Review: Keith Jarrett - The Out Of Towners

By this point, together for almost twenty years, the trio of Keith Jarrett, Gary Peacock and Jack DeJohnette are easily the longest association and most constant group in jazz. All three masters of their individual craft, since first getting together their collective skill and interaction has resulted in an empathy and that almost no-one else can touch.

Preferring to avoid the more avant regions with which the members have individually sometimes gone to, either solo or with other groups, this Standards Trio have chosen instead to focus for the most part on original and sometimes surprising takes on classic jazz tunes. So, recorded at the Munich State Opera, ‘The Out Of Towners’ like all of the trios releases, comes with great anticipation. But, as some naysayers may enquire, what differentiates this from the many others in the trios’ catalogue?

To start, the sound recording here is absolutely pristine. I strongly doubt you’ll ever find a better live recording of a piano trio than you will here - the clarity of the sound is superb. But also just as importantly the song choices are more than just the usual standards.

Opening with a brief solo introduction, Jarrett makes ‘I Can’t Believe That You’re In Love With Me’ a lovely and complex rendition. And the way the rhythm duo enters behind him is so smooth it should be used as textbook for any aspiring group out there. Later ‘You’ve Changed’ is a gorgeous ballad and is a perfect example of how this group takes a song you think you know and is able to just open it up – presenting it in a new way that somehow enhances the melody of the piece.

Gerry Mulligans ‘Five Brothers’ swings as it was meant to do and Cole Porters ‘I Love You’ is near-perfection, only just a tad marred by a frankly odd and unengaging cymbals-only solo. The best trio piece here though is the Jarrett original title track; a lengthy and funky blues-gospel, it benefits greatly from some inspired soloing by Peacock. For those that - understandably - bemoan Jarretts lack of composition more recently, here is a shining example of his compositional talents, but one that is undeniably improved by the intuition of the band.

As an encore we are given a tranquil yet moving ‘It’s All In the Game’, in which Jarrett performs solo – his first in this context for two years, and live for six years, since 1995s ‘La Scala’. Perfectly as in the moment as his famous solo recordings, he shows great restraint and stays true to the melodically-rich piece. Achingly beautiful, it is unreservedly a highlight of Jarretts career.

A good starter for anyone unfamiliar to the trio, it’s also be a great additional volume for fans of the trio and their other recordings, showing as it does an incredible raising of the art of interpretation to what is arguably an even higher level. The way they play these tunes is so fresh that each of them can sound like an entirely new piece each and every time they sit down to play it. The sheer breadth of material and playing here gives the impression of something very complete, and Jarretts final stirring playing is so heartfelt, you’d have to possess the stoniest of hearts not to be entirely transfixed. ‘The Out Of Towners’ is stellar Standards Trio, but more than that, it is stellar piano trio, and simply brilliant music.

*****

Gig Review: Hiromi The Trio Project Live At Cadogan Hall 13.04.2014

Having loved all of Hiromi’s albums to date, I have for years been trying desperately to attend one of her concerts – in any format; be it solo, in a trio, with her electric Sonicbloom group, duetting…

Alas, I’ve been thwarted for about five years, with various issues and other events getting in the way. This year seemed to be no different either, with my wedding and honeymoon seemingly topping three nights of Hiromi live in London in the importance stakes. Luckily I’ve married the right woman, who was more than happy to attend a gig of some of the most exuberant piano jazz artists of the moment during our honeymoon.

I’ve attended Cadogan Hall in Sloane Square too (very upmarket – go for a drink elsewhere first rather than locally) before, and approved of the venue; about a thousand people capacity, very good sound, excellent views for anyone in the audience, and very easy to get to (one minute walk from the tube), it’s a fantastic live music choice.

No support, and with the trio walking straight on to the stage, to thunderous applause, the trio of Hiromi Uehara, Anthony Jackson, and Simon Philips dived right in to playing some incredible dexterous and complex music, that managed to be both exhilarating and playful.

Playing largely a mix of music of her ‘Voice’ and ‘Move’ albums, which both Jackson and Philips have played with the pianist on, the group also played a few tunes from the upcoming ‘Alive’. Another welcome variance though was that it wasn’t just always the trio playing – after a short interval following the first half of the show, just Hiromi herself returned for the first number of the second half, and it was a winner from start to finish. Playing a typically dazzling array of notes, Hiromi did so in a way that created a kind of slow yet up-tempo glittering waterfall of piano that rose and fell, and went all kind of directions. Keith Jarrett may be the reigning king of the solo piano, but on the evidence tonight, the just 34 years old Hiromi could very much give him a run for his money.

