Tingvall Trio’s New Album Cirklar – A Review

Tingvall Trio

When I started this post, I was suprised to notice that I hadn’t written a single post on this trio yet. I kind of assumed I had. But my search function told me otherwise.

Martin Tingvall’s Hamburg, Germany-based piano trio is a pretty international affair. Tingvall himself is Swedish, his Bass player Omar Rodriguez Calvo is Cuban, only the drummer is German.

They have a pretty strong following in Germany, but start to get better known beyond the borders.

Let me open a parenthesis here: I’m still surprised that Jazz is a very regional affair. You’d think that in the days of the internet any artist can be heard and known everywhere. And especially in a niche area like Jazz people wouldn’t really care where an artist comes from. But then again, quite often I see artists available due to some weird label rights in Europe, but not in the US, or vice versa.

Probably it boils down to the fact that album sales really don’t matter that much any more these days, and concerts are the main way a Jazz artists gets to their audience these days. And concerts quite often remain a very local affair. Great artists like Triosence for example rarely venture out of their native Germany. Parenthesis closed.

Tingvalls albums in the past have been very consistent, weird-sounding (to non Swedish ears) Scandinavian names like Vägen, Vattensaga, or Norr, and also have followed a certain style.

Tingvall Trio: Cirklar (Skip Records 2017)

 

Tingvall Trio Cirklar 24/96 2017 Skip Records

The latest album keeps this consistency. A weird name (that the booklet doesn´t bother explaining), and a very Tingvall-like Scandinavian-inspired jazz.

If you´ve followed my blog for a bit you know which kind of style I like in piano trio. Basically either the Oscar-Peterson swinging and grooving style, or the more melodic approach.

Tingvall clearly is the latter. They do groove up to a point in the faster tracks, but the real beauty is revealed in the slow tracks, that evolve into always interesting melodic and harmonic developments.

Track 4, Black Molnen is a perfect example of this, the type of ballad I just love.

 

Some may ask: but where is the Jazz in that? And I agree, this music is probably borderline in that respect. But to me, the melodic and harmonic beauty is just what I’m looking for.

As mentioned above, faster tracks on this album don´t always work for me. Track 5, Skansk Blues, is too much of a regular blues to be attractive. Blues obviously live from simplicity, but here the recipe just gets a bit too repetitive.

The title track, another ballad, then again gives me exactly what I want from Tingvall. If you like this track, buy the album.

That’s not to say that I only like the slow tracks on this album. Tidlös for example is a very groove uptempo track that has just the right amount of creativity. And Bumerang (See clip above) is quite well done, too.

Finally, Elis Visar really gives you the feeling of an open Nordic landscape.
Overall, really worth checking out.

 My rating: 4 stars

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

Sarah McKenzie Live in Berlin – May 5, 2017

Better late than never

This will be a post about all the things I’ve recently been late at.

Well not all the things, but at least two of them. One is recognizing the 2nd anniversary of my blog!

On May 22, 2015, I’ve published my first post here. We’re now a bit more than two years and 194 posts later, and I’m still doing it.

And really, what keeps me motivated doing this, beyond my passion for good music, is your feedback. I’ve heard from so many of you individually, so many encouraging comments, and appreciative notes, I just have to say a big THANK YOU!

The second thing I’m really late at is a review of the concert of Sarah McKenzie I saw about a month ago now.

Sarah McKenzie Live at Passionskirche Berlin

I’ve written about her three times already (here, here, and here) and I remain a great fan of this young Australian singer. So when I had the opportunity to see her live in Berlin, I grabbed it.

And I’m very glad I did. My review of her last album was a bit mixed. There was nothing wrong with the music per se, I just felt the album was a bit overproduced, a bit sterile.

Obviously, live you get a completely different experience.

Let me get the negative points out of the way first.

