04-04-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1995-2006

Dave Douglas

04-04-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1995-2006 # Dave Douglas, Diana Krall, Zachary Breaux, Jane Bunnett and The Spirits of Havana, Paul Motian & the Electric Bebop Band, Matthew Shipp Quartet, Brad Mehldau, Howard Alden, Jeremy Pelt, Donny McCaslin, Jenny Scheinman, Medeski Scofield Martin and Wood

J A Z Z   M U S I C

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1995-2006

Cutting-edge trumpeter who seems equally at home in the avant garde jazz world and the pop milieu. Dave Douglas arguably became the most original trumpeter/composer of his generation. Douglas' stylistic range is broad yet unaffected; his music is not a pastiche, but rather a personal aesthetic that reflects a wide variety of interests. He explicitly cites such diverse influences as Igor Stravinsky, Stevie Wonder, and John Coltrane. As a composer, Douglas adapts and synthesizes unusual forms and creates his own out of disparate elements. As a trumpeter, he possesses a comprehensive jazz technique; certainly one hears the ghost of Lester Bowie in Douglas' expressive manipulations of timbre and pitch, but more pronounced is the integration of distinctive compositional and improvisational conceptions that ultimately defines his work.
Dave Douglas
Mirrors (Dave Douglas) 3:03
Going, Going (Dave Douglas) 5:47
Who Knows? (Thelonious Monk)
from Five 1995
Trumpeter Dave Douglas' unusual string group (which also includes violinist Mark Feldman, cellist Erik Friedlander, bassist Drew Gross and drummer Michael Sarin) is reminiscent in some ways of Ornette Coleman's free-jazz quartet despite not playing any of Ornette's originals and having a very different instrumentation. All of the musicians function as equals, the interaction is often intuitive, and the improvising on eight Douglas originals (including tunes dedicated to Steve Lacy, Wayne Shorter, Mark Dresser, Woody Shaw, John Cage and John Zorn), Thelonious Monk's "Who Knows," and Rahsaan Roland Kirk's "The Inflated Tear" is on a high level. Well worth exploring.

Contemporary jazz singer and pianist who took the pop world by storm in the 1990s, often echoing early swinging simplicity in her work. At the outset of her career in the 1990s, Diana Krall appeared to be a throwback to a different, classier era -- specifically, the mid-20th century, when the Great American Songbook experienced a revival in the hands of singers such as Nat King Cole. Krall's 1996 breakthrough, All for You: A Dedication to the Nat King Cole Trio, deliberately paid tribute to this period, but Krall didn't focus merely on singing the song in an old-fashioned way: as the subtitle of All for You suggested, Krall placed equal emphasis on the piano playing...
Diana Krall 
I'm an Errand Girl for Rhythm (Nat King Cole) 2:56
You Call It Madness (Russ Columbo / Con Conrad / Gladys Dubois / Paul Gregory) 4:36
Hit That Jive Jack (John Alston / Alex Alstone / Skeets Tolbert) 4:16
from All For You (A Dedication To The Nat King Cole Trio) 1996
Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds.

Influenced by George Benson and Wes Montgomery, Zachary Breaux was a flexible guitarist who could handle soul-jazz, post-bop, and hard bop as well as more commercial pop-jazz and NAC music.
Zachary Breaux 
Breakfast at the Epiphany (Zachary Breaux) 0:16
Cafe Reggio (Isaac Hayes) 6:06
The Thrill Is Gone (Arthur Benson / Dale Pettite) 5:10
All Blues (Miles Davis) 6:33
from Uptown Groove 1997
Guitarist Zachary Breaux, who tragically died just a few months after recording this CD (his debut), was a potentially great guitarist with a style coming from George Benson. In fact, his solos are generally more memorable than the purposely commercial material on this set, which largely consists of melodic, jazzy funk jams, usually with rather basic electronic rhythms... Among the other guest musicians are flutist Hubert Laws, bassist Brian Bromberg and pianist Renee Rosnes.

