Northridge, CA. One of the first times (and there were many) that I reviewed a Michael Feinstein performance was in 1991 for the Los Angeles Times. I described him then as a “reincarnation of a classic movie juvenile lead. Slicked-back Dick Powell hair, flashing Russ Columbo eyes, a smile that would charm the Sphinx.”
Twenty two years later, Feinstein – now 56 – could still come pretty close to that image of the movie juvenile lead. When he strolled on stage Saturday night at the Valley Performing Arts Center, slender and full of vitality, his warm smile gleaming, he was still as dynamic and vital as he was two decades ago.
Michael Feinstein
In the interim, of course, Feinstein has thoroughly established himself as one of the prime devoted caretakers of American popular song. His archivist’s dedication to preserving the classic works of Gershwin, Kern, Porter, Berlin, Mercer and so many others has continued to grow over the years. And, equally important, he has personally taken on the challenge of keeping those works alive in performance.
Feinstein has always been a fine singer/pianist, the high quality of his abilities apparent even in his early, cabaret performances in the ’80s at the Cinegrill. But his appearance at VPAC was the work of a mature, masterful performing artist. Far more than simply singing the classics from the Great American Songbook, Feinstein was as informative as he was entertaining.
Each song was introduced with background information about the composer and/or lyricist, often with whimsical stories about the circumstances behind the creation of the song. Many of Feinstein’s comments traced to his personal associations with the songwriters. One example: his long term friendship with Ira Gershwin, tracing to a period when he worked as Gershwin’s personal assistant. That connection was the starting point for Feinstein’s recently published book, The Gershwins and Me (Simon & Schuster).
Michael Feinstein
Celebrating his Gershwin linkage, he sang a superb medley of Gershwin songs – including “Of Thee I Sing,” “S’Wonderful,” “Embraceable You,” “Our Love Is Here To Stay” and “Someone To Watch Over Me.”
The rest of the program was a banquet of musical goodies. Since it was May 11, Irving Berlin’s birthday, Feinstein did a marvelously hard-swinging “Alexander’s Ragtime Band.” On “Hello, Dolly” he offered a loving simulation of Louis Armstrong’s gravelly voice, recalling one of the song’s most unique interpretations. On “Fly Me To The Moon,” he referred to the desire of Bart Howard, the songwriter, to hear it in his original conception of it as a waltz, rather than the rhythmically upbeat version by Frank Sinatra. And Feinstein, with the aid of guitarist Jim Fox, found the deep, lyrical center of the tune. He chose to cast “The Way You Look Tonight” as a bossa nova, and recalled Sammy Davis, Jr. with an atmospheric rendering of “What Kind of Fool Am I?”
There was much more. Songs such as “Shall We Dance” (sung with the verse), “Put On A Happy Face,” “Just One Of Those Things” and “At Long Last Love,” among others. All of it brilliantly arranged by pianist/music director Sam Kriger.
It was, in other words, a delightful musical evening on all counts. And it was topped off with the additional good news that Feinstein will be spending more performance time in the Southland in coming months. He has been appointed Principal Pops Conductor of the Pasadena POPS, replacing the late Marvin Hamlisch. Feinstein’s first program with the Pops takes place on June 1.
Studio City, CA. Second, even third, generation careers in show business aren’t exactly uncommon in the entertainment world. And singer Deana Martin’s name alone indicates a legacy powerful enough to open the right doors.
But Martin, who began a three night run at Vitello’s on Friday night, has the skills to build a career on, regardless of her lineage.
That said, however, she titled this presentation – which she’s been doing in locations across the country – “Deana Sings Dino” honoring her father, “The King of Cool” And she was introduced from the stage, by her father’s video announcement.
Deana Martin
She further underscored the connection by performing such songs identified with Dean Martin as “Memories Are Made of This,” “That’s Amore,” ”You’re Nobody Til Somebody Loves You,” “Ain’t That A Kick in the Head,” “Everybody Loves Somebody” and “Volare.” And she topped off the paternal references with a video duet on “True Love” that included a fascinating montage and photos of Martin family life.
Inevitably, one couldn’t help but listen to Deana’s interpretations with distant, but recurring, memories of how they were sung by her father. Memories that were further revived by the arrangements played by her world class group – led by pianist and music director John Proulx, and featuring bassist Chuck Berghofer and guitarist John Chiodini. Often emphasizing a gently swinging groove, the charts were reminiscent of those used by Dean Martin, Frank Sinatra and the other partners in the Rat Pack.
John Proulx and Deana Martin
Add to that Deana’s amiable and laid back manner in her between songs commentaries. Quick jokes came one after the other, interspersed with personal recollections of Dean Martin and such Rat Pack “uncles” as Sinatra and Sammy Davis, Jr.
Observing her father and the “uncles” in action as she grew up in a show biz environment, Deana has clearly mastered all the entertainment elements that work for her as a performing artist. To her credit – and unlike some of the singers in her generation – her performance overflowed with the confident, communicative manner of an utterly engaging entertainer.
Beyond all the legacy elements emphasized by the “Deana Sings Dino” aspects of the performance, there was the appealing musicality and interpretive lyricism present in everything she sang – nostalgic or otherwise. In songs such as “Beyond the Sea,” “The Lady Is A Tramp” and “I’d Love To Get You On A Slow Boat To China,” she displayed the very special qualities that are uniquely her own.
And one suspects that Dean Martin, had he been present at Vitello’s, would have been proud of the fine, convincingly imaginative artist that his daughter has become.
Deana Martin and “Deana Sings Dino” continues at Vitello’s tonight.
Of Americana Rock, American Tenor Sax and American Genius Reprised
By Brian Arsenault
The range of great American music never ceases to amaze me. When they’re writing about our civilization, such as it is, a number of centuries hence I am quite sure it will be our music that is most treasured and remembered. Unless the whole grid collapses, of course.
Steven Casper & Cowboy Angst
Trouble (Silent City Records)
There is just no disputing the good time of bad times this EP (not LP) provides the listener. Five tunes, one done twice, to take you deep into the heart of American music done road house bounce — blues, r&b, zydeco, Tex-Mex, Looziana all tied up in a just dazzling display. In other words, rock and roll to delight the soul.
What Casper and his new Cowboy Angst lineup understand is that it’s all connected. From the hills of West Virginia to the Delta. From Nashville to New York. At its best, it’s all American music. The Band knew that and so does Casper.
“Cat On A Hot Tin Roof” opens the proceedings and rightly so; a nasty tasty blues/gospel tune you won’t hear in church, with two McCrary sisters singing backup to Casper’s lead vocal. In this version, it’s the guy who’s the cat.