  • Never do a Jazz concert in a church

The Passionskirche in Kreuzberg is a beautiful building and room, but why on earth somebody would want to do a Jazz concert in there really is beyond me. The acoustics are really bad, and the long reverb half killed the excellent swing of the band. Well at least, for the first time in my life I had a beer (they sold drinks before the concert) in a church. An interesting experience.

  • No pictures please

Unfortunately, the organizers didn’t want me to take any pictures, although I had brought my little Fuji X100T. That’s really a pity, as I believe a concert report with some pictures of the event is much more interesting for the reader. So sorry guys, text only.

But as of now starts the positive part: It really was a fantastic concert.

Her band was as good as ever, and we got a really great mix of standards and her own compositions. So the program switched between the good old classics of  I’m old fashioned to her new Paris in the Rain. 

What were my highlights? Well, as always, Moon River, in a duet with guitar only. Pierre Boussaguet on bass, who managed to even improvise a Bach Cello Suite into his bass solo. A blues, where the entire band was just swinging like crazy.

And, maybe my personal favorite, Sarah has now added You Must Believe In Spring to her repertoire. I´ve written here how much I love this Michel Legrand Song that was made famous in the Jazz world by Bill Evans. It was fantastic hearing her perform this gem.

In a nutshell: Sarah Mckenzie is still on tour, including her very first time at the legendary Montreux Jazz festival in July. Here are her tour dates, make sure you check her out when you can, she is just amazing!

 

Triosence`s latest album: Hidden Beauty – A Review

Triosence

I’ve mentioned several times before, I’m a big fan of the German trio Triosence.

I’ve reviewed their 2013 album Turning Points here, and have even put them into my 25 Essential Jazz albums.

Actually, I can easily recommend most of their albums so far, be it First Enchantment, Away For A While, or the beautiful live album One Summer Night (Live).

Why is this trio not better known, in spite of having been together since 1999?

Well, for a start, they are from Germany, not NYC. To make matters worse, they only seem to be touring in Germany, from small provincial town to another, and don’t seem to show up at the bigger Jazz festivals like many of their peers. Now, obviously this may be a chicken and egg situation, you’re not that well know, you don’t get invited, or vice versa. No idea.

Hidden Beauty (Sony Music/Okeh 2017)

Triosence: Hidden Beauty (24/96) Okeh 2017

This album was recorded at the famous location of Schloss Elmau in Southern Germany in the summer of 2016. The trio around Bernhard Schüler on piano really stick to their roots here, and give us melodically interesting, lyrical to groovy piano trio jazz.

However, I´m not as excited about this new release as I was when I discovered Turning Points and Away For A While. I have a hard time putting my finger on it, maybe unlike on these other two albums there isn´t a single track that absorbs me fully.

That said, this remains very high quality trio jazz and is absolutely worth checking out.

I haven´t had the pleasure to seem them live, if you ever find yourself in Germany during one of their concerts, I´d strongly encourage you to go. I hope I´ll eventually get to see them myself.

My rating: 4 stars

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

Helge Lien’s New Album Guzuguzu – Fantastic

It’s been a while – sorry

This must have been the longest time between blog posts ever, and I don’t feel good about this.

My only excuse is work (my day job), I’m traveling more than ever including some intercontinential trips (actually, I’m writing this from an airport lounge) and free time was pretty much down to zero.
It doesn’t look like it’s going to get better any time soon, but I still hope I’ll be able to write my weekly blog post (there is more than enough material and notes in my Evernote account).

Helge Lien

I’m a big fan of Norvegian pianist Helge Lien. His trio albums Natsukashii and Hello Troll feature regularly in my playlists, and I’ve given a 4 star review to his previous album Badgers and Other Beings.

So when his latest trio album came out, I was naturally very interested, as a matter of fact, I bought it in less than a day after it came out (I still buy albums, digitally, in spite of also subscribing to streaming, to ensure that artists make at least some money from their art).

Guzuguzu (Ozella Music 2017)

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I really didn’t have to hesitate a long time because the album is truly outstanding.

