Miles Davis’ Rubberband – An Album That Better Should Have Stayed Unpublished

Thank you again for all your feedback

I get a lot of comments, both on the site itself and via direct message. And I truly appreciate every single element of feedback. It is what keeps me going now 5 years in a row.

Recently you told me you’d like more reviews of Jazz albums, and also encouraged me to write more critical reviews. I often tend to shy away from them, as my reviews clearly are very subjective opinions, and I really don’t like to critisize great musicians just because I don’t like some of their albums.

That said, the next musician won’t mind, a) he’s passed away a long time ago, and b) he’s one of the most brilliant musicians ever and nothing I’ll write here will take anything away from this

Miles Davis – Rubberband (Warner 2019)

This is a negative review that is more of a warning. Stay away from this zombie at all cost.

In the 1980s, Miles Davis had finally left his long term label Columbia to sign up with Warner. He then started recording some tracks. For several reasons, these tracks were never fully finished, and ended up in a drawer somewhere.

Now, somebody decided, let’s take these tracks, complete what Miles didn’t complete, and let’s see if we can still milk the Miles Davis brand.

First of all, people think of Miles Davis as a Jazz musician. Let’s be clear, in the 1980s had moved on, to a style much more influenced by funk and pop. Nothing wrong with this, it’s not really my cup of tea, but Tutu an album that was recorded shortly after this, is a modern classic. It will never get a lot of playtime on my system, but I understand why some people like it.

Rubberband really never should have been published in my opinion. Without Davis’ trademark horn popping up every once in a while, it would have just been a very bland synthetic late funk / 80s pop album. So if you’re interested in 1980s funk jazz, get Tutu (or some Herbie Hancock stuff from that era). But really avoid this “album” at all cost.

My rating: 1 star (this is now officially my first 1 star review in 5 years and more than 300 posts)

If you still want to check it out, you can find it here (Qobuz)

An Beautiful New Vocal Jazz Album with Giovanni Mirabassi and Sarah Lancman

Giovanni Mirabassi

Giovanni Mirabassi remains one of my favorite Jazz pianists. I really love his trio efforts, be it on Terra Furiosa, Live in Toyko, or, probably my preferred one, Architectures.

Mirabassi is Italian, but has been living in Paris for many years. As mentioned above, he trio output (mainly with Gianluca Renzi and Leon Parker) is fantastic, but he’s also collaborated with some excellent singers, e.g. Angela Elvira Herrera Zaparta and Maikel Ante Fajardo on Adelante, and on Sarah Lancman’s previous 2018 albums A Contretemps and Inspiring Love. Both albums only featured Sarah on the title, now we have a recording where both Lancman and Mirabassi share the cover. The two already met in 2015 and have toured together.

Sarah Lancman

Sarah Lancman is a young French singer, who studied in Paris, and has released three albums so far.

There is no shortage of excellent Jazz singers today, but still, Lancman has a very recognisable, unique voice. Not suprisingly, she won the first price in a jazz contest hosted by Quincy Jones.

Giovanni Mirabassi – Sarah Lancman – Intermezzo (Starprod 2019)

So what do you get? Well, you could argue, is this still Jazz?

You basically get beautiful duos where Mirabassi plays in a very intimate and connected way with Sarah, who singing exclusively in Italian (note the album cover kind of gives it away) on this album.

Every once in a while, Olivier Bogé joins playing the saxophone, with a sound somewhat reminiscent of Stan Getz. So who cares if this is Jazz or not?

All of this is just hugely enjoyable, beautiful, intimate music, and really worth checking out.

My rating: 4 stars

You can find it here (Qobuz)

Coltrane ’58: The Prestige Recordings

John Coltrane

I’ve checked, and to date, I’ve only mentioned John Coltrane twice on my blog. Let me clarify: this lack of coverage is not for lack of admiration, it is after all not by chance that I’ve listed the amazing album My Favorite Things in My 25 Essential Jazz Albums.

It is just that overall, so much more has been written about the Jazz legends, both online and offline, than about current contemporary musicians.

Therefore, I try to focus a lot of my Jazz writing here on recordings of the last 2 decades.

That said, every once in a while the record industry finds a smart way of re-releasing existing content, which gives me a nice excuse to write about it.

Coltrane’58 – The Prestige Recordings (Prestige Remaster 2019)

Coltrane '58 The Prestige Recordings 2019 remaster 24 96 192

To make it clear: there is no new content on this box that hasn’t been released previously. What is interesting about it is essentially two things: a remaster of the original recordings, and the chronological ordering of all of his recordings.

You get 37 tracks, all recorded in the year of 1958 when Coltrane signed with Prestige, and started to emerge as the star and legend he was bound to become in the following years. They are taken from albums such as Soultrane, Lush Life, or Kenny Burrell & John Coltrane.

