Tord Gustavsen’s The Other Side – Delightful

Tord Gustavsen

I’ve previously written about the rich Jazz scene in Scandinavia, and particularly about Tord Gustavsen, reviewing his album The Ground here.

Gustavsen’s trio has a very particular style, minimal, melodic, and fascinating.

So I was very excited when I saw that Gustavsen’s latest album was just released, and thanks to ECM finally allowing streaming, I could sample it immediately.

Tord Gustavsen Trio: The Other Side (ECM 2018)

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

I wasn’t a universal  fan of some of the albums Gustavsen released in the last years, but with his latest album, I’m fully back on board!

The first thing you notice is the cover art, while still in the typical ECM abstract art style, they’ve changed from the dark blue tones of most of the former albums to a bright orange. Does this mean the music is more orange as well?

Well, actually not. This is very typical Gustavsen style, very much reminding me of what I liked so much about The Ground.  Let’s take as an example urack 3 of the album, Re-Melt. It starts with a syncopated rhythm by Jarle Vespestad on drums, and Sigurd Hole on bass. Gustavsen joins a bit later, weaving a beautiful, subdued melody over the rhythm. None of the music on this album is ever over the top, but it will always be one thing: very atmospheric. It always just unfolds slowly, over time.

Recording quality, as usual on ECM, is very good, actually in this particular case it is again quite spectacular.

Check out this album. It may not be for everyone, but if you like this minimalist Nordics style, you really should not hold back!

My rating: 4 stars

You can find it here (Qobuz) and here (Prostudiomasters)

 

Michael Wollny Trio Live: Wartburg – Not A Review

Michael Wollny

I’ve written about Wollny several times already (e.g. here and here), and I stand by my statement that Wollny is one of our most talented Jazz pianists of our times.

So, why has it taken me so long to write about a new album?

Michael Wollny Trio Live – Wartburg (Emile Parisien) (ACT 2018)

 

Michael Wollny Trio Live Wartburg Emile Parisien ACT 2018 24 96

Well, simply because this album doesn’t move me at all, I keep trying it, and it doesn’t “stick”. No idea why.

That’s why this “review” is going to be super short, as I really can’t put my finger on it. But the playing overall feels a bit random.

Emile Parisien appears on some tracks, but nothing really improves at least to my ear.

Maybe it is just a bit to “free” for me, after all, my simple musical brain needs some melodies.

I still suggest that you check out this album to see if you like it. After all, Wollny truly is a genius.

But I just wanted to share that I’ll rather stick to one of his many other live concert recordings.

Please let me know what you think, I’d especially like to hear if you disagree with my assessment.

My rating: 3 stars

P.S. if this is the first time you’re ever seeing my blog, the above isn’t my “typical” review. I usually try to explain a bit more what I like or don’t like about this album.

You can find it here (Qobuz) and here (Prostudiomasters)

Esbjörn Svensson Trio – Live in London – A Review

Esbjörn Svensson Trio

What – a new album of the famous E.S.T.? Well, obviously not a NEW album by the trio after Svensson passed away way to early in 2008 in a diving accident.

But at least a not yet released album, from a live concert at the Barbican Theatre in London, recorded in 2005, was just released on ACT.

I’ve written previously about their album Live in Hamburg , giving it a 5 star rating. To me, E.S.T. was one of the founding fathers of the modern piano jazz trio, picking up from the tradition of a Bill Evans, that was picked up again by Keith Jarrett, but bringing it into  the 21st century. Many of today’s trios (GoGoPengiun, etc.) wouldn’t sound the same without E.S.T.

Live in London (ACT 2018)

Esbjörn Svensson Trio E.S.T. live in London ACT 2018 24/48

So, we obviously feature the Esbjörn Svensson Trio here, with Svensson himself on piano, as usual quite clearly in charge, Dan Berglund on bass, and Magnus Öström on drums.

Did I say Svensson dominates? Well, this is clearly quite piano driven, with Svensson getting a lot of solo time, but E.S.T. wouldn’t be E.S.T. without the complex rhythms driven by Öström.

And this being E.S.T. at their best time, you’re getting the usual dose of electronic effects, electro-inspired rhythms, and quite long tracks (the longest goes on for 17:32, making this a nice double album for those who still buy CDs) that are characteristic for the trio.

My favourite song probably is Eighty-Eight Days In My Veins from Viaticum, but there really isn’t a single bad track on this album.

While to me, this album doesn’t have the amazing power and refinement of Live In Hamburg that was recorded about two years later, this album is still highly recommended. If you’re into E.S.T. this is a must have, if you like piano trio in general, you should really check it out as well.

My rating: 4 stars

You can find it here (Highresaudio)

 

Keith Jarrett / Gary Peacock / Jack De Johnette – After The Fall – A Review

The Keith Jarrett Trio

Having Keith Jarrett in the sub-title of my blog, I obviously had to get excited.

Wow, a new recording of the legendary Keith Jarrett Trio?

Well, “new” is relative, we’re actually talking about a live recording from 1998 in New Jersey, that slept in some drawer for now about 20 years.