A highly acclaimed Canadian jazz saxophonist known for her cross-genre explorations of Latin and Afro-Cuban traditions. 
Jane Bunnett and The Spirits of Havana
Mondongo 9:55
Inolvidable 7:34
Freedom at Last 8:27
from Chamalongo 1998
Through the years, top Canadian soprano saxophonist and flutist Jane Bunnett has been an important force in helping to publicize and document some of the top Cuban jazz and folk musicians whose music had rarely been heard previously in the U.S. This particular CD mixes an Afro-Cuban group (that includes Bennett, trumpeter Larry Cramer, either Hilario Duran or Frank Emilio on piano, a couple of percussionists and singer Merceditas Valdes) with the Cuban Folkloric All-Stars, which are comprised of five singers and five percussionists. Since there is a lot of singing in Spanish on this CD, it may not interest jazz purists all that much, but there are also many fine solos from Bunnett and the musicians. The music is quite spirited, stretches the boundaries of Latin jazz beyond bebop, and is certainly full of life. Well worth exploring.

One of the most subtle, spontaneous, and interactive drummers in jazz, equally important as the leader of stimulating bands and colorful sessions. 
Paul Motian & the Electric Bebop Band
We See (Thelonious Monk) 4:53
Brilliant Corners (Thelonious Monk) 7:50
from Play Monk and Powell 1999
The music of Thelonious Monk and Bud Powell continues to reveal inner secrets, as this engaging set by dummer Paul Motian and his Electric Bebop Band shows. The group's name of the group is a function of the two electric guitars (Kurt Rosenwinkel and Steve Cardenas) and the electric bass (Steve Swallow), although the remaining members are strictly acoustic (tenor saxophones Chris Cheek and Chris Potter and, of course, drummer Motian). The arrangements are entirely respectful of the compositions, although liberties are taken with tempo and harmony. The results are more than satisfactory, if somewhat conservative, with the solos passed about generously. Motian again reveals his ability to kick and burn, as well as play sensitively, reaffirming his place among the greatest jazz drummers.

A prolific vanguard jazz pianist and composer whose musical evolution has explored the entire jazz tradition, and redefined its parameters in an iconic musical language. 
Matthew Shipp Quartet
Gesture (Matthew Shipp) 6:49
Prelude to a Kiss (Duke Ellington / Irving Gordon / Irving Mills) 4:38
from Pastoral Composure 2000
Pastoral Composure is a rich and moving album that is one of the highlights of Matthew Shipp's array of recent releases. The pianist and composer is joined by trumpeter and flugelhorn player Roy Campbell, leading bassist William Parker, and drummer Gerald Cleaver, who are all strong contributors to this January, 2000, session. The album doesn't lose momentum from the dramatic opener, "Gesture," ... While Matthew Shipp has come out with numerous releases these past several years, resulting in a slightly overwhelming catalogue, Pastoral Composure is a necessary listen for fans. It is also one of Shipp's more accessible albums, making it great place to start for those interested in checking out this important modern jazz pianist.

Improvisational jazz pianist introduced a classical impressionist influence into modern jazz, often using pop music as source material. 
Brad Mehldau
The More I See You (Mack Gordon / Harry Warren) 10:06
Quit (Brad Mehldau) 7:14
from Art of the Trio - Vol. 5 Progression 2001
Virtuoso pianist Brad Mehldau continues his Art of the Trio series with a two-CD set titled Art of the Trio, Vol. 5: Progression. Recorded live at the Village Vanguard in New York City, this volume is his most satisfying triad outing yet... with his well-organized rhythmic partners, drummer Jorge Rossy and acoustic bassist Larry Grenadier...  Whereas The Art of the Trio, Vol. 2, Vol. 3, and Vol. 4 provided Mehldau's listeners with rich documentation of his piano mastery that often includes altered root motion and meter on standard tunes, blazing swing tempos, and poetic piano lines that can hover intensely in a ballad, his intrinsic musical signature is more substantial on Progression due to several stunning piano solos, ethereal vamps, and successive thematic transformations.

A master technician of jazz guitar with great fluency and wit. 
Howard Alden
My Shining Hour (Harold Arlen / Johnny Mercer) 3:42
Soul Eyes (Mal Waldron) 4:25
from My Shining Hour 2002
With all of the recording activity by guitarist Howard Alden in the dozen or so years prior to the 2002 release of My Shining Hour, it is hard to believe that this is his first unaccompanied date. Alternating between electric and acoustic archtop seven-string guitars, Alden delivers one masterful performance after another. His brilliant technique is showcased in a dazzling take of "My Shining Hour" (which begins with a very subtle introduction)...  Howard Alden will have many shining hours ahead of him in the studio and on-stage, but this memorable CD should serve as an important landmark in his already very impressive career.