Hiromi is without doubt an incredible pianist, but aside from her technical prowess, it is also her winningly fun personality that comes through that really makes her music. And tonight, this was in abundance – musically and visually. And you certainly won’t see any player having more fun on stage. Throughout Hiromi leapt about the piano and displayed a wild abandon in showing a full range of facial expressions (though to fair, mostly a big smile).

An even better bonus however is the band. Anthony Jackson and Simon Philips have already astounded on record, but live they excel. Jackson plays a relatively rare contra-bass guitar, that possesses a truly great range and sound, and in Jacksons hands, is something truly awe-inspiring, while Philips’ drumming (and drum kit) was just huge; able to play subtle and quiet one minute, and loud and driving the next, he has a great show stopping range and easily matched his two band mates in virtuosity and skill. Together though they made a killer unit, playing together and interweaving with wonderful finesse.

Overall the whole night was a great show, and huge fun. Somehow Hiromi managed to play jazz, and not yet jazz, taking in classical, rock, a little salsa, blues…anything went, and it went well. The audience all looked like they were having a fantastic time, applause was loud and plentiful, and the entire band looked invigorated and happy throughout.

The gig was over all too soon, and the encore was a wonderful thank you, but in all honesty everyone almost certainly wanted a whole lot more. I’d always expected to love Hiromi as a live performer, and on this night I was not only not let down, but was even further bowled over – not just by her playing, but by her groups, their interplay, and just by the sheer musicality on display. I really must catch her and her ‘Trio Project’ again.

Review: Eliane Elias - Paulistana

After proving herself a talented and unique piano voice, albeit with a sometimes frustratingly erratic output, Eliane Elias hit gold with ‘Fantasia’, a beautiful album that was received with strong critical notices and sold handsomely. And thankfully for her follow-up, ‘Paulistana’, she wisely continued in the same vein and continues on a decidedly handsome winning streak.

As before a nicely rounded mix of Brazillian composers hits from the likes of Barroso, Jobim and Bonfa are here alongside Elias’ own strong efforts peppering the mix. The opening salvo of the anthemic ‘Brazil’, Carlos Lyra’s classic ‘Influencia Do Jazz’ and Elias’ own ‘Paulistana’ alone is a huge treat, with each possessing a distinct and memorable melody.

Her favoured piano trio is the format of choice here, with Elias keen to hint at Bill Evans, as well as showcasing her own sound, with many tracks benefitting from some soulful and rhythmic percussion. On the downside, a handful of tracks also unweildily gain some of Elias’ vocals. Not to say that her voice is bad though - in fact its limited range is heightened by the warm and sensuous tone she brings to the lyrics – but its occasional lead means that her own piano playing, her greatest asset, is at times greatly reduced.

A warm and enjoyable listening experience, the recasting of these classics in a jazz format is a winning success, and Elias’ own pieces here, including the title track, are also much stronger than before, blending nicely with the well-chosen covers. And even despite the small flaws, ‘Paulistana’ is a great uplifting jazz record that sits nicely in Eliane Elias’ discography.

****

Review: Tord Gustavsen Trio - Being There

Album number three on ECM for pianist Tord Gustavsen’s trio, and it’s his best yet. Still composing and playing in a sparse and stripped down manner, Gustavsen continues to favour quietly intense and introspectively cool in place of any ego-lead shows of virtuosity, or indeed anything above a mid-paced tempo, that in a way Gustavsen is perhaps the perfect artist and foil for label owner and producer Manfred Eicher, and his singular vision.

Here ‘Karmosin’ showcases a masterclass in rhythm and melody, all the while maintaining that uniquely strong Scandinavian atmosphere, where at the other end of the spectrum ‘Blessed Feet’ shows the trios own distinctive take on blues, and ‘Around You’ is just pure beauty. And yet, everything here maintains a fine and cohesive whole, such is the clarity of intent of the trio – less a piano payer backed by a rhythm section, and more three players all leading and exchanging ideas between each other.

Better still, of the many piano trios out there, Gustavsen’s is probably, alongside E.S.T., the most song focused, with ‘Being There’ being the best example of this. Thirteen tracks, with most falling under the five minute mark, each is a concise and full piece that lets its charms and strengths play out unrushed, yet without ever meandering or dragging.

For the fans of his earlier work, here Gustavsen rewards their loyalty with an even stronger effort, whilst newcomers should be well-served by this winning albums crystal-like sound and its langorous yet intense musical landscapes. Consistently beautiful, Tord Gustavsen has here created a new piano trio record that can sit proudly alongside the established classics of the genre.

*****

Review: Brad Mehldau - Trio Live

Brad Mehldau made his name with his famed trio, largely with the excellent five-part ‘Art Of The Trio’ series, but since Jorge Rossy’s departure for other newer projects, Mehldau tended to experiment in other more diverse projects, taking in among other things solo work, a quartet with Pat Metheny and even a duo album with operatic soprano queen Renee Fleming, before eventually returning to perhaps his most ‘expected’ group format.