1998 wasn’t a bad time for Jarrett’s legendary combo, with Gary Peacock on bass and Jack De Johnette on drums. Standards in Norway, one of my favorite live albums ever, was recorded just a year later, so, musically, my expectations were high.

This was also an important moment for Jarrett himself, as he just recovered from Chronic Fatigue Syndrome which stopped him from playing for nearly two years in 1996-1998. In the liner notes, Jarrett calls this concert a “scary experiment”, as it was his first live appearance since the Italian solo concerts (that were also just recently released as A Multitude Of Angels, see my review here).

 

Keith Jarrett / Gary Peacock / Jack DeJohnette – After The Fall (ECM 2018)

 

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

And to make it clear, musically, this album is all you could ask for. The tracks on average 8-9 min longs, which is very enjoyable, as the musicians really get to develop the material and interplay.

This is a “double album” (a term that feels a bit silly in the days of downloads and streaming, but in reality it means you get a total of 1h45 of music and pay about the price of two regular albums should you decide to purchase it, so still has some form of meaning).

To mention some individual songs, Scrapple from the Apple is a very groovy bop track. Old Folks is beautiful ballad. And we get standards like Autumn Leaves with very enjoyable solos (unfortunately, like in so many concerts, Jarrett cannot stop himself from “singing” along. If any digital company could ever invent the AI-driven Keith Jarrett/Glenn Gould humming filter, i’d be extremely grateful).

So, where is the but?

Well, very similar to his recently released solo album A Multitude Of Angels, this album wasn’t professionally recorded, but was basically using Jarretts own DAT (Digital Audio Tape recorder).

And as much as I didn’t mind the shoe-box sound created by this recording set-up for Angels, for a trio where you need to better capture the nuances and interplay of three instruments, I find the sound quality a bit off-putting (and this in spite of the fact that this was remastered at the legendary Rainbow Studios in Oslo).

So, in conclusion, as a hard-core Jarrett fan, this is a must have. If you don’t mind the poor sound quality, I can recommend it as well.

However, if you don’t yet own most of his catalogue, there are many other live albums that benefit from the outstanding sound quality that ECM normally is famous for, like Standards in Norway, or Live At Blue Note from 1994 (one of my 25 Essential Jazz Albums), that you may want to check out first.

My rating: 4 stars (1 star taken off for sound quality)

You can find it here (Qobuz) or here (Highresaudio)

GoGo Penguin Latest Album A Humdrum Star – A Totally Subjective Review

What is Jazz?

The question of what actually constitutes Jazz is as old as the music itself. In the 1970s, Jazz tried to cross-over into rock creating subgenera such as Jazz-rock and Fusion, and also some singer-songwriter pop music in the style of Norah Jones or Katie Melua could often be found in the “Jazz” boxes of your average record store.

And obviously, one of the most important movements of the last 3 decades, electronic music in all its ways, has had an influence on Jazz as well. The late Esbjörn Svensson was one of the first to bring electronic elements into the Jazz trio, and many have followed since, blurring the lines even further.

GoGo Penguin

Gogo Penguin is a young Jazz trio from Manchester, that, while using the traditional piano / bass / drums combination, is influenced very heavily by electronic music in the style of Massive Attack, especially on the rythmic side, but at the same time clearly draws inspiration from the minimalist movement.

I’ve praised their previous album, Man Made Object (their first release on BlueNote), here, even naming it as one of my top 5 Jazz albums of 2016, after having seen them live at Moods Zurich in 2016.

So I had really high expectations when they recently released their latest album.

A Humdrum Star (BlueNote 2018)

I purchased A Humdrum Star blindly the moment it came out, and was expecting to write a review pretty soon afterwards. However, its now been out for 2 weeks and I still hadn’t written the review.

Gogo Penguin A Humdrum Star BlueNote 2018 24/88

Why?

Basically, I wasn’t very impressed after the first couple of listening sessions, but was really hoping this album would grow on me. Now I can unfortunately safely report, it didn’t. Let me make it clear, this is very good music from very talented musicians.

However, it simply doesn’t work for me. Is it the even increasing influence of minimalism, or electronica? Is it maybe a decreasing focus on the melodic vs. the rhythmic elements? Some songs feel a bit more stuck in loops and patterns than before.

So in a nutshell, this is not my album of choice from them. I recently revisited their earlier albums Fanfares and v2.0, just to double check, and A Humdrum Star is personally my least favorite of their discography.

I still very much suggest you check this out, your conclusion may be very much different to mine.

I´ll make sure revisit this occasionally, and maybe it will grow on me over a longer period, but so far I´ll rather go back to Man Made Object.

My rating: 3 stars (objectively and musically speaking, this is at least 4 stars, but as mentioned, it doesn’t “stick” for me, hence this more neutral rating)

You can find it here (Qobuz) and here (HDtracks)

 

 

 

Melody Gardot Live In Europe – A Must Have Album – My Review

Melody Gardot

I’ve been a big fan of Melody Gardot for years now. I’ve mentioned her on this blog a couple of times already, reviewing her previous album Currency of Man, which also made my Top 5 Vocal Jazz Albums of 2015, as well as mentioning her great contributions to the compliations albums Autour de Nina, and Jazz Loves Disney.

