Review: David Murray - Be My Monster Love

David Murray has never been one to stick to a single group, or even group size, for that long a period. Having played in bands of various sizes he has at times favoured quartets and octets (of which you should absolutely check out his octets collection from Black Saint & Soul Note), more recently he has played with much larger big bands, to great effect, but with his newest release ‘Be My Monster Love’ he makes a return to the always popular ‘traditional’ quartet setting.

A largely new group, and dubbed the ‘Infinity Quartet’, Murray here is given uniformly excellent support by piano and organ player Marc Cary, bassist Jaribu Shahid and drummer Nasheet Waits, who all hit the ground running on the opening ‘French Kiss For Valerie’. Armed with a winning groove it none-the-less also showcases a great blend of various styles, from the refined and melodic up to the more open and freer emotionally charged.

On release ‘Be My Monster Love’ was largely noted for it’s well-known guest singers, and although they all make a strong impression, soul star Macy Gray gets the juicy title cut, and makes sure she gives her everything in a powerful and emotionally charged performance that’ll make many wish she followed this stronger, though perhaps less commercial, direction.

Fast rising jazz singer Gregory Porter hits the mark too, on the tasty R’n’B of ‘Army Of The Faithful’, and a more introspective and moving ballad in ‘Sorrow Song’, while ‘About The Children’ offers up a more Latin vibe with a heavy dose of Soul (with a capital ‘S’).

Despite being billed as the ‘Infinity Quartet’, the singers aren’t the only guests however. Trumpet man extraordinaire Bobby Bradford drops in for some fine blues strutting on ‘The Graduate’ and very almost steals the show. He doesn’t however. Murray has always been one to cast the spotlight on others, and in doing so, rather than pushing attention away from himself, he instead is pushed to raise his game even further, and here, surrounded by guest players, and thus given less spotlight time, he goes all out.

Where Porter’s rich soulful vocal could easily dominate so much of the playing time here, Murray’s warm rounded tone offers just as much soul and pure musical emotion, and on the excellent ‘Stressology’ he displays some light yet dazzlingly fast runs and even some classics Ayler-esque cries.

It’s not a classic, but ‘Be My Monster Love’ is a record with some great moments. Perhaps too varied for some, it does show Murray yet again trying something new, and doing it in his own unique way. The pieces themselves are some of his best, and the choice of singers is inspired (even if one or two of the songs lyrics can occasionally be a little weak). Stellar band, great guests, superb vocals, Murray’s signature soulful yet free sax playing – what’s not to love?

****

Review: Keith Jarrett - Vienna Concert

Keith Jarrett has been quoted, and repeated in the liner notes to this release, as saying “I have courted the fire for a very long time, and many sparks have flown in the past, but the music on this recording speaks, finally, the language of the flame itself” - typically modest and humble comments from the man himself, which admittedly don’t reach the level of self-belief of his ‘La Scala’ liner notes, but taken on their own terms, do speak the truth. Considered by Jarrett to be his most epic and simply best live improvisation, Vienna really is, from beginning to end, the most complete of his performances to date.

Part I is the centrepiece of the recording, and at forty-two minutes effectively divides itself into several movements. The first, at a dozen minutes, creates a simple and beautiful theme, and toys with it in various ways, slowly building the tension and creating a musical story. Beautiful, the music approaches an almost transcendant quality, before the second movement comes in, beginning quietly and then rising itself to a climactic crescendo. Seguing into another basic theme, Jarrett comes down in mood for the piece’s coda, quoting the theme from the earlier movement in a different manner, before ending with a truly sublime falling cascading motion of notes, allowing the listener a soft and satisfying conclusion to easily one of his most complete and ultimate performances.

One of the finest improvisations you will ever hear from Jarrett, or anyone, the way the themes are built into a tight narrative almost convinces you that the piece had to be composed. Possessing a devastatingly beautiful melody that builds into a soulful swagger and leads admittedly to a few of Jarrett’s trademark ‘oohing’ and ‘aahing’ as he knows he’s hit the right spots. Moments build and ease away, picquing the listeners’ interest and then drawing them in closer.

The second piece here starts with much more intensity than the first and overall doesn’t feel quite as varied, lacking the build and fall of the earlier piece. The prowess of Jarretts’ piano playing though is much on display as the music flows through a number of astounding movements and passages. Playing around a basic groove, it lacks perhaps the sophistication of Part I, and there is maybe a slight hint of Jarrett being tired after that gargantuan epic. More like a coda to the first part than a second individual performance, but as a stand alone it is an impressive piece.