The somewhat basic named ‘Trio Live’ features newer stick man Jeff Ballard, now firmly and comfortably in the drummers seat having long since replaced Rossy, alongside longtime bassist Larry Grenadier, again playing and recording at New York’s historic Village Vanguard (numerous artists have recorded a famous and great album here, for Mehldau though, this is rather greedily his fourth). Again made up of two discs this, instead of presented a whole concert, cherry picks from the best of a six night residency during October of 2006.

Disc one is the more covers heavy half, and takes in a wide variety of sources, ranging from the move obvious classics such as Chico Buarque’s ‘O Que Sera’ and Ray Noble’s ‘The Very Thought Of You’, to the more contemporary; most notably Oasis’s ‘Wonderwall’, and Soundgarden’s ‘Black Hole Sun’.

‘Wonderwall’ itself is one of the most surprising pieces here, not in the choice of song selection, but in the way the trio decides to attack it. Taking the acoustic rock pub-singalong favourite, the three players here reimagine it as a soulful funky number, more in an acoustic jazz style take on some perhaps Lou Donaldson or Cannonball Adderley. Of course the melody is still there, and Mehldau draws every last possible opportunity he can out of it, all the while keeping it grooving along tightly.

Soundgardens classic anthem ‘Black Hole Sun’ too gets an intriguing and fun makeover here, and is in a way the centerpiece of the album. Epic and twisting, with a multipart structure, regardless of your familiarity with the original, it will leave you impressed, and maybe even just a little dazzled. Retaining the songs distinctive melody, here the trio in fact split it into a number of varied melodic ideas, which not only showcase the inventiveness of the trio as a unit, but also makes the piece much shorter than it’s near 25-minute running time.

Mehldau’s own ‘Ruby’s Rub’ by comparison is classic swing, while ‘O Que Sera’ takes in the obvious samba and twists and turns it into a half dozen other things. The always popular ballad ‘The Very Thought Of You’ then ends the first disc in an almost Mehldau-by-numbers way - gentle rhythms, lithe and subtle lead piano lines – yet still it remains a great piece of music, and a very good closer.

Disc two focuses more on Mehldau the composer than the first disc, kicking off with the densely rhythmic ‘Buddha Realm’ that also packs one of his more intense melodies and some of Ballard’s more pulsating, driving work. If ever an example was needed of a contemporary piano trio as a highly interactive group, and not just a soloist playing over a strolling backing, then this is it.

‘Fit Cat’, Secret Beach’ and Jimmy Heath’s ‘C.T.A.’ all keep the creative juices flowing, but with the latter opting for a more distinctly yet spirited bop approach. John Coltrane’s classic ‘Count Down’ ends the gig, but makes sure there is no sign of let up, possessing possibly one of Mehldau’s most energetic and spirited opening salvos, and helps end the whole recording on a bright and uplifting high.

Trio Live is a very rewarding album (live or otherwise) with something for everyone; be they already existing fans of Mehldau or new to the pianist and his trio. Certainly for any jazz fan this comes highly recommended, for while it may not be Brad Mehldau’s very best work, it does contain some of the groups most interesting and inventive playing, and overall is just a complete and winning package.

****

Review: Hiromi - Spiral

After her first two superb releases ‘Another Mind’ and ‘Brain’, Hiromi hits the ground running with her third, and best, album yet, ‘Spiral’. Comprised entirely of self-penned compositions, her music mixs a heady brew of various dramatic themes, and places them into a distinctive kinetic jazz setting.

The lead-off title track begins with a slow build before crescendoing into a full jazz workout, where the trio gets to flex their muscle. Possessing a strong bluesy feel, it continues throughout the second more melancholic number, before hitting a peak on the following piece, which winningly displays strong percussive flourishes from Martin Valihora. Outstanding though is Tony Grey, who having more than proven himself both on Hiromi’s previous two recordings and live on stage, steps up a further gear and delivers some awesome high-end bass work, that at first adopts a solo guitar role before returning to its rhythm nature and provides a truly hypnotising groove.

Penultimate track ‘Love And Laughter’ takes on a nice swing jazz feel, and stands out as being the piece to play the uninitiated. Comparisons abound still with her heroes Jamal, Corea and of course Peterson, but the most present voice here, overwhelmingly is her own; her piano at the same time driving and elegant, and crucially hitting the mark in both intellectually and soulfully.

What comes next though completely changes tact; ‘Return Of Kung-Fu World Champion’ energetically leaps into the fray with Hiromi employing analogue keyboards and electronics to power forward an exhilarating update on her earlier ‘Kung-Fu World Champion’. Hiromi’s switch to grand piano midway through too adds a dramatic thrilling touch, with a driving low-end rhythm, and even if not a fan of the previous incarnation, this new one is simply stunning and all of the band are on full-throttle, going to show how not just Hiromi, but all of the band have improved.

