The Legacy of the Jazz Messengers (2): Hank Mobley – Soul Station

For part II of my little mini-series (well, given the number of relevant musicians that I really like, it may turn out maxi, who knows) on the Jazz Messengers, I obviously had a lot of choice. I ended up with Hank Mobley.

Hank Mobley

Why? He’s certainly one of the lesser known artists of the Jazz Messenger stable, and also one of the least well-known Tenor players (Coltrane, Shorter, Rollins, … would anybody spontaneously continue this list with Mobley?)

However, his albums are consistently good. They are never outstanding, I don’t have a single five-star album with Mobley, but I’ve rated most of his albums a very solid four star, they are just always fun to listen too. Getting to such a consistency is already a major achievement for me.

What are those four star albums? Well, you can pretty much chose blindly. Whether it is (in alphabetical order to avoid any impression of ranking) A Caddy For Daddy (what a nice title), Dippin, No Room For Squares, Hi Voltage, Roll Call, Soul Station, or Workout, they are all just a lot of fun. It don’t mean a thing if it ain’t got that swing. Well Mobley and his several groups have plenty.

Mobley grew up learning the … piano. Apparently he starting playing the saxophone only at the age of 16. I sometimes wonder, had he started earlier, would we list him with the Coltranes of this world? If Wikipedia is to be believed,  Miles Davis had considered him as a replacement for Coltrane for a little while (what is for sure is that you’ll find Mobley on the great Miles Davis album “Someday My Prince Will Come” playing alongside Coltrane).

As part of the Messengers he also played with Horace Silver, including the nice album “Horace Silver and the Jazz Messengers” I completely forgot to mention in my previous post.

Soul Station

Hank Mobley Soul Station Blue Note 24 192

 

So why did I pick his 1960 album Soul Station here? Well, there’s obviously the personnel: Wynton Kelly and Paul Chambers, plus Art Blakey. What could possible go wrong? In any case, I don’t seem to be alone in preferring this album (witness this very nice article about him written by the folks at BlueNote), and Jazz critic Bob Blumenthal wrote that this album could be considered his “Saxophone Colossus” or “Giant Steps”.

Luckily I didn’t even have to research the facts above, as I have a very simple system: given that I try to rate individual songs as much as possible within iTunes, I can simply check the average score of an album. While most of my Mobley albums net out at four stars throughout, Soul Station stands out just a bit at “4.33” stars.

Two exceptional tracks

The album stands out due to two exceptional tracks: This I Dig Of You and Soul Station. I don’t think it is a coincidence that these are the longest tracks on the album. I’ve noticed before that usually the really long tracks (Soul Station is 9:05) are often the best, probably because they just leave more room to the individual soloing.

Overall rating: 4 stars (well 4 1/3 mathematically…)

Telemann – beyond Tafelmusik

Baroque Composers

Baroque composers. What comes to mind spontaneously? Bach, Vivaldi, Rameau maybe? And yes, if you remind people, specifically, there’s also Telemann. Personally, my “ranking” of baroque composers is very simple: Johann Sebastian Bach,  After that, with some distance, Georg Friedrich Händel. Then for quite some time pretty much nothing else, and finally, all the rest.

Let me explain. Vivaldi is “nice”, but the nasty saying that he composed only one violin concerto – but 200 times – has some truth to it. I usually get bored pretty quickly. Then there are the composers I still don’t “get”. I’ve never heard any Scarlatti (Alessandro and Domenico) that personally touched me. For the French baroque stars with Rameau, Lully, etc., well, I’m currently in learning mode. For Purcell, I love Dido and Aeneas, but still need to dig much deeper into the rest of this oeuvre.

Georg Philipp Telemann

And then there is Telemann. He probably didn’t do himself a favor by composing the famous “Tafelmusik” (literally “table music”, apparently a marketing term invented by Telemann himself to better sell his music). I wouldn’t be surprised if I’m not the only one who uses Telemann’s Tafelmusik as background entertainment when receiving guests for a dinner party (usually after preparing a rather fancy dinner decoration including lots of chandeliers that even Mr Carson of Downton Abbey would approve of). In a nutshell, the 18th century equivalent of the latest Café Del Mar mix. But I pretty much didn’t know anything else from him, beyond the infamous recorder concertos (remember that horrible instrument that many kids, including me, get tortured with for educational purposes).