Then here comes “Soul Deep”. Real nice lap steel guitar by John Groover McDuffie. Tom Petty would probably have a hit with this.
“I know where you end is the start of me.”
The title song is pure Louisiana barroom rock. How can trouble make you feel so good.
“I don’t go looking for trouble. Trouble comes looking for me.”
But the absolute gem of the album is “How Can I Miss You When You’re Not Gone?” Keeps the Cajun going and the irony can’t be missed.. The song is repeated as a “front porch” instrumental with banjo and fiddle to finish out the album. But the first version will make you dance alone if there’s no one to dance with.
“Hey Marie” reaches way back to the 1950s to what Don and Phil Everly might have cut with Chuck Berry if songs could have been so damn bad back then without being censored or masqueraded. Chuck knew how to do that.
Marie writes on the wall: “Had a real good time. Don’t bother to call.” Years later he sees their history “while standing in the grocery line.”
This little album is so good we might not deserve it. But it’s here this summer.
Noah Preminger
Haymaker (Palmetto Records)
Something special your way comes on May 14.
Noah Preminger, like Hemingway, boxes. And like Hemingway he’s clear and concise. He wants you to get it without the merely decorative and overly descriptive. Here, here it is. Hear it.
On Haymaker, his tenor sax is moody and reflective at times — think Hawkins — as on the opening tune “Morgantown.” Lovely and cool at other times — as on “Tomorrow,” whether you liked the musical Annie or not.
All saxophones played well are great to me, but tenor is the most satisfying; expressive and deeply touching. It’s why Kerouac called players of the instrument “tenorman.” They were special. Still are.
There are good songs all over the place. Preminger can’t remember what girl he wrote “My Blues for You” for, so it’s for all the girls you’ve loved. Ben Mondor’s guitar solo picks up Preminger’s mood but it almost hurts when his horn breaks off.
Monder steps out front in the intro to his composition “Animal Planet.” Real smooth. Then Preminger comes in with such melodic lines. A real favorite of mine.
On “Stir My Soul” and elsewhere, drummer Colin Stranahan sometimes annoys with his insistent pounding. Oh, he’s good but he doesn’t need to fill every available space. More Charlie Watts, less Keith Moon, please. Or listen to the next album (see below).
Still, he’s fine on the Dave Matthews song “Don’t Drink the Water.” The band makes you feel so good here as they start real smooth, go off into space and then return to the song’s melody.
“Motif Attractif” is a sweet little sendoff to close the album.
Preminger’s playing — ascending, descending, roaming, retuning — is just so sensitive to tonality, melody, timing and the other musicians that he is special to hear.
A haymaker in boxing can produce a knockout all on its own.
Terri Lyne Carrington
Money Jungle Provocative in Blue (Concord Blue)
Shoot for the top. Can’t hurt and it might work.
Drummer supreme Terri Lyne Carrington does just that with a reworking of Duke Ellington’s remarkable trio recording Money Jungle with Charles Mingus and Max Roach. She gathers up the superb piano of Gerald Clayton and bassist Christian McBride with a few others and nails it.
I’m kinda late reviewing this album that came out during the winter but it got buried in the stack and just has to be paid homage to the way she pays homage to Ellington.
Even when she throws in a few of her own songs she seems true to the Duke. I think he would have liked them. A lot. And Clayton gets his own cut, “Cut Off,” which also resonates as a true Ellington descendant.
But the Ellington tunes, oh yeah. A money hating downer narrative leading us into the album is overridden by the joyousness of the music that follows. Clayton’s piano complemented just perfectly by Carrington’s drumming. She understands that the spaces are as important as the hits.
The only jarring note in the tune “Money Jungle” is the music being interspersed with speech clips from various politicians. Doesn’t do much for me. Money may be the enemy of art, but try paying the rent without the coin from gigs and recordings. Politicians don’t do anything for art or anyone. They don’t make things better for anybody but themselves.
But back to Ellington’s music. “Fleurette Africain” demonstrates beautifully Mingus’ quote in the liner notes about simplicity.
“Anybody can play weird; that’s easy (and) making the simple complicated is commonplace. What’s hard is to be as simple as Bach. Making the simple, awesomely simple… That’s creativity.”
You’ll get it when you hear it. Simple. Note to note. Chord to chord. Builds, weaves but always simple. You hear every bit of it.
Same with “Backward Country Boy Blues,” with “Switch Blade,” with all of the Ellington compositions so lovingly handled here.
The wrap comes with “Rem Blues/Music” and the recitation of an Ellington poem within.
“Music is a woman . ..
When you think what you think,
She already knows”
Terri Lyne knows.
* * * * * * * *
To read more posts, reviews and columns by Brian Arsenault click HERE.
Singer-Songwriter and composer Rob Morsberger’s lyrics linger even if he can’t much longer.He has terminal brain cancer which, as he says, means:
Walking with “footsteps in the shadows . . . No light, only shade.”
When not much more can be expected from a tired love:
“Just be there to wake me up when I cry out in my sleep.”
When walking on the beach with one you love and watch the sand as the tide comes in:
“The waves erase every detail, driven by the wind blowing in your hair.”
And for those you treasure the most:
“This isn’t kindness, this is love.”
Rob Morsberger
Some of this was written years ago, some only recently, but it all seems particularly poignant now.
I wanted to write about Rob Morsberger’s work now so that maybe a few more people will care about him and his music while he’s still here. Many already do.
If you are real lucky, you saw some of his recent tour dates. Let’s hope for some more.
Cancer may claim him some time in the not too distant future, but that stinking disease can’t claim his music. And in that way and through his beloved sons, he’ll live on.
We are fortunate to have been given one treasure in the recent release of Early Work 1986-1995, a double CD look back.
His voice on the early stuff is less pleasing than on later work, but it’s expressive and compelling, as his lyrics always are. Here he gives us a bit of doo wop, zydeco, torch songs and plaintive ballads. As well as some angry images:
“The Dogs of Anger make a terrible sound . . . There is a killer instinct trying to break free.”
That could have been written only weeks, not decades, ago. Or maybe it’s that human nature in all its variations just doesn’t change.
Boones, our cat, only comes in to where I’m listening when a rare song plays. When she sits through it all, it’s really good. She entered and stayed for “Like/Dislike” from which the beach quote above comes.
“Everything comes down to what she likes and dislikes.”