‘Spiral’ then is a brilliant work that has so far best realised Hiromi’s potential (no easy feat). Where brilliance was in spades on her first two albums, occasionally mis-placed effects and electronics could put off some listeners. Here however, the balance between the sounds is perfect, and just as importantly the album flows astonishingly well. If you have to start with one Hiromi record, make it this one. We can only salivate at the prospect of her future works.

****

Review: Stanley Clarke Trio - Jazz In The Garden

Stanley Clarke has had an incredible career, fully of variety and experimentation – taking in traditional acoustic jazz, fusion, and a wide variety of film scores. He has also unfortunately had equally vast variety in the quality of his works, with a catalogue that includes equal parts masterpieces, forgettable fluff and those that are merely just okay.

Having spent most of the last few decades with the electric bass, Clarke - choosing to play in a rare piano trio - re-unites on ‘Jazz In The Garden’ with his Return To Forever partner in crime and drummer Lenny White, and returns for the first time in years to the acoustic bass. For the piano chair, Clarke could choose any pianist in the world, and for his return to the acoustic format, he chose the 29 year-old Japanese star Hiromi. A junior member in age alone, her solo work has already grabbed critics and audiences alike, and has shown that she should more than hold her own with the two veterans.

Opening with the Clarke original ‘Paradigm Shift (Election Day 2008)’, Clarke shows us we have much to look forward to, with a minute-long opening that shifts and changes directions tantalisingly, the bass establishing the rhythm punctuated by the cymbals of Whites drumkit. Clarke’s bass playing shows incredible dexterity, with some high-class slap-bass and use of the upper range. Sometimes the sound will make you swear he’s playing electric bass, but he’s not – he’s just that good he can caress the sounds from an acoustic bass that just sound electric. A climactic finish between the two rhythm buddies, with fast playing from Clarke and stunning tom rolls by White closes a perfect opener.

Hiromi brings two original pieces to the album, the very beautiful ‘Sicilian Blue’, which alone could become a Hiromi calling card, and the harder ‘Brain Training’ which features the bass and piano, riffing and swinging together in a strong bop. Aside from the two excellent originals, Hiromi also brings the traditional Japanese song ‘Sakura Sakura’ that is reworked to such a startling effect, with Clarkes’ bass echoing a traditional koto it becomes a highlight of the album.

Elsewhere we get some group improvisation in the form of duet piece for piano and bass ‘Global Tweak’, which is an effective jam that carries the two musicians and us along for a thrilling ride. ‘Take The Coltrane’, with its odd slowed down drum ‘n’ bass feel, simply sounds like two old friends having a ball, and we’re allowed to join in for the fun, whereas ‘Three Wrong Notes’ showcases Hiromi’s awesome talents to perfect effect in a style reminiscent of Brubeck or Powell, but it is Miles Davis’ ‘Solar’ that scores as the album standout, with some great arpeggio runs from Hiromi, while White lays down some sublime polyrhythmic work. A clever role reversal enters when the piano takes the bass role, while the bass plays melody.

The album closer is the odd choice of Hiromi’s arrangement of the Red Hot Chilli Peppers ‘Under The Bridge’, which although surprising, works wonderfully, with Clarke and Hiromi trading the lead melodic line duties with each other. The bass is downright funky, the sound intensifies and builds throughout, with the chorus adding an ethereal quality, and Hiromi offers first a discordant break before then launching into a free and expressive solo, building and then coming to a full stop.

Clarke has, contrary to the popular common opinion, played acoustic bass, on many occasions. But ‘Jazz In The Garden’ is his first all-acoustic album as leader of his own group, and interestingly, more than any other piano trio around, the bass seems more involved - both as lead and as rhythm – and it works stunningly well. As do his inspired bandmates, who both manage to innovate and sound like no-one could better them on these sessions. If there is one complaint, it is that Hiromi’s piano solos sometimes don’t sound completely integrated with what Clarke and White are laying down, almost as though someone has photoshopped a superb solo over a different rhythm, but the match doesn’t always quite fit.

Regardless, all the music here is first-rate and is an unexpected surprise from three musicians more commonly associated with more experimental and electrically-powered fare. Highly recommended for fans of any of the three players here, one can only hope the Stanley Clarke Trio is not a one-off project.

****

Review: Hiromi - Brain

Japanese pianist Hiromi exploded into the music world with her debut ‘Another Mind’. Displaying almost over-whelming technique and power at the keys, both she and her album grabbed your attention, took you on a rollercoaster and left you breathless and slightly dazed.