So as you can see, Telemann didn’t have an easy start with me. However, when Classica Magazine gave a “Choc Classica” (their way of saying 5 stars) to a Telemann album in the latest issue of the magazine, I was intrigued. I figured I had to get it just to revisit my Telemann bias.

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I’m glad I did, in spite of the weird monkeys playing backgammon cover, and the fact that I hadn’t (consciously) heard of any of the artists on this album. I’ve been very positively surprised by several albums from the French Alpha label in the past, including the outstanding 6-album Café Zimmermann Bach cycle, so that helped a bit.

Alexis Kossenko – Les Ambassadeurs

Alexis Kossenko is a French flute player that founded the period instrument orchestra “Les Ambassadeurs” around 5 years ago, mainly composed of younger musicians. I only noticed after purchasing this that I already had another excellent album with this orchestra, the recent Sabine Devieilhe Rameau recital “Le Grand Théâtre de l’Amour” on Erato, purchased relatively recently as part of my self-educational efforts with regards to French baroque composers (see above).

What do you get on this album?

An overture, a violin concerto, two flute concerto, and a flute/violin double concerto. The latter is really my favorite of the album. All played with so much energy but at the same time attention to detail, it is a pure pleasure. This music is no b-minor mass obviously, but certainly on par with the Brandenburg concertos or Overtures by my admired Johann Sebastian. I really need to explore more Telemann, and certainly more of Les Ambassadeurs. As a bonus, Alpha is doing a great job in making their recordings sound very well, so if you have a good hifi, you’ll certainly enjoy this album even more.

Overall rating: 4 stars.

Schubert on Fortepiano by Andras Schiff – not for beginners

In his comment on my initial Diabelli thread, Jud asked about the new Schubert recording of Schiff on ECM.

0002894811577_600Curiosity got the better of me, and I bought it blindly (instead of streaming it first as I would have done usually), Actually, I’m glad I did.

Andreas Schiff uses the same 1820’s Franz Brodmann fortepiano he also uses on the Diabelli’s second “disc”. This is not very surprising given that he actually owns this since 2010. (It is usually on loan to the Beethoven-Haus in Bonn).

When listening to Fortepiano, the differences are much larger than with modern grand pianos. Sure, a Bösendorfer has a different house sound to a Steinway, and a trained pianists will be able to tell one Steinway from the other (witness the fascinating movie Pianomania if you want to know more), but that said, for most of us mere mortals all sound pretty nice.

In the early 1800s we were far from this homogeneity. This is important to know before you purchase a fortepiano recording, as they really can sound quite differently, and you may not like all sounds.

There are some I cannot listen to for a long time (e.g. Malcolm Bilson’s recording of the Mozart piano concertos), while I love the sound of others (e.g. Roland Brautigam playing a Paul McNulty replica of an 1820 fortepiano in his amazing Beethoven piano music cycle).

Brodmann Hammerflügel

The sound of this particular Brodmann Hammerflügel I very much like on the Diabelli, due to their very intellectual nature. It takes much more getting used on the romantic beauty of Schubert (I know Schubert was borderline between classical and romantic period, but to me is is clearly in the latter), especially if your current reference is this:

uchida schubert

Mitsuko Uchida

The sheer beauty of Uchida on Schubert is just outstanding. Well, the sound of the Brodmann is anything but beautiful at first ear.

Funnily enough, Andras Schiff himself is on record (from the 1990s) dreading somebody playing Schubert on a fortepiano. He has obviously by now made up his mind and admitted he was wrong.

And to be fair, he was. There is so much to discover here, not only you because you hear the music “as Schubert would have played it” (and unlike Beethoven, at least he wasn’t deaf), but the colors, the nuances, everything is different. This is NOT a recording to lay back and enjoy, this is a journey into the music.

Real highlights to me are the Moments Musicaux (revealing their true Viennese charm) and the amazing sonata D960.

If you don’t have any Schubert piano works yet, don’t buy this as a first album. Go for Uchida, Brendel, Lewis, etc (or the recently released outstandin album by David Fray).

And please do, as Schubert (to my ears) wasn’t great in the symphonic genre, but has done marvelous work both on the piano and in the chamber music fields (more on this later).

But if you know what you’re getting, check this out, you won’t disappointed. And obviously as usual ECM is very well recorded.

