to
soft) and more importantly, their open-ended structures leave plenty of room for
all the players to fill. Indeed, Crocco's highest virtue as a leader may be in his innate
sense of when to push forward with his largely single-line musings and when to hang back and
allow his excellent partners to take his ideas forward. The drumming of Mela in particular, is a treat, hopping across the set one moment, pounding authoritatively the next and near silent another moment.

The Fluid Trio + is testament to the sonic benefits that come from focussing on the integrity of musical interplay in the moment; one doesn't waste any energy trying to avoid cliches - they simply have no room to enter.