The whole concert here is one of the most soulful and beautiful Jarrett has ever played. Even with the many wonderful works of beauty he has created spontaneously, this one glorious night in Vienna stands as his peak, with perhaps only his much-loved Koln concert to rival it. It is music of the highest calibre.

*****

Review: Gary Burton Chick Corea - Crystal Silence: The ECM Recordings 1972-79

Pianist Chick Corea and Vibraphonist Gary Burton had originally first attempted to play together in the 1960s, but had found that it didn’t really work. Playing in a quartet, with the piano and the vibraphone both being chordal instruments, the two had a habit of getting in the way of each other and not really being able to play side by side.

A few years later in 1972, both men happened to be performing at the Munich Festival as solo acts, and as fate would have it ended up being the two artists at an after hours jam. Without a rhythm section, and just having the other to play off, somehow there was an instant on-stage rapport between the two musicians – a rapport that immediately caught the attention of the then-present Manfred Eicher. His ECM label, still only a few years old, had already gathered a solid reputation for its strong releases and played host to a small number of Coreas solo piano works, and Eicher heard in the two players a potential new take on an intimate chamber jazz that would be a perfect fit for ECMs clear and pristine sound capturing and production.

What would eventually be released as ‘Crystal Silence’ a year later was in fact recorded in just one day in November of 1972 in a studio in Oslo. Despite the strong and passionate enthusiasm for the music they had all produced, Burton, Corea and Eicher had very low commercial expectations for the album, expecting the prospect of a piano-vibraphone duet album to entice just a relatively small audience. The album in fact though went on to garner superb reviews and eventually sell almost 500,000 copies.

Featuring material largely written by either Corea or Burton’s musical partner, bassist Steve Swallow, the sole exception is Michael Gibbs darkness-tinged ballad ‘Feelings And Things’. Coreas classic ‘Senor Mouse’ opens though and immediately sets high expectations, with the two instruments combining to form melody, harmony and rhythm, and then throwing the roles between the two. Despite the structured and detailed music, both men move responsibilities throughout, with at times electric spontaneity. Chamber jazz it may be, but here we see equal parts gentle music with at other times playing that has huge energy.

‘I’m Your Pal’ is a great ballad piece played to perfection, with more than a hint of gospel, and ‘Falling Grace’ is elegant and lively - elsewhere ‘Arise, Her Eyes’ is the only version you’ll ever need of arguably Swallows finest composition. Corea also brings two Return To Forever pieces to the party and they shine joyously, but nothing is as strong here as the title track. Nine minutes of beauty and nuance create an outstanding soundscape that highlights that although the two shine individually plenty, it is their subtle and brilliant interactions that both creates a kind of singular intent and sound that really raises the bar.

Obviously, the magic and beauty here was a huge personal success for the two friends, and luckily they happened to be entirely wrong about its commercial appeal. Six years though would pass before Corea and Burton would reconvene in the studio together, this time though without the presence of Eicher, and in Sheridan, Oregon. Corea in the interim had become a leader in the jazz-fusion world with the electric quartet version of Return To Forever, before ending the band and creating more orchestrated sounding solo works on the Polydor label. ‘Duet’ however signposted a definite return to more acoustic interests, which would in turn result in a line of further ECM albums focusing on his piano trio and solo ideas.

The ‘Duet Suite’ opens the album that in fifteen-minutes reveals a solid number of twisting melodies delivered in unison and the two virtuosos’ ability to play more than just mere notes from a page. Coreas Spanish percussive way of playing the piano too comes more to the fore.

This time Burton brings just two Swallow tunes, ‘Radio’ with its elegant swing and a solo piano section that is in this reviewers opinion the highlight of the album, and ‘Never’, a softer gentler tune that shows just how good a blend the dueting partners here can achieve. Corea, bringing the lions share of the tunes including the freshly written ‘Song For Gayle’, donates two more Return To Forever pieces, that best show how the chemistry between them had improved since their first meeting. It also fully demonstrates the duos ability to improvise and create both individually and together - Burton would later say playing with Corea was just like “having a conversation with your best friend”.

Almost a whole year later, the two would perform in Zurich, recording the show as ‘Zurich, October 28, 1979’. Opening with the same piece that opened ‘Crystal Silence’, ‘Senor Mouse’ has even more energy and virtuosity, helping quash any doubters’ thoughts about just how in the moment the two studio works were.