I know. I keep quoting lyrics. This is a poet, folks, as well as a classically trained musician who has listened to everybody, really listened, be it Schubert, Dylan, Lennon or Patti Smith, with whom he has played. Playing and arranging for Patti would be enough for most of us.
The other recent gift is Part of You, for his youngest son with whom he holds hands on the album cover.
The title song rises like a hymn and continues like a libretto. A familiar of the best of classical church music. If I tried to convey what he says herein to his son I would only diminish it. But you can hear it.
“Jacob Wrestling with the Angel” is remarkable. Do you know the story of Jacob? In our secular age, we forget that The Bible contains many marvelous tales and we fail to read them out of fear — of what, I don‘t know.
Jacob is the guy who grapples with an Angel of God all night until he finally gets a blessing and a pardon of his sins. Jacob just won’t let go. I think Rob is wrestling with the Angel that is his Music. Can God, any god, deny that?
“The Russian Cartographer” is about someone he shared a hospital room with and I know something about that. From a busted up biker who risked the wrath of the nurses to have a smoke, to a mad North African wandering the hallway looking for his damaged head, such people pass by and leave you to your imagination.
“Good Laugh” is delightful and heart wrenching at the same time. I will always hear his son’s laugh somewhere deep.
Actually, the preceding two sentences could suffice as my review of Part of You. There isn’t much else to say that matters.
To read more reviews, posts and columns from Brian Arsenault click HERE
- Jan. 22. (Tues.) Vicki Ray. Piano Spheres. Exploration of contemporary music is at the heart of the Piano Spheres program. This time, adventurous pianist Ray (with a chamber ensemble of musician friends) interprets the music of Stravinsky as well as new works by composers from Asia, Europe and the U.S. Zipper Hall, Colburn School.
- Jan. 22 & 23. (Tues. & Wed.) Shen Yun 2013 World Tour. Founded by expatriate Falun Gong practitioners in New York, works to “revive the essence of 5000 years of Chinese culture” via extraordinary displays of Chinese classical, ethnic and folk dance. With Orchestra. The Fred Kavli Theater in the Thousand Oaks Civic Arts Plaza. (805) 449-2787.
- Jan. 23. (Wed.) The Monterey Jazz Festival on Tour. High quality music is the basic foundation of the MJF. And this rare evening underscores how captivating that music can get in the hands of artists such as Dee Dee Bridgewater, Christian McBride, Benny Green, Lewis Nash, Chris Potter, Ambrose Akinmusire. Valley Performing Arts Center. (818) 677-3000.
Mike Lang
- Jan. 23. (Wed.) Mike Lang. Pianist Lang’s long productive career reaches from Ella Fitzgerald and Ray Charles to Lee Konitz to Barbra Streisand, John Lennon and dozens of stops in between. He’s also recorded more than 2000 film scores. But here’s a chance to hear the ultimate inner Lang, musically up close and personal in a trio setting. Catalina Bar & Grill. (223) 466-2210.
- Jan. 23. (Wed.) “A Jazzy Tribute to the Negro Baseball Leagues.” Film maker and singer Byron Motley and special guests guitarist Phil Upchurch and pianist Corky Hale-Stoller celebrate the remarkable accomplishments of the great athletes of the Negro Baseball Leagues. Vitello’s. (818) 769-0905.
- Jan. 24. (Thurs.) John Beasley Residency III. The Monk’estra Big Band. Beasley’s impressive skills as a pianist and composer are applied to a fascinating evening of large group jazz. The Blue Whale. (213) 620-0908.
Stanley Clarke
- Jan. 24 – 26. (Thurs. – Sat.) Stanley Clarke Band. The brilliant bass playing of Clarke brings vivid life to wherever he plays. And it’s even better when he’s leading his own band of talented young artists. Catalina Bar & Grill. (323) 466-2210.
- Jan. 24 – 27. (Thurs. – Sun.) The Los Angeles Philharmonic. Conductor Ludovic Morlot, leads the L.A. Phil in a program of great classics – Beethoven’s Symphony No. 5, Mozart’s Piano Concerto No. 25 — and contemporary French composer Henri Dutilleux’sShadows of Time. Walt Disney Hall. (323) 850-2000.
- Jan. 26 & 27. (Sat. & Sun.) The Los Angeles Chamber Orchestra, conducted by Helmuth Rilling offers a rare performance of Mozart’s poignant Requiem and his classic Symphony No. 39. With the aid of the USC Thornton Chamber Singers. Sat: at the Alex Theatre. http://www.alextheatre.org Sun: At Royce Hall. http://cap.ucla.edu/visit/royce_hall.asp (213) 622-7001.
Roger Kellaway
- Jan 27, 28 and 29. (Fri., Sat. & Sun.) The New West Symphony. The N.W.S., under the baton of Marcelo Lehninger, performs the West Coast Premiere of “Visions of America: A Photo Symphony.” Music by Roger Kellaway. Lyrics by Marilyn and Alan Bergman. Photography by Joseph Sohm. Vocals by Judith Hill and Steve Tyrell. With piano by Norman Krieger. And a recorded narration by Clint Eastwood. Friday at the Oxnard Performing Arts Center, Saturday at the Thousand Oaks Civic Arts Plaza, and on Sunday at Barnum Hall in Santa Monica.
- Jan. 27. (Sun.) Ron Jones Jazz Influence Orchestra. The Jazz Influence Orchestra returns to Vitello’s for yet another banquet of big band jazz, played by the Southland’s finest musicians. To read a recent iRoM review of the Jazz Influence Orchestra click HERE. Vitello’s. (818) 769-0905.
Lisa Hilton
- Jan. 27. (Sun.) Lisa Hilton. Her highly personal style, as a pianist, a composer and an improviser, has established Hilton as one of the uniquely individualistic performers on the contemporary music scene. Vibrato Grill Jazz…etc. (310) 474-9400.
San Francisco
- Jan. 24 – 26. (Thurs. – Sat.) Joe Lovano’s Us Five. Adventurous saxophonist Lovano leads the way for his current Us Five ensemble, featuring Esperanza Spalding, James Weidmann, Otis Brown III and Francisco Mela. Yoshi’s Oakland. (510) 238-9200.
- Jan. 26. (Sat.) Turtle Island Quartet. The Grammy-winning string quartet, always trying out new ideas, offers a program of original works and music inspired by Django Reinhardt and Stephane Grappelli. Freight and Salvage. (510) 644-2020.
New York
- Jan. 22. (Tues.) Taarka. The husband and wife leaders of the acoustic group Taarka – the duo of mandolinist David Tiller and violinist Enion Pelta-Tiller — celebrate the release of their new CD, Adventures in Vagabondia. Barbes in Brooklyn. (347) 422-0248.
