Any kind of art: five new jazz albums with interesting themes
Jazz sound recording met with spring redeployment of forces. There are projects with unexpected concepts, which seem to have nothing to do with music. New curious supergroups appear, and the old ones shake up the compositions, reconsider their views and simply do not stand still. Like March snow.
Jeremy Pelt “Jeremy Pelt the Artist” Portrait of a musician as an artist – a concept album by trumpeter Jeremy Pelt. Which turned out to be also a fan of all kinds of plastic arts – he wrote “Rodin Suite”, in honor of, of course, Auguste Rodin. Parts are called after famous sculptures – “Call to Arms”, “Eternal Spring” – nothing specific. “The Call” begins with repetitive piano arpeggios, which are more likely to resemble Philip Glass than the more appropriate Sati or Debussy here, although there is something Ravel in all this. “Spring”, this masterpiece of high eroticism, is generally played as just romantic jazz. In Watercolors (“Watercolors”) you can, if you wish, hear the transparent colors in the vibraphone part played by Chien Chien Liu. The famous “Thinker” (Penseur) is not here, but everything is permeated by a certain Thought, only Pelt is understandable. But if objectively – a well-invented album, with inspiration and understandable beauty. In this sense, he is very Roden, really. Apple.Music, Yandex.Music, DeezerMats Eilertsen Trio (with Harmen Fraanke and Tomas Stronen) “And Then Comes The Night” I saw contrabassist Mats Aylertsen in Norway in his homeland and with his trio. In general, he is probably the second Scandinavian bass player – after Ingebrigt Hocker-Flatan. At 44, he is a star of the genre, a very sought-after musician. I beat with many, from my team SkyDive to Trygve Diet. Diverse, but with indestructible Scandinavian “chip”, for which, in fact, the records of these guys and love. And which are records, but not guys – that’s why they go into the ECM catalog so well. There are few notes, no mood swings, everything seems to be smooth and dim, like a winter afternoon in the north of Norway (although this is not as scary as it seems). But it is as if ice of different shades and configurations. “Albatross” – mimesis, the sound of the sea in the drums of Thomas Strenin, a bright thing. The calm-rocking “Solace”, where the Dutch pianist Harmen Franje is shining: his part is Griggian moods, beautiful sound and dizzying bead technique. And “The Void” is the benefit of Mats. She keeps on a thick-sounding, with a percussion effect, double bass, and in this sense, Eilertsen here is really the spiritual heir of Charlie Mingus. meditative thing, beautiful and diverse. Ravi Coltrane’s tenor and sopranino saxophones here are piquantly contrasted with the rough, muddy pipe of Alessi. But everyone has their own beautiful sound, and combinations of these instruments play with contrasts and contrasts. The bass of Dru Gressa shakes, Mark Ferber’s drums slightly “run away”, from which the musical canvas breathes and moves like a thin sail.
Chris Potter “Circuits” One of the best tenor saxophists of the middle generation, Chris Potter decided to record a “groove” album. Actually, in this he is special: broken rhythms, plus a deep swinging rhythm, plus violent phrases of the saxophone. That is, modern creative bop at its best. If you love Mark Julian, Donnie McCaslin – this is the one for you. The plays on “Circuits” are all of the above plus “anti-jazz sound”: interesting timbre combinations of instruments, samples and noises. The bright part of the palette is the “fatal” keyboard player James Francies. And here Potter indulges in guitars and a sampler. But his tenor is just a king! Juicy sound, phrasing – like a whip. The killing rhythm section consists of top drummer Eric Harland and bassist Linley Martha. By the way, the bass is recorded on just four tracks, the rest of the bass parts play the keys.
Rymden “Reflections and Odysseys” The album is an event already at the composition level. Pianist / keyboardist Bugge Wesseltoft and the rhythm section from the Esbjorn Svensson Trio, who tragically died almost 11 years ago. To tell the truth, Dan Berglund and Magnus Estrem are not just the “rhythm section”, they were like Eddy Gomes and Paul Motyan in Svensson under Bill Evans – i.e. just parts of the body, sorry for physiologism. Having lost a friend-chef (Esbjörn drowned by tragic accident, diving with an aqualung), they did not part. Bugge is certainly not Esbjorn, if only because the first is Norwegian, the other is Swede, respectively. Joke. It’s not about nationalities, it’s just that both of them are known for expanding their ideas about European jazz, but each went his own way. Bugge – electronic and zamorochenny, Esbjorn – acoustic, melodic, with a fatal drive. Two parallel for the time being Scandinavian jazz. But something gives us the right to combine it all into “Scandinavian jazz”, not only the citizenship of the musicians! And here are two approaches united