Personally, I don’t think this year is as great as some of his all time masterpieces, be it Giant Steps (1959), My Favorite Things (1960) or obviously A Love Supreme (1964).

That said, this is nevertheless a box of thoroughly enjoyable music, uniting such fantastic musicians such as Tommy Flanagan, Red Garland, Paul Chambers, Jimmy Cobb, Louis Hayes or Art Taylor as the rhythm section, and great soloists such as Kenny Burrell and Freddy Hubbard.

Furthermore, the remastering really is quite well done, apparently taken directly from the original master tapes. Prestige unfortunately never was one of the “audiophile” labels, that said, for a 60 year old recording, this entire box really is fully enjoyable.

Before buying it, you may want to check out which of the original albums you may already own, or if you already (like me) have the Complete Prestige Recordings box set, in which case the only reason for buying would be the remastering.

If you don’t have any of these albums yet, this is a purchase I can recommend without any hesitation.

My rating: 4 stars

You can find it here (Qobuz)

One of the best Jarrett Solo albums: Paris Concert

Keith Jarrett’s Solo Albums

At some point on this blog I had said I was planning to review all of Jarrett’s solo recordings here.

Well, I haven’t written about them in a long time. Nicely enough, a reader comment, inquiring about a live concert by Jarrett she heard on the radio a long time ago, brought me back on track.

I’m still not sure, but most likely the album she is looking for is one of Jarrett’s best ever solo piano recordings, Bremen/Lausanne, actually one of my 25 Essential Jazz albums.

Therefore, let’s talk about another excellent Jarrett solo album I’ve had for a long time:

Keith Jarrett: Paris Concert (ECM 1990)

Keith Jarrett: Paris Concert ECM 1990

This is not one of Jarrett’s longest solo albums, containing just a single concert. It mainly consists of one impressive continuous improvisation of more than 38 minutes, simply titled “October 17, 1988”. 

The concert starts sounding like Jarrett is actually doing a Bach concert, he plays something that could be a slow Präludium, indicating that Jarrett clearly knows his counterpoint. 

This is not totally surprising, Jarrett was actually playing a lot of Bach at the time, e.g. his recording of the Goldberg Variations was released just one year later after this concert was recorded in 1988 at Salle Pleyel. (Side note: I’m not such a fan of Jarrett’s classical recordings on their own, but am very happy how they influenced his Jazz playing).

About 9 to 10 minutes in this evolves into a more hypnotic part, with the left hand in a steady bass pattern over which the right hand freely improvises.

Later, around the 20 minutes mark, the music becomes increasingly minimal, but probably even more beautiful and mesmerizing. He quickly evolves back into a much more powerful improvisation.

After the main course you get two smaller pieces, simply called The Wind and Blues, both of which are highly enjoyable.

The only downside of this album is Jarrett’s really annoying tendency to hum along with his music. I sincerely hope one day artificial intelligence will be good enough to remove his singing from his otherwise fantastic albums.

This is clearly one of his best ever solo efforts, and should be in every Jarrett lover’s collection.

My rating: 5 stars

You can find it here (Qobuz)

Youn Sun Nah’s Latest Album Immersion – Really Not My Cup Of Tea

The Borderline between Jazz and Pop Music

Youn Sun Nah, while typically being classified as a Jazz singer, has always been on the borderline between Jazz and Pop. Nothing wrong with that, many great singers like Melody Gardot or Norah Jones successfully navigate both sides of the equation very well, at least in my personal opinion.

Youn Sun Nah’s greatest effort on the Jazz side of things were brilliant albums such as Lento or Same Girl. I’ve mentioned the brilliant cover she did of Metallica’s Enter Sandman on Same Girl in my post on my favourite Jazz covers of Pop songs here.

It is very understandable that artists want to evolve their musical style. Not surprisingly therefore, her previous album was called She Moves On (2017). I didn’t review this one on my blog, already because it really didn’t move me very much. And it is usually much more fun to write about albums I like, hence the large number of 4 and 5 star reviews here.

So why did I make a difference here? Well, it is rare that an album really puts me off and annoys me. I rarely have that (exceptionally for some reggae and rap albums), but typically just move on to something else.

In the Jazz territory, there’s one other similar example of an album that I really couldn’t stand, which was Diana Krall’s Glad Rag Doll, produce by T-Bone Burnett. If you wanted to torture me, you could easily use this album, just put it on repeat.

Youn Sun Nah – Immersion (Arts Music 2019)

Youn Sun Nah Immersion 24/48 Art Music 2019

So, what do we get on Immersion? A LOT of synthesizers first of all. Nothing wrong with synthesizers, I used to own several of them in my high school and student days. I’m just not so convinced they are the best combination for Jazz-type albums. But I presume that’s the point, this is actually not an Jazz album.