Ann Hampton Callaway
- Jan. 22 – 26. )Tues. – Sat.) Ann Hampton Callaway. Callaway not only has a gorgeous voice, she also knows exactly how to use it. And it’s especially memorable when she applies it – along with her talents as a musical story teller – to the classics of the Great American Songbook. Birdland. (212) 581-3080.
- Jan. 24 – 27. (Thurs. – Sun.) Omar Sosa and Paolo Fresu. They seem to be an unlikely combination – Cuban keyboardist Sosa and Italian trumpeter Fresu. But the stirring results of their partnership attest to the true globalization of jazz. The Blue Note. (212) 475-8592.
London
- Jan. 25 & 26. (Fri. & Sat.) Milton Nascimento. He’s one of the icons of Brazilian music, as a performer and as a composer. And at 70, he’s still going strong. Ronnie Scott’s. +44 (0)7439 0747.
Paris
- Jan. 24. (Thurs.) Steve Cropper and the Animals. The guitarist in Stax Records legendary house band, Cropper takes his unique blend of soul, blues, funk and beyond on the road with a band of eager associates. New Morning. n 01 45 23 51 41.
Berlin
Judy Niemack
- Jan. 22. (Tues.) Judy Niemack presents “New Voices in Jazz 2013.” A gifted, imaginative singer as well as an admired educator, Niemack introduces a collection of talented, if still relatively unknown young vocal artists: Zola Mennenöh, Laura Winkler, Anna Marlene Bicking and Sophie-Charlott Götte. A-Trane. 030/313 25 50.
Milan
- Jan. 23. (Wed.) Philip Catherine. Belgian jazz guitarist Catherine’s resume reaches from the ‘60s to the present with artists such as Dexter Gordon, Jean-Luc Ponty, Chet Baker, Charlie Mariano, Stephane Grappelli and more. At 70, his playing continues to be as eclectic as it is accomplished. Blue Note Milan. 02.6901 6888.
- Dec. 11. (Tues.) Sascha’s Bloc. A talented band of Eastern European musicians display their boundary-less jazz skills, spiced with touches of traditional sounds. Vibrato Grill Jazz…etc. (310) 474-9400.
- Dec. 11. (Tues.) Chamber Music. Members of the Los Angeles Philharmonic perform a program devoted to the works of four of the 18th century’s most vital composers: Bach, Haydn, Mozart and Zelenka. Disney Hall. (323) 850-2040.
Robert Davi
- Dec. 12 & 13. (Wed. & Thurs.) Robert Davi Sings Sinatra. The woods are filled with Sinatra simulators, but Davi – with the voice and skill to bring it off – captures the Old Blue Eyes musical essence in his own unique fashion. Vibrato Grill Jazz…etc. (310) 474-9400.
- Dec. 13. (Thurs.) Phil Ranelin and Tribe Renaissance. Trombonist/bandleader/educator Ranelin has been at the cutting edge of jazz since the ‘70s, still continuing to explore the music from fascinating new perspectives. The Blue Whale. (213) 620-0908.
Lee Ritenour
- Dec. 13 – 16. (Thurs. – Sun.) The Lee Ritenour Band featuring Mike Stern. Guitarists Ritenour and Stern, coming at jazz from far-ranging perspectives, blend their differing musical visions into a compelling evening of high flying improvisations. Catalina Bar & Grill. (323) 466-2210.
- Dec. 14. (Fri.) A Cappella Madness Christmas Concert. Inner Voices and The Cleanup Crue. A pair of the Southland’s finest a cappella singing ensembles celebrate the holidays with thrilling vocal harmonies. Vitello’s. (818) 769-0905.
Nancy Sanchez
- Dec. 14. (Fri.) Nancy Sanchez. Jazz singer Sanchez brings the flavors of her Mexican roots to an entertaining vocal style that easily crosses genres. Steamer’s. (714) 871-8800.
- Dec. 16. (Sun.) The Ron Jones Influence Orchestra. There are many fine big bands in Los Angeles, but Jones takes the usual instrumentation further, with a 22 piece ensemble that includes a French horn section. Expect to hear some fascinating sounds. Vitello’s. (818) 769-0905.
- Dec. 16. (Sun.) Bach Magnificat. The superb singers of the Los Angeles Master Chorale offer a classic Christmas program combining Bach’s marvelous Magnificat, first performed on Christmas Eve 1723, and Vivaldi’s Gloria. Disney Hall. (213) 972-7282.
Chicago
Cedar Walton
- Dec. 13 – 16. (Thurs. – Sun.) Cedar Walton Trio. Walton has been a first call pianist for years. Here’s a welcome opportunity to hear him in the spotlight with his own trio. Jazz Showcase. (312) 360-0234.
New York
- Dec. 11 – 16. (Tues. – Sun.) Medeski, Martin & Wood. The adventurous trio performs with a sequence of guest artists, including Aiyb Dieng, Nels Cline, Marc Ribot, Bill Evans and Marty Ehrlich. Contact club for schedule. The Blue Note. (212) 475-8592.
- Dec. 13 – 16. (Thurs. – Sun.) Kenny Barron/Dave Holland Duo. A pair of players who would be welcome in anyone’s rhythm section get together for a compelling jazz journey together. Jazz Standard. (212) 576-2232.
Copenhagen
Dena DeRose
- Dec. 14 & 15. (Fri. & Sat.) Dena DeRose. Pianist/singer DeRose, one of the best jazz vocalists of her generation, hasn’t received quite the attention her talents deserve. She’ll perform with the Danish trio of saxophonist Benjamin Koppel, bassist Jesper Lundgaard and drummer Alex Riel. Jazzhus Montmartre. (+45) 70 15 65 65.
Milan
- Dec. 11 – 13. (Tues. – Thurs.) The Three Ladies of Blues. A trio of fine blues artists – Joanne Bell, Harriet Lewis and Mary Thompson – display their soulful wares individually and collectively in an engaging program of the blues. Blue Note Milano. 02.6901 6888.
Tokyo
- Dec. 10 – 13. (Mon. – Thurs.) The Ron Carter Big Band. Versatile bassist/composer Carter takes a break from his stellar rhythm section work to showcase his arranging and composing skills with a large jazz ensemble. Blue Note Milano. 03-5485-0088.