Album number 2, ‘Brain’, then does not grab you in the same way – it couldn’t - but still showcases an incredible and still very young artist who has plenty to say. Opening with the surprisingly electronics-heavy ‘Kung-Fu World Champion’, Hiromi displays a mastery of analog keyboards and squiggly sounding synths, with Tony Greys bass also perfectly melding into the mix. A few minutes in, Hiromi switches to building the pace with the acoustic piano, and the vibe generated is first rate. The next two tracks in comparison are entirely acoustic piano-trio pieces, with ‘If’ a perfect example of trio interplay, the bass and drums more to the fore than previously seen, and with ‘Wind Song’ displaying a dreamy waltz-like quality.

Throughout the album the piano does dominate, and rightly so - in Hiromi’s hands, the instrument is masterful and comes alive. However the keyboards that Hiromi also enjoys are more prominent than on her earlier recording. The title track for the most part, for example, sounds like a winning theme from an Oscar-nominated underdog epic, but is book-ended by some swirling keyboard effects that tend to jar and stand out. The penultimate ‘Keytalk’ too moves from an all-out jam with wonky sounding keyboards, before settling into first a more jazzy, then African sounding, dance groove. Sliding into a more European dance feel, the electronic sounds don’t truly gel with the rest of the music around it, and sounds much more ‘assembled’ than the more organic live interplay going on.

Much more successful are the acoustic piano pieces; ‘Desert Moon’ with its galloping pace but lightness of touch gives it a feel of a more sprightly Bill Evans, but perhaps as backed by Buddy Rich, whilst ‘Green Tea Farm’ with its moving slow and plaintive quality has more than a hint of prime era Keith Jarrett.

Best of all though is the ending ‘Legend Of The Purple Valley’. Epic in sound, it switches between jazz and film score music. Sounding like Hiromi is going for her very own concerto, it makes a truly great finale to the album.

After the success of her debut ‘Another Mind’, ‘Brain’ offers a follow-up that takes some new directions. Each of the pieces manages to be varied and interesting, while still holding as a complete album. Very occasionally the electronic sounds don’t gel with the acoustic. Make no mistake though; this is not a fusion record. Hiromi basically is making an album of music that she wants to make – some jazz, some some classical, a hint of rock, acoustic here, electronic there. Some listeners then won’t like what they hear, but everyone will find something here that will hook them. All of the pieces are bursting with incredible ideas, and for anyone willing to listen without prejudice to the electric elements, will find an awesome and satisfying musical journey.

****

Review: Hiromi - Another Mind

You may have heard of wonderkid piano player extraordinaire Hiromi Uehara, usually known simply as Hiromi. You may not. Chances are that if you have, then her name was more than likely mentioned accompanied with a gushing side of superlatives. Always dangerous, as when an artist then fails to be anything other than ‘the best thing you have ever heard up until this point right now’, criticisms come to you just as easily as the superlatives do to the gushing fan.

Hiromi grew up listening to a number of jazz players and took up the piano at the tender age of six, where she then quickly (very quickly just under a year later) became a student at the Yamaha School of Music. At the age of twenty, she then found herself at the prestigious Berklee School of Music. But as if that weren’t impressive enough, she also found the time to both meet and be mentored by such legends as Oscar Peterson and Chick Corea. Ahmad Jamal though saw such a talent, that the two became close friends and it is his production work that features on this, her debut album.

With such close mentorship, problems and accusations of having too similar a sound often arise. Here though, that is not the case. The aggressive opener ‘XYZ’ displays a driving rhythm with some beautiful cascading piano lines, before settling into a hypnotic bass and drum groove with some impressive piano variations skipping over the top. A great beginning, it sets the tone brilliantly for the rest of the album.

‘Double Personality’ that follows features again a strong band, this time with additional guitar and saxophone. A taut balance of rhythm and melody, the band speeds from one variation to another. At the nine-minute mark, it sounds like a party you wish you’d been invited to.

Similarly ‘Summer Rain’ and ‘Joy’ maintain the uptempo mood, but with more of a funk feeling. After the weaves of the first two tracks, these two pieces are easily the most accessible tunes here. ‘01010101’ alternatively has a surprising electronic sound that warrants its title, even if the keyboards featured sound out of place, played on the piano or organ, this would have been sublime. When the piano does come in much later, it fits much better. None-the-less, the track oozes fun.

‘Truth And Lies’ and the title track offer much heavier and moodier themes, whereas ‘Dancando No Paraiso’ sandwiched between them possesses a fun fast jaunt that settles into a slow groove but Hiromi still tinkling like a fast-flowing stream. A brief and enjoyable drum solo then gives way to a perfect salsa-esque piano run, that can’t help but raise a smile to your face.