You also seem to get quite a bit of drum machines (or if it is a real drummer, he uses a heck of a lot of effects). You also get a lot of sound effects.

One example of the extensive use of synths is the cover version of Leonard Cohen’s beautiful Hallelujah. This is recorded over “carpet strings” (do people still use this expression?) that are just wobbling in the background. This really so completely misses the point of this song.

But the most annoying is a minimalistic ballad version of You Can Hurry Love, where the only instrument is a bell- or gamelan-like e-piano that sounds like somebody has taken the good old Yamaha DX7 out of the garage (or more likely, out of Logic Pro).

OK, I’ll stop my rambling here, you’ve got the point, I just don’t like this album.

My rating: 2 points.

If you still want to try it out, which you should, as I think this album may be a love it or hate it affair, you’ll find it here (Qobuz)

Mare Nostrum III – Delightful


Paolo Fresu, Richard Galliano, Jan Lundgren

Three outstanding musicians. I had the pleasure of seeing two of them live. French accordionist Richard Galliano back in the 1990s, in a fantastic concert with Michel Portal on the clarinet, and Italian trumpet magician Paolo Fresu nearly two decades later in another beautiful duet, with Ralph Towner. The only one I haven’t seen yet is Jan Lundgren, Swedish pianist, but I do own several of his albums.

So you get the picture, a really weird combination of instruments. Does it work out? Very well so. This is not at all French musette style (the light French popular music) that you often hear Galliano play, this is something entirely different.

Mare Nostrum III – Paolo Fresu – Richard Galliano – Jan Lundgren – ACT 2019

Mare Nostrum III Paolo Fresu Richard Galliano Jan Lundgren ACT 2019 24/96

So what do you get? Well, the style of music is hard to describe actually. This is mainly very slow, pensive music making you wish you’d sit on a terrace let’s say on the Amalfi cost, after tourist season late September, with a light breeze, and maybe a glass of limoncello.

Are you any smarter now? Probably not, but if you like my little analogy above, you’ll like the album. Fresu really is the star here on this album, his subtle trumpet tones pretty much carry the entire album, though the trio doesn’t have a leader, and plays as if they’ve played together forever. Well, that’s not so suprising, they actually have. The first album of this series (the III indicates the volume number), was already released in 2008. Volume II is much more recent, in 2016, and was already reviewed on my blog here.

Overall, if you like this rather contrasted choice of instruments, or if you simply like beautiful music, you should check this out.

My rating: 4 stars

You can find it here (Qobuz)

(Note that Qobuz is now available in the US as well, so I won’t give alternative download sources any more. If you’re in a non Qobuz country, Prostudiomasters typically is a good source).

FYI, at the time of writing Qobuz has a 20% discount on the volume II of this album.

My Top 5 Jazz Albums Of 2018

2018 wasn’t a particularly exciting year for me in Jazz. I wasn’t too much impressed with Cecile McLorin Salvant’s and Shai Maestro’s releases this year, so I didn’t even bother to review then. And overall, this was probably the year of my lowest number of Jazz album reviews since I started this blog.

I also checked out the Top 2018 lists of many other reviewers, and didn’t see anything standing out there (except for the latest Wayne Shorter which I still have to check out).

Nevertheless, here are my 5 favorite Jazz albums of the year. Note a big victory for ECM with 3 out of my 5 albums coming from their great label.

You may also want to check out my Top 5 Jazz albums from 2017, 2016, and 2015, as well as my Top 5 Classical albums of 2018.

Melody Gardot Live in Europe

Melody Gardot Live In Europe (24/48) 2018 Decca

My favorite live album of the year. And no, I didn’t just pick this for the cover. Check it out, Melody is at her best here. See my original review here.

Marcin Wasilewski Trio – Live

Marcin Wasilewski Trio Live ECM 2018 24 96

A lot of live albums this year. 3 out of 5. I completely forgot to review this. Marcin Wasilewski plays what regular readers by now understood to be my favorite trio style: intimate with beautiful melodies.

You can find it here (Qobuz)

Keith Jarrett Trio – After The Fall

Keith Jarrett Gary Peacock Jack DeJohnette After The Fall ECM 2018 24 44

Not really a new recording, just a new release. But one really worth having. See my original review here. The only downside is the recording quality which is not on par with the regular ECM pristine sound.

Tord Gustavsen – The Other Side

Tord Gustavsen Trio: The Other Side (24/96) ECM 2018

Good to see that Gustavsen is back in trio format. This reminds me very much of The Ground, my favorite Gustavsen album. You’ll find my original review here.

Joey Alexander Christmas

A Joey Alexander Christmas Motema 2018

Joey Alexander is my discovery of the year. Hence the mention of this short EP, which I reviewed here.

You’ll find the download links to the albums in the respective original reviews.