- Nov 14. (Wed.) David Sanborn. Alto saxophonist Sanborn is the star of pop jazz, r & b and crossover. But at the heart of his playing is a deep involvement with the essential elements of straight ahead jazz. Catalina Bar & Grill. http://www.catalinajazzclub.com (323) 466-2210.
- Nov. 14. (Wed.) Alan Bergman. In partnership with his wife, Marilyn Bergman, Alan has written the lyrics for some of the most memorable songs of the past five or six decades. And they’re often best heard in his own quietly lyrical interpretations. Vibrato Grill Jazz…etc. http://www.vibratogrilljazz.com (310) 474-9400.
- Nov. 14. (Wed.) Barbara Cook. Tony Award-winning singer/actress Cook celebrates her long, productive career – she was 85 in October – with the Los Angeles Philharmonic in a program of great American song. Disney Hall. (323) 850-2000.
- Nov. 15 – 18. (Thurs. – Sun.) Steve Tyrell. A highly successful producer before he embarked on a singing career of his own, Tyrell has emerged as a vocalist with an appealing, jazz-driven style enhanced by the warmth of his Texas roots. Catalina Bar & Grill. (323) 466-2210.
Janis Paige
- Nov. 16. (Fri.) Janis Paige. If you remember the movie musicals of the ‘50s, then you’ll remember Paige from such films as Silk Stockings and Please Don’t Eat The Daisies. Decades in musical theatre and television followed, and the 90 year old Paige is still a delightfully effective vocal artist. Vitello’s. (818) 769-0905.
- Nov. 16. (Fri.) Cip & Cat. Saxophonist Gene Cipriano(Cip) and vocalist Cat Conner (Cat), backed by guitarist John Chiodini with special guest trombonist Dick Nash celebrate their fifth anniversary together and their first anniversary at the venue. Out Take Bistro. (818) 760-1111.
- Nov. 16 – 18. (Fri. – Sun.) The Los Angeles Philharmonic. An evening rich with musical variations. The Phil, conducted by Rafael Fruhbeck de Burgos, performs Haydn’s Symphony No. 6 and Cello Concerto in C, Albeniz’s Suite Espanola and Ravel’s Bolero. Disney Hall. (323) 850-2000.
Johnny Mandel
- Nov. 17. (Sat.) Johnny Mandel Big Band. Composer, arranger, band leader and songwriter, Mandel’s resume includes stints with Count Basie, Frank Sinatra, Barbra Streisand, Peggy Lee and many more. At 86, Mandel is now best heard leading his own band, playing his own well-crafted arrangements and compositions. Vitello’s. (818) 769-0905.
- Nov. 17. (Sat.) Buika. Spanish singer Buika, a native of Equatorial Guinea, who sings flamenco with an appealing blend of soul music and jazz rhythms, makes a rare Southland appearance. Luckman Fine Arts Complex. (323) 343-6610.
- Nov. 18. (Sun.) Quattro. The four talented members of Quattro – cellist Giovanna Clayton, violinst Lisa Dondlinger, guitarist Kay-Ta Matsuno and percussionist Jorge Villanueva (all of whom also sing) – have written and arranged all the diverse works they describe as Popzzical music. Vitello’s. (818) 769-0905.
- Nov. 18. (Sun.) Jackson Browne. He’s been writing memorable songs since the ‘70s, still producing prime selections. He’s joined in this performance by Sara Watkins, Jonathan Wilson and other special guests. Valley Performing Arts Center. (818) 677-3000.
- Nov. 18. (Sun.) The Los Angeles Master Chorale performs Monteverdi’s Vespers. This will be a concert to remember, with the gorgeous voices of the LAMC applying their magical touch to the lush vocal lines of Renaissance polyphony. Disney Hall. (323) 850-2000.
San Francisco
Ornette Coleman
- Nov. 17. (Sat.) Ornette Coleman. Since his arrival on the international jazz scene in the late ‘50s, Coleman’s compositions and alto saxophone playing have been among the music’s most persistently exploratory voices. An SFJAZZ event at the Herbst Theatre. (866) 920-5299.
New York
- Nov. 18 & 19. (Sun. & Mon.) An Intimate Evening with Stanley Jordan Solo. Jordan’s remarkable mastery of the guitar tap-on style has provided him with a virtual orchestral instrument. And he makes the most of it. The Iridium. (212) 582-2121.
- Nov. 19. (Mon.) Sheila Jordan and Steve Kuhn Duo. Their history together goes back decades. And they continue to make music together with a symbiotic creative togetherness. The performance celebrates Sheila’s 84th birthday. The Blue Note. (212) 475-8592.
Washington D.C.
- Nov. 15 – 18. (Thurs. – Sun.) Tuck & Patti. Guitarist Tuck and singer Patti have been together for nearly three decades. And their deeply intimate musical and personal relationship seems to improve and mature like fine wine. Blues Alley. (202) 337-4141.
Paris
- Nov. 16. (Fri.) John Scofield Trio. Always on the search for new ideas, guitarist Scofield gets down to the absolute jazz basics with his current trio. New Morning. 01 45 23 51 41.
Berlin
Judy Niemack
- Nov. 16. (Fri.) Judy Niemack & Jay Clayton. 2 Voices Flying. Niemack, a constantly captivating singer, bringing musicality, imagination and interpretive excellence to everything she touches, teams up with the equally adventurous and inventive Clayton. A-Trane. 030/313 25 50.
Milan
- Nov. 16. (Fri.) Tony Levin. “Stick Men”. Bassist Levin, who’s worked with a stellar list of artists in virtually every genre, steps out front with his own vocals. He’ll be backed by drummer Pat Mastelliotto and touch guitarist Markus Reuter. Blue Note Milano. +39.02.69016888.
Tokyo
- Nov. 18 & 19. (Sun. & Mon.) Michel Camilo and Tomatito. The dynamic duo of pianist Camilo and flamenco guitarist Tomitito come together with a magical blend of jazz and traditional Spanish music. The Blue Note Tokyo. 03.5485.0088.
- Oct. 17. (Wed.) Judy Carmichael Trio. Pianist/singer and all around dynamic entertainer Carmichael can bring a room to life with her powerful stride piano and deeply interpretive vocals. Click HERE to read a review of Carmichael in her last L.A. appearance. Vitello’s. (818) 769-0905.
- Oct. 17. (Wed.) The Dale Fielder Quintet Plays the Music of Pepper Adams. Special guests Gary Smulyan and Eric Reed. Catalina Bar & Grill. (323) 466-2210. Also performing Thursday (10/18) with his Quintet at Crowne Plaza, Friday (10/19) at SOKA Performing Arts Center , and Sat. (10/20) at Vibrato Grill Jazz…etc.