Bassists Mitch Cohn and Anthony Jackson, drummer Dave Di Censo and guests Jim Ogden on alto saxophone and Dave Fiuczynski on guitar give fine support, and Hiromi in turn gives them great solo spots. Together the music encompasses a wide variety of musical tastes, taken in such luminaries as diverse as JS Bach through to King Crimson. An incredible debut performance, this amazingly was made while Hiromi was still attending music school. One can only wonder at what she’ll come up with upon graduating.

The ending bonus solo piece ‘The Tom And Jerry Show’ is a superb display of Hiromis dexterity and also her strong sense of melody. Playful and energetic, its sense of infectious fun seems to mirror the feel, as well as the pacing, of a Tom and Jerry cartoon. It is a perfect ending to a great album. The only problem is that by the end you’ve run out of superlatives.

****

Gig Review: Palau Cesarini Asensio - Live At Jimmy Glass Jazz, Valencia 19.07.2013

Valencia has much to recommend it; astounding architecture, rich history (good and bad, but always interesting), it's own language, great food, a beautiful beach, baking 35 degree Celsius heat, very cheap beer, and best and most surprisingly of all, a vibrant and flourishing jazz scene. Three venues should be at the top of your list of places to see live music, including Black Note and Cafe Mercedes, but the winner for the week spent there is clearly the excellent Jimmy Glass.

A superb venue, it's a narrow slither of a place, that oddly doesn't feel small or cramped, and comes with a well-stocked bar that even does it's own cocktails named after famous venues. I tried a good deal of them, and can definitely recommend 'The Blackhawk' (home of one of my favourite Miles live recordings).

But enough about the venue. On the night of July 19th we manage to catch Palau Cesarini Asensio, a local piano trio, live in the act, and despite me being the group jazz fan, they effortlessly won over the remaining four members of our party in no time at all.

Palau Cesarini Asensio are made up of Albert Palau, Alex Cesarini and Miguel Asensio, on piano, bass and drums respectively, and they clearly have been playing together for a very long time, such is the effortless interplay and joy that emanates from the stage when they play. Playing mainly from the book of standards, classic tunes come with familiar and recognisable melodies, but the group expand on everything adventurously in a lightly yet hugely infectious swinging style, ensuring they keep everything concise and fast-moving.

In terms of style they tried out a little bit of everything, but kept it light and zippy ensuring the audience were hooked, but with two notable and more adventurous exceptions. The first was the set-one closing tribute to Brad Mehldau, whom Cesarini through my tenuous grasp of Spanish I was able to make it is clearly a fan of. Playing Radiohead's 'Exit Music (For A Film)', they played it close to the original Mehldau interpretation, and garnered a rousing round of applause from the packed club.

The second highlight though was a pure killer. Albert Palau, though clearly the lead solo player, was for the most part of the show interplaying as part of the collective, rather than dominating the stage, but for just over five perfect minutes he laid down a beautiful solo performance that held simply wowed the audience. Almost like a condensed Keith Jarrett performance, it moved through distinct and different increasingly romantic passages, that just built and built until gently winding down, first to pure silence, and then rapt applause. Even the two dragged-along non-jazz fans in our group loved the piece.

Great venue, great band, dangerously unmeasured cocktails, a perfect night out. All three come highly recommended.

You can check out Jimmy Glass's website for more details at : http://www.jimmyglassjazz.net/

Gig Review: Jim Blomfield Trio - Live At The Looking Glass 03.07.2013

You could be forgiven for thinking that Jim Blomfield is quite work-shy, given his very small and incredibly slow recorded output. You would though be entirely missing the bulk of his professional life as both a brilliant piano player and highly gifted composer. Known mostly for playing with other groups throughout Bristol and the south-west, he has successfully made a strong name for himself supporting among others Kevin Figes, Andy Hague, Greg Cordez and various Latin and salsa groups.

Somewhere close to a decade ago he made his excellent debut recording that showcased his trio and septet group recordings. But as good as it was, a number of reasons intervened that delayed any kind of follow-up...

...Until now. Armed with a new trio and occasional boss Kevin Figes' own Pig Records, Blomfield's trio-only album 'Wave Forms And Sea Changes' is finally here, and on the night of the 3rd of July 2013, at Bristol's new 'Looking Glass' venue, the recording was both launched and played in its entirety.

Each of the pieces live dazzled, with fast and unusual key and time changes equally complemented by strong melodies and driving rhythms - all testament to both the clever compositional talents of the groups leader, and the skill and passion of all three musicians. Aside from the memorable, melodic and always engaging piano work on display, the bass and drums supplied by Roshan 'Tosh' Wijetunge and Mark Whitlam respectively.