It is probably my favorite since Hello Troll. You get Scandinavian lyricism combined with often extremely complex rhythms. And even peaceful ballads like Shitoshito (Raining Quietly) get their share of chordal shifts and interesting rhythmic breaks.

Lien plays with his usual companions, Frode Berg on bass, and Per Oddvar Johansen on drums, and you can really hear the intimate connections between the musicians all the time, they truly melt into one common instrument.

Add to this that the recording quality of this album is outstanding, as produced again with recording Engineer Jan Erik Kongshaug at the brilliant Oslo Rainbow studio, this album really cannot be recommended higher if you like Scandinavian trio jazz, or actually trio jazz in general.

My rating: 5 stars

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

Mercy, Mercy, Mercy! Cannonball Adderley Live

Cannonball Adderley

So far, I’ve written only about one album (see my review of “Know What I Mean here) by the great alto saxonphonist Julian “Cannonball” Adderley.

This is a bit of a sin as I really like him. I recognize that Parker and Coltrane were the more creative and influential artists, but in real life I listen to Adderley albums quite regularly, and more often than the first two giants. So watch this spot for more on him.

Mercy Mercy Mercy! Live At “The Club” (Capitol 1966)

So what triggered me writing about this particular album? Well, quite simply, I heard it on the radio. In this case it was Radio Swiss Jazza music only channel run by the Swiss public radio, which unlike it’s classical counterpart, actually often plays really good music.

Who else do we have at this live gig at Club de Lisa in Chicago? Let’s start with Nat Adderley on Cornet, his brother. They often played together and are very complementary.

Then on piano we have Joe Zawinul, the Austrian pianist & keyboarder, who had joined Adderley earlier, but became much more famous later playing with Miles Davis on Bitches Brew, and with Wayne Shorter on the fusion band Weather Report.

To finish the quintet’s line up, on drums we have Victor Gaskin, and on  bass Roy McCurdy.

The Cannonball Adderley Quintet Mercy, Mercy, Mercy Live at "The Club" Capitol / Blue Note 1966

So what do we get on this album?

This is 1966, so just the end of the hardbop era before things started moving on towards Free Jazz and Fusion. None of that here, this is still 100% solid hard bop. What you get, is essentially Fun and Games, as the first two titles are called.

Honestly, I probably wouldn’t even mention this album which is nothing but solid, non-outstanding hard bop (with a lot of energy though), if it didn’t include the title track, Mercy Mercy Mercy, written by Joe Zawinul earlier this year, and which became a chart hit (yes, in the 1960s Jazz tracks still could be come chart hits), and has been covered a lot since.

What is so special about this track, no. 3? It’s 5:10 of pure drive, but laid back. Not sure how they pull of this contradiction in terms, but I guess it is Joe Zawinul on his Wurlitzer e-piano is the one who really kills here. The Adderley brothers get to play occasionally, but fundamentally this truly is a Zawinul song through and through.

Check it out:

 

My rating: 4 stars (with Mercy Mercy Mercy deserving 5 stars on its own).

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

My Top 5 Jazz Albums of 2016

My Top 5 Jazz Albums of 2016

Following my Top 5 Classical albums of 2016, here’s my take on Jazz this year.

2016 was tricky with regards to Jazz albums. Actually, usually I build these top 5 lists simply from my 5 star reviews. The thing is, in 2016 I only had one single 5 star Jazz album, GoGoPenguin’s latest release. All others are “only” 4 stars, but still I can wholeheartedly recommend all of them!

 

Brad Mehldau Trio: Blues And Ballads

Brad Mehldau Trio Blues and Ballads 24 88 Nonesuch 2016

I mentioned it before, I’m not always a fan of Brad Mehldau.

I have The Art Of The Trio vol. 3 in my 25 essential Jazz albums and find it to be a true gem of piano jazz, but run away from many of his more recent releases (YMMV).

This one again is really to my taste, he goes back to his roots, and does it well!

See my initial review here.