- Oct. 17 & 24. (Wed. & Wed.) Andras Schiff. Hungarian pianist, and widely respected interpreter of Bach, performs Book 1 of TheWell Tempered Clavier. This will be the first in a multi-season survey by Schiff of Bach’s solo keyboard works. Disney Hall. (323) 850-2000.
Babbie Green and John Boswell
- Oct. 18. (Thurs.) Babbie Green and John Boswell. Green and Boswell are a songwriting team who merit far wider attention than either their songs or their engaging performances have yet received. Don’t miss this chance to hear them offer some of the delightful material from their two-CD collection of originals and standards: How Should I Remember You? The Gardenia. (323) 467-7444.
- Oct. 18 – 20. (Thurs. – Sat.) Delfeayo Marsalis Octet. Yet another member of the gifted Marsalis family of New Orleans arrives to display his talents as producer, band leader and trombonist. Expect to hear selections from his CD tribute to Ellington and Shakespeare, Sweet Thunder.Catalina Bar & Grill. (323) 466-2210.
- Oct. 19. (Fri.) The Mavericks. The Grammy Award-winning Mavericks have spent the last two decades cooking up their inimitable brew of rock, pop, Tejano, Mariachi and a sprinkling of rockabilly. They’ll play some selections from a new CD, In Time. Valley Performing Arts Center. (818) 677-3000.
- Oct. 19. (Fri.) Sascha’s Bloc Band. Vitello’s. The mostly Russian and Eastern European players and singers in the Bloc Band have thoroughly mastered their jazz, swing and groove abilities. Click HERE to read a review of Sascha’s talented players in their most recent appearance at Vitello’s. (818) 769-0905.
- Oct. 19 – 21. (Fri. – Sun.) “Alice’s Adventures in Wonderland.” The superb National Ballet of Canada presents the U.S. debut of choreographer Christopher Wheeldon’s modern classic. Dorothy Chandler Pavilion at the Music Center. (213) 972-7211.
Lionel Loueke
-Oct. 20. (Sat.) Lionel Loueke. Born in the West African country of Benin, Loueke quickly applied his impressive guitar skills to a style blending his roots with a broad understanding of jazz. Rarely heard in Los Angeles, this is a rare opportunity to hear a uniquely individualistic jazz talent in action.Vitello’s. (818) 769-0905.
- Oct. 21. (Sun.) Lou Forestieri Duo. Pianist/composer Forestieri is always a pleasure to hear, especially for the spontaneous compositional crafting he applies to his free swinging solos. He’ll be accompanied by the equally thoughtful bassist Pat Senatore. Vibrato Grill Jazz…etc. (310) 474-9400.
- Oct. 21. (Sun.) Joanne O’Brien. Versatile singer O’Brien moves casually from classical to pop to jazz, doing it all with great authenticity. A cancer survivor, O’Brien titles her one night performance “Alive and In Concert.” Catalina Bar & Grill. (323) 466-2210.
San Francisco
- Oct. 17 & 18. (Wed. & Thurs.) Spyro Gyra. The ever appealing pop jazz group Spyro Gyra showcases their new album A Foreign Affair, with its sounds and rhythms from around the world. Yoshi’s Oakland. (510) 238-9200.
Eliane Elias
- Oct. 19. (Fri.) Eliane Elias. A fine jazz pianist, Elias was well known for her instrumental skills before she displayed equally engaging abilities as a singer. Her current band includes guitarist Rubens de la Corte, drummer Rafael Barata and bassist (and husband) Marc Johnson. An SFJAZZ event at the Herbst Theatre. (866) 920-5299.
New York
- Oct. 17. (Wed.) Judy Wexler. Her beautifully articulated vocals are among the great pleasures of Southland jazz. Now the Big Apple has a chance to hear Wexler in action. The Kitano. (212) 885-7119,
- Oct. 18. (Thurs.) Barbara Cook. The veteran singer/actress Cook – her career reaching comfortably from stardom in Broadway musicals to cabaret to classical art song singing – is still, at 84, a remarkably appealing performer. Carnegie Hall. (Perelman Stage) (212) 247-7800.
Jacky Terrasson
- Oct. 18 – 21. (Thurs. – Sun.) Jacky Terrasson Trio. French pianist Terrasson has thoroughly established himself as an authentic jazz artist, with a style that embraces his full musical history as a European and an international jazz artist. He performs with Burniss Travis, bass and Justin Faulkner, drums. The Jazz Standard. http://jazzstandard.net/red/index.html (212) 576-2232.
- Oct. 19. (Fri.) The Manhattan School of Music Jazz Philharmonic Orchestra, conducted by Justin DiCioccio, performs “The Symphonic Ellington,” showcasing rarely heard selections of Duke Ellington’s music for orchestra transcribed by David Berger. The Manhattan School of Music. (917) 493-4428.
- Oct. 19. (Fri.) Opera Shorts. The Remarkable Theater Brigade brings back their off-beat, but popular evening of ten 10-minute operas. The Opera Shorts include works by Carlisle Floyd, Seymour Barab, Ben Bierman, Richard Burke, Bern Herbolsheimer, Randolph Coleman, Graham Robb, Patrick Solluri, Christian McLeer and David Morneau. Eight of the operas in this remarkable line-up will be world premieres. Carnegie Hall (Zankel). (212) 247-7800.
Boston
- Oct. 18. (Thurs.) The Either/Orchestra. The ten piece band – approaching its 27th anniversary, is led by founder and primary composer Russ Gershon in a program of music leaping across genre lines through jazz from swing to bop to electric, from Ethiopian jazz to Latin music. Regatta Bar. http://www.getshowtix.com/regattabar/moreinfo.cgi?id=2737 (617) 661-5000.
London
Becca Stevens
- Oct. 16. (Tues.) Becca Stevens Band. Singer, guitarist, songwriter Stevens moves confidently from jazz and pop to folk and beyond, doing so in a blending of instrumental and vocal timbres that identify her as one of the most musically adventurous vocal artists of her generation. Jazz Club Soho. 020 7437 9595.
- Oct. 18 & 19. (Thurs. & Fri.) “Sound Prints.”Joe Lovano and Dave Douglas Make somewhat of an odd couple as the leaders of their own Quintet. But they’ve found a way to blend Lovano’s sturdy, straight ahead tenor saxophone with Douglas/ cutting-edge trumpet style. Ronnie Scott’s. 020 7439 0747.