Mark Whitlam is well-known to local jazz fans, having supplied powerful drums to back near what feels like half the groups in the county, and here he is in his element, providing subtle brush work, hard funk, skittering dance beats and more besides, all to the cheers of an astounded and enthusiastic audience. Roshan Wijetunge is less well-known but no less talented. Possessing a light and nimble touch, Wijetunge is also able to generate one of the fullest, deepest and richest live bass sounds I've ever heard.

'Now And Zen' is the track being heavily promoted currently, and it's a doozy, showcasing absolutely everything it can in under 10 minutes. But from the strength of every other piece played live this night, the album is all killer, no filler. And the group is exactly the same, if not more so.

A small venue, though half-filled to begin with, by the close of the gig it was full to bursting and the audience was won over in both sets. Jim Blomfield often cites many pianists are his inspiration, and while they are all in there in the mix, he has distinctly has his own sound. Intellectual, humourous, driving, yearning, funky, dancey, it's all in there and more besides, and there's never a dull moment.

A thoroughly enjoyable gig, put aside any pre or misconceptions about what you think a piano trio can do or sound like. Here is the new real deal and they need to be seen live to be fully experienced.

To check out some more of Blomfield's work, and when he is playing live again (in his own groups and as a side man), have a look at his site at : jimblomfield.co.uk

Review: Corea, Clarke & White - Forever

Reuniting in 2008 to both rapturous fan approval and critical acclaim, the biggest and most-loved version of Return To Forever swept the globe selling out concerts and picking up awards by the fistful. However it became clear toward the end of the worldwide tour that that the group was not going to continue on for long with guitarist Al di Meola – he himself having expressed negative thoughts on both the choice of material and the perceived direction they might be taking.

Chick Corea, Stanley Clarke and Lenny White though had no such qualms and very quickly signed up for another tour almost immediately, this time of course as a trio - and more notably, entirely acoustic. RTF Unplugged was of course another massive success and sometime shortly after the trio reconvened in the studio, this time with additional help from original pre-di-Meola Return To Forever guitarist Bill Connors, French jazz violin virtuoso Jean-Luc Ponty and soul diva, and sometime Corea and White associate, Chaka Khan.

‘Forever’ then is a double-disc set capturing the trio live and in full-flight on disc one, and the sextet in a studio rehearsal session before a world tour on disc two. Sadly though Connors had to pull out immediately after this rehearsal due to ill health, and immediately be replaced late in the day by Frank Gambale. There is in truth very little to connect the two discs, such is the vast difference in approach, playing, feel, and simply just the musicians and instrumentation involved. But there is much to love.

The acoustic trio is an absolute winner, with some sterling choice material, taking in choice standards, classic RTF pieces and of course iconic Corea compositions. His early ‘Windows’ gets a welcome airing and the always impressive and catchy ‘Senor Mouse’ still dazzles. A much loved tune recorded many times over, a bad one has yet to see the light of day, and the trio here more than do it justice.

Whilst known for searing muscularity in their approach, the trio compellingly get to show their more sensitive and understated sides, most notably with Bill Evans’ beautiful ‘Waltz For Debby’. Miles Davis popular favourite ‘On Green Dolphin Street’ gets a welcome renewal, and the popular Corea tribute piece ‘Bud Powell’ is exceptional. But perhaps most revelatory is Clarke’s ‘La Cancion de Sofia’ which magnificently highlights the incredible interplay between the three, and of course goes even further still to showing just how strong (and underrated) a double-bassist Clarke really is.

Were this first disc to be available as a single album in its own right, then it would stand as a highly recommended four-star recording, and another glittering jewel in the already golden catalogues of Corea, Clarke and White. Disc two however is quite a different experience. A look perhaps into an alternative universe of ‘what if?’ it has its moments and pleasures, but it also has its distinct downers too.

Hearing Bill Connors attack and tear the pieces up from his one Return album ‘Hymm Of The Seventh Galaxy’ is a great experience, if a somewhat flawed one. Some may continue to argue over who the more soulful player is between Connors and di Meola, but here it is clear that Connors is not as technically proficient as the one-time young upstart. Nor is he as comfortable with the electric Les Paul in his hands as he is with an acoustic guitar. Regardless his playing is raw and gritty, and his sound drips pure testosterone.

Corea’s arsenal of classic keyboards, such as the awesome Fender Rhodes, get a thrilling showcase here, with stunning takes on ‘Senor Mouse’ (again, but then there’s always room for another version), ‘Captain Marvel’ and some brilliant others. Jean-Luc Ponty flexes his muscles nicely too, appearing on five pieces, and sometimes blending superbly with Connors guitar.

The two Chaka Khan numbers however are destined to be unloved by anyone. ‘I Loves You, Porgy’ in particular is astoundingly bad, with a fiery full-throttle attitude from all concerned going everywhere and yet nowhere in a very long and sprawling manner. Khan’s vocals themselves are strong, and to be welcomed, but its clear here that this is a rehearsal, and not a particularly focused or winning one.

