Monday, October 29. 2012Music Week/Jazz ProspectingMusic: Current count 20599 [20576] rated (+23), 655 [643] unrated (+12). Lots of mail, but missed a couple days so the rated count is down, and Jazz Prospecting a bit slim. (Also, the Parker box is a big deal, one I wish I had been able to put more time into.) Also did a bit on Recycled Goods, which is coming due in a week or so: more from my unplayed pile, not that I'm finding enough treasure there to keep me focused.
Ed Byrne's Latin Jazz Evolution: Conquistador (2012, Blue Truffle Music): Trombonist, cut his teeth in Eddie Palmieri's band, second album; credits percussionist Carlos Clinton (congas, bongos, cowbell) as co-leader, adds another percussionist (Esteban Arrufatt on timbales and guiro), piano, sax, violin (Maureen Choi), and two bassists. Pretty basic rhythms, but the horns pack more muscle than the usual brass. B+(**) Roman Filiu: Musae (2010 [2012], Dafnison): Alto/soprano saxophonist, b. in Cuba, moved to New York in 2011; played with Chucho Valdes both in and out of Irakere, also in David Murray's Latin Big Band; second album, quintet with piano (David Virelles), guitar (Adam Rogers), bass (Reinier Elizarde), and drums (split between Dafnis Prieto and Marcus Gilmore). Does a nice job of keeping the rhythm wedged open, building up tension and never quite gets resolved. B+(*) Ben Holmes Quartet: Anvil of the Lord (2012, Skirl): Trumpet player, b. 1979 in Ithaca, NY. Released a trio album in 2009, followed up here by adding a trombone (Curtis Hasselbring) and swapping bassists. As Louis Armstrong understood early on, the trombone is the perfect foil for a trumpeter, and that principle still applies here, even moving far into postbop territory. B+(***) Steve Kuhn Trio: Life's Magic (1986 [2012], Sunnyside): Pianist, b. 1938, has dozens of records since 1963, including this one, cut live at the Village Vanguard and originally released on Blackhawk in 1987. Trio with Ron Carter on bass and Al Foster on drums, Kuhn remembers "feeling like a kid in a candy store". Half originals, half swing-period covers, LP-length, light and spry. B+(***) Rob Mazurek Pulsar Quartet: Stellar Pulsations (2012, Delmark): Cornet player, based in Chicago, an essential part of Chicago Underground Duo/Trio (which morphed into Sao Paulo Underground) and a number of astronomy-themed groups: Starlicker, Exploding Star Orchestra, now Pulsar Quartet. With Angelica Sanchez (piano), Matthew Lux (bass guitar), and John Herndon (drums). The cornet is sparkling, and Sanchez makes a strong impression. B+(***) Ferenc Nemeth: Triumph (2012, Dreamers Collective): Drummer, b. 1976 in Hungary; second album under his own name, plus two with Gilfema (a trio with Lionel Loueke and Massimo Biolcati). Above the line, this is styled as a star-laden quartet: Joshua Redman (tenor/soprano sax), Kenny Werner (piano), Loueke (guitar, vocals), but more names pop up in the fine print, including a woodwind section all the way down to the bassoon. Makes for a chamber effect, although the principals are interesting enough on their own. B+(**) William Parker: Centering: Unreleased Early Recordings 1976-1987 (1976-87 [2012], No Business, 6CD): The great bassist of my generation -- he turned sixty back in January -- Parker spent most of the 1980s piling up side credits, which ran close to 300 last time I counted, probably more like 400 now. His own discography only picks up around 1993, with 1995's Compassion Seizes Bed-Stuy a breakthrough, and 1998's The Peach Orchard a triumph. But we now know that he experimented widely from 1974 on -- the 2003 release of Through Acceptance of the Mystery Peace picked up bits from 1974-79 -- and he released limited runs on his own Centering label. The Lithuanian label NoBusiness collected his 1980-83 recordings with Jason Kao Hwang as Commitment in 2010 (cf. The Complete Recordings 1981/1983), and now they've gone much further with this lavish, lovely box set. The first three discs feature intimate groups with saxophonists Daniel Carter, David S. Ware, and Charles Gayle -- the latter some of the finest free sax blowing I've heard -- followed by a short (13:51) song set with vocalists Ellen Christi and Lisa Sokolov. The last three discs move into larger groups, ranging from the atmospheric dance accompaniment to the Big Moon Ensemble, one of the most explosive free big bands I've heard. A- David Virelles: Continuum (2012, Pi): Pianist (also harmonium and organ), b. 1983 in Cuba, based in Canada, has a previous record on Justin Time in 2007 (Motion, not in AMG as far as I can tell), side credits mostly with Jane Bunnett (since 2001). Mostly quartet, with Ben Street (bass), Andrew Cyrille (drums, percussion), and Román Diaz (percussion, vocals), plus horns (Román Filiu, Mark Turner, Jonathan Finlayson) on the centerpiece cut. The vocals are the rub, although they might also frame an Afro-Cuban history lesson that I'm missing. B+(**) Torben Waldorff: Wah-Wah (2012, ArtistShare): Guitarist, from Denmark, sixth album since 1999: quartet with Gary Versace (keybs), Matt Clohesy (bass), and Jon Wikan (drums). Usually a strong groove player, he starts out behind the piano and rarely steps out. B Katherine Young: Pretty Monsters (2010 [2012], Public Eyesore): Bassoon player, studied at Oberlin and Wesleyan, running into Anthony Braxton at the latter. Has a couple previous albums. This is a quartet with guitar (Owen Stewart-Robertson), violin (Erica Dicker), and drums (Mike Pride) -- the violin most prominent. All originals. Runs rough and ragged, with some more reflective moments. B+(**) Unpacking: Found in the mail last two weeks:
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