Berlin
- Oct. 20. (Sat.) Grace Kelly Quartet. She’s just turned 20, but Asian/American Kelly has already released seven albums, displaying impressive skills as an alto saxophonist, singer, songwriter and band leader. A-Trane Jazz. http://www.a-trane.de 030/313 25 50.
Copenhagen
Lee Konitz
- Oct. 18 – 20. (Thurs. – Sat.) Lee Konitz Quartet. A true jazz original, alto saxophonist Konitz frequently appears in European club and festival events. This time out he leads an international ensemble, featuring Danish pianist Florian Weber, American bassist Jeff Denzon and Israeli drummer Ziv Ravitz. Jazzhus Montmartre. (+45) 70 15 65 65.
Tokyo
- Oct. 16 – 19. (Tues. – Fri.) The Duke Ellington Orchestra. Yes, it’s a so-called “ghost band,” carrying on the music of a great historical jazz ensemble…. And these guys handle the great Ellington collection of works with convincing ease, Blue Note Tokyo. 03.5485.0088.
Today Thelonious Sphere Monk would’ve turned 95 years old, and it’s hard to imagine a life without Monk’s music. The man who was named “The high priest of be-bop” taught me what it really means to swing musically. But although he’s credited as being one of the founders of be-bop, Monk’s music is a separate entity onto itself. There’s jazz, all other music, and then there’s the way Monk played and composed.
The first time I ever heard Monk was on a birthday anniversary marathon radio broadcast of his music on WKCR out of Columbia University in New York City, late at night. I was about 11 or 12. I recorded some of the music on my small cassette recorder.
My first impression was that the music sounded as if it were from another planet.
Thelonious Monk
Most of what I recorded that evening were some of Monk’s classic recordings for Blue Note records between 1947-1952, such as “Blue Monk,” “Well You Needn’t,” “Criss-Cross,” “Straight, No Chaser,” “In Walked Bud,” “Misterioso,” and “‘Round Midnight.”
As much as I was entertained by Monk’s sound, I really didn’t get it until a few years later when I was in high school.
During my freshman year of high school in Brooklyn, every Friday my friends and I would cut class, go get stoned at the local park, and steal cassettes from a tiny, local record store that we so brilliantly called “The Tape Shack.” This was the early ’90s and it was hard to find jazz and blues albums on CD. The ones I was interested in hadn’t been reissued on CD yet, and if you found one of the original LPs in good condition, it would cost you a pretty penny. The “Tape Shack” had a great selection of music issued on tape. One of my favorites was a Monk album titled Brilliant Corners (Riverside). The cover had a bizarre photograph of Monk smiling from 5 different angles as if his image were reflected from a fun house mirror. Below that image it read “With Sonny Rollins, Ernie Henry, and Clark Terry.” I was immediately blown away by the lineup which also included Oscar Pettiford, Max Roach, and Paul Chambers.
At the time, I was growing bored of the albums I was listening to over and over (mostly old blues, funk, and some jazz) and desperately needed a new sound, and I got it. My friend let me keep the tape and I took it home that night and re-discovered Monk. This time I got it.
I had already been exposed to Bird, Dizzy, Duke, Rollins, and some Miles, but everything about this recording felt different, although there was some connection to those other artists. His piano playing didn’t have that fluidity that I had heard in Bud Powell, Art Tatum, or Herbie Hancock. Monk played with a syncopation and percussiveness that I hadn’t heard in anyone else’s music. Now I loved that difference. Before, I didn’t appreciate that his playing and compositions were filled with humor, harmonic complexities, an economical approach to phrasing, huge spaces, and witty melodic themes. There was also a deeper understanding of the blues and gospel than most of the jazz I had been exposed to up to that point.
Thelonious Monk
In that earliest encounter, I often felt as if Monk would just slam together some odd chords that made no sense. This time, I realized that every note, chord, and nuance was completely intentional, purposeful, and perfect, and that was what made Monk like no other musician. Every note and every silence was deliberate; the space Monk would create would put a greater emphasis on what he would play. I finally felt the true swing of jazz that I thought I had known in the past. From then on, all music swung harder. I heard Bird, Miles, Coltrane, Rollins, and Blakey, in a new light. Monk had inspired and played with all of these artists and so many more. I was able to hear that divine syncopation in each chord, note, and phrase, in all of these other musicians, especially Miles, who built his whole career around Monk’s concepts of space and time.
After hearing that recording, I went out and found every Monk album I could, which wasn’t easy then. From his early Blue Note sides, to his bands with John Coltrane, Wilbur Ware, Sonny Rollins and Coleman Hawkins on Riverside, as well as his longest standing band on Columbia records from ’63 – ’68, with Charles Rouse on tenor sax, Larry Gales on bass, and Ben Riley on drums.
Being an obsessed musician myself, Monk still teaches me volumes. It doesn’t matter that I play guitar, bass, and harmonica, I now understand true syncopation in a thought out manner, with space, and fun, that gives me a curve above the countless many of musicians today who play a million notes all cluttered together at the same volume.
Monk even helped me gain a greater understanding of the blues, especially in players such as B.B. King, Albert King, and T-Bone Walker, in whom less was more as well as allowing silences to say more than a dozen notes could ever do. This became key for me in any musical context.
What I love most about Monk’s music is that although technically it’s very complex (as stated by so many of the greats who played with him, primarily the reedsmen), it’s so accessible melodically that you can hum or whistle his tunes in the shower just as you can with The Beatles. They stay with you forever.
An example of this approach was captured in a scene between Monk and famed producer Teo Macero in Charlotte Zwerin’s 1988 documentary on Monk; “Straight, No Chaser” (produced by Clint Eastwood).
It was 1967 and Monk and Macero were about to begin the recording sessions for the classic Underground album. Macero sat down at the piano, doodling a few notes and said to Monk; “So how about doing some free-form stuff?”
Monk replied “Nah, I want it to be as simple as possible so the people can dig it.” That’s all Monk needed to say. He then lapsed back into one of his long silences.
He spoke the way he played, saying very little but when he did, it was strong and straight to the point.
Monk was and will always be hipper, smarter, and harder swinging than anyone on this planet. Happy birthday Monk, thanks for giving us that endless swing found in all things.
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The following is a list of five essential Monk recordings.
1) Brilliant Corners (1956 Riverside) Monk, Ernie Herny, Sonny Rollins, Oscar Pettiford, Max Roach, Clark Terry, and Paul Chambers gather to play on Monk originals such as; “Brilliant Corners”, “Ba-Lue Ba-Lues Are, “Bemsha Swing”, and “Panonica”.