Surprisingly then the two best numbers here come as a tacked on bonus to the end of the second disc. An acoustic piano and drum duet between Corea and White lights up John Coltrane’s classic ‘Crescent’, while the early Return To Forever piece ‘500 Miles High’ is given an incredible impassioned performance by the trio from their performance at the 2009 Monterey Jazz Festival.

So, a genuine mixed bag, with a great four-star set filling out one disc, and a messy sprawl littering disc two, that contains some real duds, but at the same time gives us some absolutely sparkling moments not available anywhere else. Where Return To Forever goes now is anybody’s guess.

***

Review: Keith Jarrett - At The Blue Note: The Complete Recordings

As big a fan as I am of Chick Corea, Herbie Hancock, Brad Mehldau, Vijay Iyer, Bill Evans, Bud Powell, and many more, it is Keith Jarrett whose piano sound I find myself craving the most. Why? I'm sure I could write a book, and still not quite put my finger on the exact reasons, but needless to say it is Jarrett's solo, trio and quartet works that reach me the most. In his time too he has issued two bumper six-disc 'complete' sets, one featuring all the solo concerts from a tour in Japan, and this one below, a set showcasing a complete three-night residency at New York's famous Blue Note club.

When reviewing a piano trio of any notable standing, it has become the standard expectation of the reader, almost to the point of cliché, that at some point the reviewer will insert some words of comparison with the classic Bill Evans trio of Evans, Scott LaFaro and Paul Motian. Truly groundbreaking, that superb group redefined the way a trio could play, in just the short few years that they were together. This is especially evident on the live performances they recorded, for most with the universally lauded ‘Complete Village Vanguard Recordings’ set, from which the individual albums ‘Sunday At The Village Vanguard’ and ‘Waltz For Debby’ were also pulled. With no disrespect to those outstanding musicians or recordings intended, that constant source for comparison needs to be toned down, if only through overuse, but also because Keith Jarrett’s trio comprising himself, Gary Peacock and Jack DeJohnette, have arguably set a new template.

Having played together since 1983, the ‘At The Blue Note’ box-set documents a three-night residency at the New York venue from June 3^rd to the 5^th in 1994, with each disc giving us a complete set. Typical of the trio, they ignore the usual dynamics of the bass and drums simply providing rhythm and marking time for the lead of the piano. Instead each of the group, with Jarrett providing the guiding voice, has the freedom to explore whatever avenues are suggested by the tunes. And as such each of the tunes here are presented in many varied ways, with some pieces being played as written (‘When I Fall In Love’), others with stretching out the melody or bridge (‘Things Ain’t What They Used To Be’), and others are completely deconstructed and played in a way never heard before. ‘How Long Has This Been Going On?’ at nine minutes for example never once comes close to stating the melody of the song until it’s pretty much over.

With massive live documents such as this (thirty-eight tracks over six discs in a hefty but sturdy box), you can often expect a good deal of repeated songs – hopefully each time played in a different style or pace. Here though only three pieces are repeated over the six sets, including a very welcome take on Jarrett’s own ‘No More Lonely Nights’, which serves to show us just how perfectly this band can resolutely never play the same piece the same way twice. And even on recorded sound with no visual aid of being there, you can sense the palpable excitement of the players as they push each other further on to their shared goal.

The sound here is truly remarkable too - as indeed are all ECM live recordings. Peacock has never sounded better, with his bass deep and heavy, mixing perfectly with the always impressive cymbal work and here incredibly vibrant playing from DeJohnette. And of course Jarrett sounds pristine, his piano and perfectly light touch never captured badly. Each note is played with a pristine touch and pitch, and the cascading runs feel fluid and beautiful everywhere throughout this set.

And again, as with all live events captured by Manfred Eicher, the audience is there, but not intrusively so; you can feel them and after each song you can hear their appreciative and sometimes rapturous applause, but they never interrupt the music – save one occasion on the first night and set opener ‘In Your Own Sweet Way’, where you can clearly hear a bottle go tumbling from one of the tables.

An outstanding trio, captured crisply in an intimate and world-famous venue, this is high-calibre in every sense of the word. This is a stellar group captured at a then peak of their abilities and their collective telepathy. At six hours and a hefty price tag, it is a lot of music for a lot of money, but you won’t find a better collected document of the three playing together, and to be able to hear every recorded note of a whole residency really is something else. For the newcomer, there are good one and two-disc sets of this group, including a single-disc one-set performance from this box. But for the fan who already owns some of this so dubbed ‘standards trio’, and loves the sound of a piano trio is full swing, this is invaluable. A five-star collection in every way. And the trio's take on Monk's 'Straight, No Chaser' here is absolute class.

*****