GoGoPenguin – ManMade Object

GoGo Penguin Man Made Object 24/44 Blue Note 2016

As mentioned above, the only 5 star album in this list. As you can see in my initial review, this is probably the true successor to Esbjörn Svenssons trio, bringing the Jazz trio into the age of Electronica.

Keith Jarrett – A Multitude of Angels

Keith Jarrett A Multitude Of Angels Modena Ferrara Torino Genova Solo Concerts ECM 2016

A new Keith Jarrett solo album is always an event, even if in this case we’re talking about previously unreleased material from 20 years ago. As you can see in my recent review, I really like it.

Paolo Fresu Richard Galliano Jan Lundgren: Mare Nostrum II

Paolo Fresu Richard Galliano Jan Lundgren Mare Nostrum II (24/88) ACT Music

Check out my review here. Essentially, if you like the accordion, get this. If you don’t like the accordion, at least check it out. It is worth it.

 

Thierry Maillard – Il Canto Delle Montagne

Thierry Maillard Andre Ceccarelli Dominique di Piazza Il Canto Delle Montagne 24/88 2016 Ilona Records

See my review here, beautiful trio jazz from France.

Your turn now.

As you can see, I was struggling  a bit to find truly oustanding Jazz albums this year. I’m sure there’s stuff I must have missed. Please do point me to albums that I may not have seen or heard that you’d recommend in 2016!

 

You can find the albums here:

Brad Mehldau:  here (Qobuz) and here (Nonesuch’s own online store)

Keith Jarrett: here (Qobuz) or here (Amazon)

Paolo Fresu et al:here (Qobuz)

Thierry Maillard: here (Qobuz)

 

A Duo of Jazz Piano and Organ? Seriously? Yes!!!!

The Jazz Organ

I haven’t written a lot about the organ in Jazz yet. This is because I don’t very often listen to it.

I mean, there are some legendary album’s like Jimmy Smith’s The Cat, which I love, but in total I have less than 15 jazz organ albums in my library (which contains 7-8,000 albums).

Michel Petrucciani

However, why haven’t I written about Michel Petrucciani yet? This French genius on the piano?

He was born with a rare genetic disease which lead to very brittle bones and a very short body height. But when you see him on the piano, you can be nothing but amazed:

 

I guess the reason why I didn’t write about him yet is because some of his later albums went into a certain style I didn’t necessarily like that much.

But there is one album I’ve treasured for two decades now, that combines a Jazz organ and Michel Petrucciani, and guess what, nothing else!

Conférence de Presse (Dreyfus 1994)

This album was recorded at the Petit Journal Montparnasse, a Paris Jazz club I used to go to when I lived in Paris years ago. But unfortunately I wasn’t at this particular concert, which is very much of a pity.

Michel Petrucciani Eddy Louiss Conférence de Presse Dreyfus 1994

But let me introduce the second musician first: Eddy Louis. He’s a French pianist, but better known for his organ. He played with Stan Getz, Dizzy Gillespie and any other Jazz greats.

I’m pretty sure you don’t have many duo albums of an organ and piano in your collection. So why should you have this one?

Very simply, because it swings like hell.

You already get an idea from the Youtube clip above about what Petrucciani can do with a classic like Caravan. Now add an organ to that, and you get a performance you won’t forget that quickly.

And there’s another true gem on this album when it comes to standards: Summertime. Obviously, nothing beats the legendary performance of Ella & Louis, but this really is an extremely entertaining version.

Check it out!

My rating: 4 stars

Unfortunately, the album is not that easy to find individually.

Qobuz has it as part of a 5 CD box: http://www.qobuz.com/gb-en/album/conference-de-presse-both-world-solo-flamingo-trio-in-tokyo-michel-petrucciani/3460503694026

And you find it on Amazon, often used: https://www.amazon.com/Conférence-Presse-Michel-Petrucciani/dp/B004A3INP2/ref=sr_1_1?ie=UTF8&qid=1477118700&sr=8-1&keywords=petrucciani+conference+de+presse