She is a fantastic talent, with an amazing voice, and a very versatile style, from her early vocal jazz/singer-songwriter style albums Some Lessons, Worrisome Heart, and My One And Only Thrill, via the latin Swing of The Absence, to the much more soul-oriented Currency Of Man.

However, so far I haven’t yet seen her live (what a miss), so I was very excited when this latest live album was announced in late 2017.

Now it’s out, and I must admit it exceeded even my high expectations.

Live in Europe (Decca 2018)

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

So, what’s so great about this album?

First of all, the length, 1h45, so the band can really take the time to develop the songs, with the longest example, Morning Sun taking more than 12 minutes. Not one too many by the way, as this is one of the true highlights of the album.

The other great thing is that this in many places is a very minimalistic, “unplugged” style album, just Melody’s fantastic voice with very little instrumentation, which makes this even more special, and a very intimate experience. One example is the opening track, Our Love Is Easy, which over quite a while has her together with only a double bass. Outstanding!

This is a mix of several concerts in Europe, and you get the full bandwidth of styles. Lisboa (nicely enough taken from a concert in Lisbon) is an excellent example that the band can do a true latin samba-style swing, you get her “classics” like My One And Only Thrill, but even the more soul-type songs like Morning Sun get a very special, fresh treatment.

Melody Gardot is clearly surrounded by outstanding musicians here, as witnessed in the nearly 4 minutes instrumental intro of The Rain.

Another highlight of the album is March For Mingus, as it is really swinging and groving like crazy. The “original” of this song was a short 1:02 fragment on Currency of Man, which finally gets the 11:03 that it truly deserves.

Get this album as fast as you can! This is an instant classic.

My rating: 5 stars

You can find it here (Qobuz) and here (Prostudiomasters)

Omer Klein Trio Live at Moods Zurich – Jan 18, 2018 – Groovy Baby!

Omer Klein Trio

I got a lot of feedback on the different channels about my post of the Top 5 Jazz Albums of 2017. Among others from fellow music lover and blogger Melvin.

He recommended Omer Klein´s latest album Sleepwalkers. I must admit I had never heard the name before. Not sure if that’s a good or a bad sign, given how much I care about this kind of music, but probably it just speaks to the fact that we’re truly living in the Golden Age of the Piano Trio with so many fantastic artists out there.

Omer Klein is yet another pianist coming out of Israel, like so many other excellent Jazz musicians (how does such a small country do that?).

Anyhow when I noticed that Klein was scheduled for last Sunday and I happened to be in Switzerland that weekend, I knew what I had to do.

Omer Klein Trio Live At Moods – January 18, 2018

Moods remains my favorite Jazz club in Switzerland. Just the right size, good acoustics, nice drinks, and an excellent program.

So, what did we get?

Let me start by say that what I thought from my original listening to Sleepwalkers confirmed itself. As you know if you read my blog on a regular basis, I’m a sucker for melodies. Omer Klein´s trio is much more focused on rhythms and modal changes than on melodies.

Omer Klein Live At Moods Jan 18, 2018 (c) Musicophile
Omer Klein

So initially, for the first moments, I was a bit skeptical.

However, I was very quickly won over by the sheer musical power this trio had to offer. The technical abilities of all three musicians, including Haggai Cohen Milo on bass, were just outstanding. Nothing ever seemed complicated to them, they played with so much ease and fun the most complex passages, I was just blown away.

 

Haggai Cohen Milo with the Omer Klein Trio Live At Moods Jan 18, 2018 (c) Musicophile
Haggai Cohen-Milo

But let’s be clear, this was never technical ability for the sake of it, this was always just driven by the music. All three musicians are clearly passionate about what they are doing, and were visibly having fun during the concert.

Amir Bresler with the Omer Klein Trio Live at Moods January 18, 2018 (c) Musicophile
Amir Bresler

In a way, the real driving force behind most songs was the spectacular Amir Bresler on drums. His drive and groove was just fantastics (hence the slightly cheesy title of this blog post borrowed from Austin Powers).

Omer Klein Live At Moods Jan 18, 2018 (c) Musicophile
Omer Klein again, in one of the slower ballads

Very interestingly, this trio didn’t follow the typical format of Jazz concerts, where after the intro the musicians get to solo. They played constantly in a very intertwined way (only in the very last song, Bressler got to show off a bit). Songs typically lasted 8-10 minutes and more, and were never boring in any way. Also, there wasn’t´a single standard in the entire concert, only originals.

Overall, an excellent concert. The audience was amazed, and so was I.

If you get a chance to see them live, please do. They are exceptional musicians.

And if they don’t play near you, luckily this concert was recorded and will be put onto the Moods.digital streaming website. This is a subscription well worth having, as you can access all concerts since early 2017 at Moods, recorded in excellent audio and video. I´ll publish a link later when it becomes available.