For too long only available as a single disc, a good portion of the performance was cut out. Thankfully here we again get the whole performance across two discs, which importantly allows us to hear both men play solo pieces and also more crucially gives us the proper flow of the concert. Proper and due consideration of track sequencing can often improve an album, especially with a concert performance, and ECM have always been incredibly aware and astute in terms of generating the right ‘narrative’, in large part to label head Manfred Eicher and his personal involvement and enthusiasm in everything his label produces. The earlier one disc version was good. The re-insertion of Burton taking on ‘I’m Your Pal’ and ‘Hullo, Bolinas’, and Coreas’ captivating fourteen minute version of his own ‘Love Castle’ (originally just five minutes long) though, returns it to undeniably great.

Interestingly, as testament to the pairs growing collective skill and fell for the music, all of the tunes from the studio works are different and arguably for the most part better. The already sublime ‘Crystal Silence’ is somehow enhanced further, benefitting from a more percussive Corea, who donates three new tunes; the bright sounding ‘Tweak’ and ‘Mirror, Mirror’, and the bebop-esque ‘Bud Powell’, which interestingly would later become a Corea favourite for his acoustic groups. What really sets it so high though is its impeccable sound and capture of the instruments on-stage - making ‘In Concert’ a great and vivid live document of a duo that can really generate a strong sense of atmosphere.

This superb 4-disc box-set from the always high-calibre ECM collects these three duo albums recorded for the label. 1983’s ‘Lyric Suite For Sextet’ also recorded by the two isn’t included, it not being a duet performance like the other three and therefore thematically being very different (in truth it is also nowhere near as stellar a work as any of the three here). The pair of studio albums are as good as they have always ever been, boasting tunes, atmosphere and crystal clear sound in spades. For most though, it is the live album where the real money is, feeding off the audience the live set is just incredible, and for a long time only available in truncated form, here it is restored to full and deserved double-disc glory. Corea transforming the previous electric group piece ‘Love Castle’ from his earlier ‘My Spanish Heart’ into a lengthy expanded what can only be described as tour-de-force alone is worth this new chunk of gold, but this whole package is compellingly good.

Gary Burton and Chick Corea continue today, individually and with respective groups, to play and record at an incredible and productive rate. As a duo, and with each other and other players, they play together every year, although recordings of the two duetting are still small in number. ‘Crystal Silence – The ECM Recordings’ is a very welcome release at a very appropriate time, helping to celebrate both Manfred Eichers labels historic 40^th birthday and also the musical pairing also nearing the same anniversary. Beautiful and daring, Burton and Coreas music is as fresh and moving today as it was on its original release.

*****

Review: Eliane Elias - Around The City

Eliane Elias has managed to maintain an unwavering dedication in her career as a jazz pianist and composer. In an industry where women tend to be packaged and marketed as female first, and then talented second, and where anyone south of Texas gets branded as a ‘Latin musician’ regardless of what actual music they play, Elias has somehow been able to find and broaden her audience simply by following the music.

‘Around The City’ then continues this journey, with a well-blended mix of original compositions (with some help from songwriters Lauren Christy and Lester Mendez) and some covers, including surprisingly Becks ‘Tropicalia’ and brilliantly Bob Marleys ‘Jammin’.

Lead-off track ‘Running’ is a great start to proceedings, with a strong swaying groove that works its way into your subconscious. The afore-mentioned ‘Jammin’ meanwhile is madeover into a high-energy number, which could potentially have tipped into bad karaoke, but in these skilled hands it becomes an awesome, and respectful, tribute.

The classic ‘Oye Como Va’ comes with a sexy vibe courtesy of Elias’ sultry vocals, and the soft and sensual ‘Segredos’ is an album highlight with its defined pulsating rhythm. But it is probably ‘Slideshow’ that is the pure gem of this album. Beautifully sung lyrics meld with the catchy flamenco guitars and handclaps that conjure up the perfect image of the cliffside roads winding their way to some mysterious sun drenched beach.

Everywhere on this album is the smouldering rhythm of Brazil, while still maintaining a strong night-time jazz feel with her superb piano work and warm vocals. The stellar ‘Segredos’ makes a welcome return as a closing reprise, revamped into a more jazz-tinged piece and again, Eliane Elias has delivered her own music on her own terms and the results are as always well worth the listen.

****

Review: Antonio Carlos Jobim - Stone Flower

A gifted and much lauded songwriter, Antonio Carlos Jobim’s recorded material under his own name also proved incredibly popular. After his well-known songs, now considered standards and covered by pretty much everyone in the western hemisphere, his twin albums ‘Wave’ and ‘Tide’ are his two big hits, being for the most part instrumental, but featuring every bit the feel and yearning melody you would associate with his more recognisable songs.