Overall rating: 4 stars

An addendum to Diabelli – the point of view of Classica Magazine in a blind test

As a quick addendum to my previous post on the Diabelli variations, when I opened the latest issue of the French magazine Classica on my iPad today (a bit late, it came out several days ago), I was pleased to discover that they dedicated their monthly blind test column, where their review staff compare 8 versions of a given oeuvre blindly, and ranks them, to just this work.

Classica – l’écoute en aveugle (the blind test)

I usually have a large overlap in taste with Classica, so I was a bit surprised to see none of my two recommended recordings even mentioned. But then I read it in the text, “les pianofortes atteignent leur limited“, the fortepianos reach their limits. Interesting, so Beethoven composed something that couldn’t have been played on the instrument he was used to. To be fair he was deaf at that time, but this is still an interesting conclusion. But ok, let’s see where they take it from here.

Laurent Cabasso

Well, their recording that is leading the pack is a recent recording on the label Naive played by the French pianist Laurent Cabasso.

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Well, the French press, very much like the English, has a certain patriotic tendency in their reviews. But remember, this is a BLIND test, so let’s assume they haven’t cheated. I obviously had to listen to it immediately, and luckily my streaming provider, Qobuz, has the album available.

Don’t forget Richter

My conclusion remains the same, I’m personally much more touched by the fortepiano versions than by this admittedly very good, but not outstanding recording (4 star on my personal rating scale). So if you prefer a modern piano, you may want to check this version out. But if you do, also compare it to the much more extremist (in a positive sense) Sviatoslav Richter (FYI, no. 5 in the Classica ranking). Otherwise, Schiff and Staier are a must on your playlist.

P.S. Gramophone has done a similar comparison in their August 2015 edition, you’ll find a summary here.

Currency of Man – Melody Gardot goes Soul – A Review

I’ve been a fan of Melody for quite a while now. Her story is touching (serious car accident, very long recovery, music as therapy), and her first three albums (Worrisome Heart, My One And Only Thrill, The Absence) were all very good. She’s also contributed a great track to Autour de Nina.

Currency Of Man (Legacy 2015)

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Generally, I’m not such a regular listener to vocal jazz. I appreciate the classics, Ella Fitzgerald, Sarah Vaughn, Billie Holiday, but of the contemporary singers, many don’t touch me as much.  Even clearly exceptional artists such as Cecile McLorin Salvant I only listen to occasionally.

So again, what’s different about Melody to all the other contemporary Jazz singers (and there are many): The music is well produced and she writes good songs. Many others do as well. Her unique feature to me is really her voice: pure seduction. This voice is really special and easily recognizable whatever she does.

Obviously, I had to get her latest album, I even had it on pre-order. Just downloaded it when it officially came out this morning.

Probably not Jazz anymore – if it ever was

Now let me put a disclaimer first, or rather a question: is this new album actually Jazz? Well, if you take the definition of many record stores (remember those, they’ll probably soon go the way of video rental places), who insisted on putting Norah Jones (or anything else published on BlueNote or Verve) and sometimes even Katie Melua under Jazz, then probably yes, but this album has more elements of Soul than Jazz.

One thing that struck me about this album were the arrangements. This album contains strings. Usually, the only one who is able to pull off combining Jazz and strings, is Ella Fitzgerald again. But here, it is really tastefully done, not overly cheesy, e.g. on the very intense “If I Ever Recall Your Face“. In other songs, you get typical Soul/Motown elements like brass and background vocals. Again, those just blend in and support the music. Very well done.

Then on some songs, e.g Morning Sun, you initially think she’s entering Norah Jones territory. But no, soon you’ll realize, this really is a Soul album with even funky elements occasionally.

Very enjoyable

How does it all work out? Very very well. I’m a big fan of this album. There is only one song that stands out as slightly weaker compared to the rest of the album “Same To You“; all  the rest is truly enjoyable.

An outstanding next step for an artist who will have a great future. Check it out!

You’ll find some good vids including some “behind the scenes” here.

My rating: 4 stars

EDIT: Deluxe edition

It has just been flagged to me that I didn’t specify whether I reviewed the regular or the deluxe edition of the album. The comments above refer to the regular edition, I hadn’t even realized the existence of the Deluxe Edition until now.

The latter has not only 5 bonus tracks (to be fair, 2 of them are less than 1 min), including the outstanding “Burying My Troubles“, pretty much most of the regular songs appear to be different cuts/mixes to the regular edition. I’ll need to compare a bit more and will report back in the next days.