California-born jazz trumpeter with a knack for both straight-ahead and fusion-influenced jazz. 
Jeremy Pelt
Weird Nightmare (Charles Mingus) 5:27
Take Me in Your Arms 4:36
52 Blues (Drinkin' & Drivin') (Jimmy Rowles) 7:30
from Close to My Heart 2003
At 27, this amazingly versatile jazz trumpeter has a resumé that leads to huge expectations. His ensemble work has encompassed Ravi Coltrane, Roy Hargrove, Ralph Peterson, Cassandra Wilson, Greg Osby, and the Mingus Big Band. Pelt topped the 2003 Down Beat magazine annual critics poll for Rising Star on Trumpet, and the Jazz Journalist Association selected him as one of the Best Emerging Stars in Jazz. On his debut for the Maxjazz Horn Series, he brings along luminaries Mulgrew Miller, Peter Washington, and Lewis Nash, but it's clear he could be jamming with a bunch of no-names and be equally as emotional and engaging. The joy here comes from the unexpected fluctuations in tone and vibe from track to track...

An immensely talented jazz saxophonist and flautist with limitless expertise and expressive improvising technique. 
Donny McCaslin
Skyward (Donny McCaslin) 6:01
The Way Through (Donny McCaslin) 7:50
Flutter (David Binney / Donny McCaslin) 5:46
from The Way Through 2004
Donny McCaslin is a musician in constant evolution who moves on without looking back, and The Way Through documents another important stage in his career. Built around a core trio featuring drummer Adam Cruz and bassist Scott Colley, the session has a lot to offer. The saxophonist is truly emerging as a singular voice -- he shows a lot of integrity and delivers genuine emotion...  In a nutshell, this brilliant session is a clear evidence of McCaslin's all-around talents.

From avant jazz to the creative side of Americana, the bicoastal violinist/singer/composer has charted a diverse and engaging musical path. 
Jenny Scheinman
The Frog Threw His Head Back and Laughed (Jenny Scheinman) 6:09
Moe Hawk (Jenny Scheinman) 6:36
The Bouy Song (Jenny Scheinman) 4:39
from 12 Songs 2005
No one can accuse violinist and composer Jenny Scheinman of promulgating any kind of jazz cliché, or even of fitting in especially well with the rest of the Cryptogramophone label's crew of off-kilter jazz experimentalists. Her obsession is with songs and with lyrics -- neither of which appear on this paradoxically titled album. The 12 compositions here aren't actually songs, but are meant to feel like songs, by which Scheinman means that they're intended to be clear, straightforward, singable, and emotionally direct...  This kind of balance between directness, intensity, and complexity makes 12 Songs a more than usually impressive and compelling modern jazz album. Very highly recommended.

A group that effortlessly straddles the gap between avant-garde improvisation and accessible groove-based jazz, Medeski, Martin & Wood have simultaneously earned standing as relentlessly innovative musicians and as an enormously popular act.
Medeski Scofield Martin and Wood 
Medeski, Martin & Wood / John Scofield
Known for his distinctive, slightly distorted sound, jazz guitarist John Scofield is a masterful jazz improviser who has straddled the lines between straight-ahead post-bop, fusion, funk, and soul-jazz
Little Walter Rides Again (John Scofield) 3:53
In Case the World Changes Its Mind (Billy Martin / John Medeski / John Scofield) 3:39
What Now (Billy Martin / John Medeski / John Scofield) 4:52
Julia (John Lennon / Paul McCartney) 5:12
from Out Louder 2006
Out Louder reunites keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood with guitar great John Scofield, who employed the trio on his 1997 A Go Go album. That record opened the creativity gates for both the trio and Scofield, who fed off and goaded each other into territories neither party had previously gone separately. Out Louder isn't so much a rematch as an upgrade. Both Scofield and MMW have continued to explore in the near-decade since A Go Go, and they come to this project with a greater understanding of their collective abilities as well as a willingness to explore the possibilities further. Not unexpectedly, the four musicians work hard here, but they also have a ton of fun...  If ever MMW and Scofield decided to make something more permanent of their meet-ups, one can only guess where else they might go.