Melody Gardot’s New Album Sunset In The Blue – A Review (sort of)

Melody Gardot

Regular readers of my blog know that I’m a big fan of Melody Gardot. She’s the kind of Jazz(ish) singer that is somewhat different to the many other singers. Let’s be clear, she’s no Cecile McLorin Salvant nor Lady Day, but she has a very particular style and voice, and I’ve praised a lot of her previous albums on this blog (see here and here among others).

So I was very excited when her latest album came out about a week ago.

Sunset In The Blue (Decca 2020)

Melody Gardot Sunset In The Blue Decca 2020 24 96

The cover this time is simply abstract, not even any text on there, and presumably less controversial than the cover of her last live album.

On her previous non-live album, Currency Of Man from 2015, Gardot went to a much more soul influenced style. This new album now is nearly in its entirety a long list of latin ballads, including strings (real ones, not the synthesizer variety). On several tracks Gardot even sings in what is presumably Portuguese.

By the way, given the current Covid situation, it seems that putting this album together was the logistical nightmare you’d imagine with musicians stuck in different parts on the planet. Nevertheless, they pulled it off.

Now I must admit I do like my occasional latin and string inspired ballad (it’s clearly better in my opinion than Diana Krall’s recent But Beautiful), but it is not something that I’m super passionate about. There is the occasional faster samba-type track like Ninguém, Ninguém, or more traditional ballads like From Paris With Love; but you get it, I’m not blown away.

Gardot’s beautiful voice, many original compositions, and the well done arrangements still make this a worthwhile album, but it wouldn’t be my preferred Gardot album by far.

Until we come to the penultimate track, Moon River. I’ve admitted previously that I love this song, it makes me sentimental every time I hear it. So far, Sarah McKenzie’s version was my preferred one, but this could really become my new favorite.

My rating: 4 stars

You can find it here (Qobuz)

Accordion And Guitar? Seriously? Absolutely! Rivages – A beautiful new ECM release by Jean-Louis Matinier and Kevin Seddiki

Is this Jazz?

I’ve not only been neglecting my blog overall quite a bit since 2020, but particularly if you’re following this site because you’re interested in Jazz, I’ve been really not writing about that a whole lot recently.

Unfortunately, this trend started already in 2019, when I barely found enough new releases that interested me enough to write about them, and really hasn’t improved this year. But when I saw this new cover popping up in the Qobuz New Releases section, with the beautiful typical ECM style cover, I had my hopes up.

Luckily enough, I wasn’t disappointed.

Now, before we go to the album itself, one could really argue if this is “Jazz” at all. A duo of accordion and guitar is certainly not your typical jazz setting.

And indeed, the music takes many inspirations, from “Manouche” type “gypsy” jazz, to more ethnic music (Matinier previously played on several of Anouar Brahem’s albums, and one of the tracks is coming from traditional Bulgarian folklore) to Gabriel Fauré (track 3, Les Berceaux).

But who cares, this is beautiful music, full stop. I anyhow already had a certain soft spot for the accordion, being a big fan of Richard Galliano (see here, here, and here).

Jean-Louis Matinier & Kevin Seddiki – Rivages (ECM 2020)

Jean-Louis Matinier Kevin Seddiki Rivages ECM 2020 24 96

I must admit, I’m not really sure what to write about this music.

I could be descriptive, and go into more details around Matinier’s long career including his contribution to Anouar Brahem’s masterpiece Le Pas Du Chat Noir.

I could equally detail the fascinating collaborations guitarist Kevin Seddiki has been part of over the years.

I could mention the amazing sounds quality of the album (though that’s not a surprise for an album produced by ECM’s Manfred Eicher).

Or I could go into a track by track description of the content. While I sometimes do this myself, I’m often struggling with the added value of trying to describe music.

Seriously, because this album is very special, I’d rather suggest you really give it a go directly. If you’re open to two outstanding musicians who just click and produce fascinating and intriguing music, check it out now.

My rating: 5 stars

You can find it here (Qobuz)

GoGo Penguin is Back With a Beautiful Album – Ocean In A Drop

I know this blog has been quite heavy on classical music recently. I’ll promise I’ll try to increase the frequency of Jazz articles!

So, here we go.

GoGo Penguin

I only discovered GoGo Penguin some years ago. I was really on board they came out with their album Man Made Object, which remains my favorite album of the group until now.

I’ve also listed Man Made Object in My Top 5 Jazz Albums of 2016. I actually had noticed them with their previous 2014 album, V 2.0, which I also really liked. I also had the pleasure of seeing them live already

Therefore, I was quite disappointed when I just really didn’t particularly like their 2018 album A Humdrum Star.

Nicely enough, when their latest album came out yesterday, I was immediately hooked.

If you want to know more about the style of GoGo Penguin, click on any of the links above, but just to quickly summarise, we’re talking about the setup of a traditional Jazz piano trio here, but with music that clearly takes cues from EST, but is equally influenced by Philipp Glass type minimal music, and probably even more by the beats of contemporary Electronica.

GoGo Penguin: Ocean In A Drop (Music For Film) (BlueNote 2019)

GoGo Penguin Ocean In A Drop Music For A Film Blue Note 2019

So here’s the genesis of this album. Apparently the thee artists of GoGo Penguin,  Chris Illingworth, Nick Blacka, and Rob Turner, really liked the Philipp Glass written soundtrack to the 1982 film Koyaanisqatsi.

They liked it so much that they played their own soundtrack to the film. Everything was recorded live while watching the movie.

Yes, this may remind you of another famous movie soundtrack that was recorded in a similar manner (which is a great album and should be discussed on these pages at some point), but I digress.

Miles Davis Ascenseur pour l'échafaud  soundtrack

This music was never intended to be released. Nicely though, enough people in their immediate entourage bugged them enough, so now we have a new fantastic album.

It is quite short, EP-style, only 22 min (and one could argue, a bit expensive for the duration), but the music is just fantastic, very inspired. We’re back to the mesmerising mix of fast rhythms and beautiful minimalist melodies that I so loved on Man Made Object.

You really need to check it out.

My rating: 5 stars

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)

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.