Sandwiched in-between these two classics is the oddly lesser-known ‘Stone Flower’ issued on the then newly formed Creed Taylor Independent record label – Taylor having been a big and highly respected producer with Verve. Where many would have heard his more famous work and then may have picked up ‘Wave’ or ‘Tide’, ‘Stone Flower’ even now remains a sadly slightly over-looked album.

Which is a shame, as ‘Stone Flower’ is arguably superior to both. The key to this lies largely in the arrangements - where the strings on ‘Wave’ were used to bring out the subtle and quiet romance of the melodies, ‘Stone Flower’ goes for a much fresher approach. Choosing to explore a darker side of bossa nova, the album is replete with enchanting melodies, but delivered in a more hauntingly languid and melancholic manner.

A recording of quality from start to finish, the Ary Barroso classic ‘Brazil’ stands out as a highlight, with its instantly catchy one-finger electric piano and bouncing rhythm. Featuring a strong vocal from Jobim, the song is transformed from an anthem into a floating and hypnotic sprawling epic. ‘Amparo’ too is a perfect display of Jobim’s composing abilities, and the title track itself is a driving and memorable tune with an arrangement providing the musical equivalent of a warm tropical breeze.

No-one could, or can, write bossa nova as well as Jobim, and for any who have dismissed the genre outright for being lightweight, ‘Stone Flower’ is valuable education. Featuring tight and intricate rhythms, the music is dark, enigmatic and intoxicating. A revelation for any who have a jaded view on bossa nova, and an essential item for anyone with even a passing enthusiasm for the music, ‘Stone Flower’ is simply a brilliant record of quiet and beautiful intensity.

*****

Review: Antonio Carlos Jobim - Tide

After the huge success of the largely instrumental ‘Wave’, Antonio Carlos Jobim three years later planned ‘Tide’ as a direct sequel. And though most of the songs are still Jobim originals and the title track again evokes a love of the sea, ‘Tide’ charms in an entirely different way.

The major change between ‘Wave’ and ‘Tide’ is the chosen arranger. In place of the earlier Claus Ogerman who pushed the more relaxed and sometimes melancholic Jobim, Eumir Deodato - he of the disco take of ‘Also Sprach Arathustra’, the theme from ‘2001: A Space Odyssey’ - gives a more jazz and energetic feel to the recordings.

An interesting instrumental version of ‘The Girl From Ipanema’ opens proceedings with slightly more bounce than one would expect from the laid-back classic, but the biggest success here is easily ‘Tema Jazz’, which offers a great showcase for the stellar flute and saxophone support from Joe Farrell, Hermeto Pascoal and Jerry Dodgion.

Best of all, Jobims guitar takes a much more background role, allowing his subtle one-finger piano playing to dominate more. The rhythm section, more driving than ‘Wave’, is guided as on the ealier album by the superb Ron Carter and Airto Moreira, creating a fully swinging Brazillian jazz. And it is this strong rhythmic sensibility that truly moves the music outside of the pure possa nova label.

‘Tide’ is a great album, a perfect companion piece to the wider-known ‘Wave’, and a must for any fan of the timeless music of Tom Jobim.

****

Review: Antonio Carlos Jobim - Wave

Antonio Carlos Jobim and his music defined the Bossa Nova movement of the 1950s and 60s. Almost everything he wrote would go on to become a standard, and every song would eventually be covered the whole world over. But as a musician and artist he displayed much more, his work showing subtle yet strong distinct melodies and unstoppable sophisticated harmonies. His work as a musician and recording artist in the late 60s and early 70s, most notably with producer Creed Taylor, produced a solid number of widely regarded masterworks, of which ‘Wave’ nestles comfortably at the top.

The title-track opens things, and along with the other most well known piece here, ‘Triste’, is instantly recognisable. On their original release they were immediate and popular hits - the other eight songs here however, though less well known, are no less deserving of your attention.

For the most part, the songs are in a medium tempo bossa nova rhtythm and manage to be both relaxed and assured, as well as hugely swinging. Apart from Jobims delicate and melodic piano, the other significant and notable presence here is the trombone, courtesy of the superb and yet strangely under-rated Urbie Green, dominating in particular ‘Look To The Sky’ and the excellent faster-paced closer ‘Captain Bacardi’.

Hugely catchy with a relaxed mood, only one track here comes with vocals. And while Jobim could never be classed as a great singer, he is a good singer of his own material, and ‘Lamento (No Morro)’ benefits greatly from his voice.

Antonio Carlos Jobim is, without argument, one of the most important composers of the twentieth century, and ‘Wave’ is one of his most important and popular recordings. Just let yourself be seduced by its warmth and soft melodic touch – a must have.

****