This is perfect example of Monk’s mid-50s compositions performed by an all-star band.
2) Thelonious Monk Quartet With John Coltrane At Carnegie Hall (2005 Blue Note Records) This album was lost for decades in The U.S. Library Of Congress and finally found in 2004. This is the closest most of us will ever get to hearing Monk’s legendary Five Spot band (John Coltrane: tenor sax, Shadow Wilson: drums, and Ahmed Abdul Malik on bass) with the exception of Malik on bass, replacing Wilbur Ware of the original Five Spot band. The sound is as perfect as the performances on this Holy Grail of live jazz recordings.
3) The Best Of Thelonious Monk: The Blue Note Years (1991 Blue Note Records)
Although I don’t usually recommend best of compilations because they often seem artistically glib and touristy, this is a wonderful collection of Monk’s original be-bop classics on Blue Note, from 1947-1952. “’Round Midnight,” “Blue Monk,” “Skippy,” “Ruby My Dear,” “Straight, No Chaser” and many other now be-bop standards are featured here with amazing accompaniment by Max Roach, Art Blakey, Milt Jackson, Kenny Dorham, and Lou Donaldson.
4) Monk’s Music (1957 Riverside) Although Monk continued to re-record many of his classic Blue Note pieces over the years (as is the case here), they would always sound different depending on the band. Here Monk is joined by John Coltrane, Coleman Hawkins, Gigi Gryce, Ray Copeland, Wilbur Ware, and Art Blakey. The lineup alone makes this and essential purchase for any music lover.
5) Underground (1967 Columbia Records) This is Monk’s second to last album for Columbia (and of his career) with his most recorded band; Charles Rouse: tenor sax, Larry Gales: bass, and Ben Riley on drums. Monk presents some brand new brilliant compositions such as “Ugly Beauty,” “Raise Four,” “Boo Boo’s Birthday” and “Green Chimneys.” Monk sounds as if he’s in his prime and by this point the band had an almost telepathic connection. This is Monk’s strongest recording for Columbia.
* * * * * * * * * * * * * * * * * *
Finally, here’s a video example of the master at work, displaying his ability to cover someone else’s material, change the voicing and harmonies, and make it his own.
“Just A Gigolo” ( I. Caeser, L. Cassuci)
To read more posts, reviews and columns by Devon Wendell click HERE.
Of Faraway Places with Strange Sounding Names (Like Nebraska)
By Brian Arsenault
Nik Bartsch
Nik Bartsch’s Ronin Live (ECM)
I have been Swept Away by music from such exotic places as Albania, Switzerland, Brazil and Nebraska. What’s exotic about Switzerland, you ask? Meet Nick Bartsch and his Ronin if you haven’t before. We’ll continue our journey once you’ve fallen under their spell.
Melancholy comfort on a cold, gray day. Sun worship on a bright one.
Sometimes called a Zen funk group, Ronin is more of a Transporter in time and space. Smooth jazz will suddenly funk up to a frenetic rock pace. Leader Nik Bartsch’s piano runs will dazzle. His Fender Rhodes playing adept and exhilarating.
Double bass, clarinet, sax and varieties of percussion intermingle and enhance. This is the background or theme music you might want for your life to keep you focused on painting, writing, carpentry, walking in a glen — anything that flows from you or through you at a truer level.
I can’t give you song by song descriptions because that’s not what matters here. It’s an immersion in mood and rhythm, thought and feeling. I also can’t give you many comparisons to more familiar music. It is that unique, though I think it may be a distant cousin to Quicksilver Messenger Service’s Happy Trails, one of the first rock concert albums building on themes and variations and shooting off in surprising directions.
Ronin aficionados may say that is a crazy contention but rock n rollers may feel it.
Elina Duni Quartet
Matane Malit (Beyond the Mountain) (ECM)
Switzerland is also a home for the Elina Duni Quartet but they have journeyed to that most unknown (to most of us) nation, Albania.
Artists and intellectuals like those from Elina Duni’s family avoided folk music when the commies were running Albania because the songs were twisted and perverted to propaganda, to glorify the state purposes. In fact, they often avoided even Albania itself and Duni was just ten when she left.
With the collapse of the Eastern Bloc and a return to more of a free market and free political system, jazz singer Duni could return to Albania physically and spiritually to find the folk songs of an earlier time.
The results are presented here with all the poignant beauty of a difficult place. There is an aching tenderness to her voice which is well balanced by Colin Vallon’s piano.
Of course if you don’t know the language, her voice can only be another source of beautifully played notes in a quartet. As I listened to the powerful emotions in the singing of these songs I knew I was missing something by not knowing the language.
When I later read the lyrics in the album notes’ English translation, I realized the poetry of sadness and yearning that was present in Albanian culture during and before the communist days. This, alas, was also a country that knew Mussolini’s fascist fist before the iron grasp of communism. What’s to say when your best days were as part of the Ottoman Empire?
Eliane Elias and Marc Johnson
Swept Away (ECM)
Eliane Elias, former child prodigy in her native Brazil, eventually brought her piano to the United States while Marc Johnson, a symphony musician by 19, had to carry that upright bass from Nebraska to Texas. Now they rattle around in a house in the Hamptons, big enough for their instruments and quiet musical vision.
The title song that opens the album seems so delicate that it might float off the CD. “It’s Time” follows with Joe Lovano playing note by note like a younger Coleman Hawkins. The bass can underscore the piano, the piano can underscore the bass and both can underscore Lovano’s sax.
Truth to tell, though, there are places like “Foujita” that perhaps shouldn’t be played for the seriously depressed unless you are interested in population control.
Taken as a whole, their music can at times border on the boring for those raised on the speed and fill-all-the-gaps of American music from swing to bebop to rock ‘n roll. We had to move quickly from cars to jets to internet instant, after all.
The mostly slow pace of Johnson and Elias — though “One Thousand and One Nights” flows and bounces like a more nuanced Vince Guaraldi — occurs elsewhere on the other two albums as well, characteristic of producer Manfred Eicher and ECM.
American listeners and others accustomed to our zoom through life may find their minds drifting at time. But that’s because the rewards of the ECM style are subtle and contemplative. “The most beautiful sound next to silence” is the ECM motto.
Maybe it could help us.
To read more reviews, posts and columns from Brian Arsenault click HERE.
Posted by irom 
I have been Swept Away by music from such exotic places as Albania, Switzerland, Brazil and Nebraska. What’s exotic about Switzerland, you ask? Meet 
Switzerland is also a home for the 
