Frozen jazz: four December albums
Winter! Jazzmen, triumphant … What are they doing? Yes, like everyone else – freeze and think. And they have interesting collaborations and very beautiful, chamber works. So, once again loud archival research, unexpected duets and bold treatment of the classics.
November »The famous Polish composer, pianist and festival organizer, Krzysztof Kobylinski, collaborates with many American jazz stars: everyone is delighted with his music. This is said by Randy Brecker, and Mike Stern … It is clear that Polish jazz has deep and powerful roots – I’m generally silent about classics — history and so on. It is more important that it is completely European in spirit – coldish, melodious, academically accurate and ethnically spiritual. In this sense, Kobylinski and the Frenchman Eric Truffaz combine perfectly … he is a soloist here, which happens to him infrequently. Yes, in general: it’s a whole album of someone else’s music to play – this is the first time with Truffaz. But here he is completely organic, his music – in fact. A Pole with a Frenchman – soul mates, no doubt! Apple.Music, Yandeks.Muzyka, DeezerFrank Morgan & George Cables “Montreal Memories” Another interesting edition of the new material. From, so to speak, the shadow geniuses of jazz. A duet of exquisite pianist George Cables (worked with Art Pepper) and park-like alto saxophonist Frank Morgan. With Morgan, in general, is a fantastic story: having begun brightly in the 50s, he then dropped out of the musical get-together for almost three decades, almost completely, for he was sitting on heroin and now in prison. In the 80s, he finally tied up with everything (quite!) And began to release records curious. Master, of course; I don’t want to think about how much was lost … With Cables, they released the duet album Double Image in 1987. And here their duet is in the concert version. Plays from the album (“After You’ve Gone”, “Helen’s Song”, “All The Things You Are”) plus a few standards. “A Night in Tunisia” was made in a very original high-speed arrangement. It is interesting to compare it with another duet interpretation – Morgan and John Hicks on the album “Two Together”. There it is completely different
Oleg Grymov Quintet “Masala Life” The first solo album of a Moscow saxophonist / flutist / clarinetist Oleg Grymov could be called poly-stylistic. It really connected Russian folklore, oriental influences, academic music (impressionists) and jazz itself. It is possible, but not worth it, because: a) the mixture turned out to be whole, homogeneous, b) the album itself is a single piece with a clear form. And in liner notes, Grymov’s classmate, the famous saxophonist Alexei Kruglov, describes this work with the phrase “the score of life-giving space with its amazing moods and semantic, associative load”. I note the piquancy of the Harbin quasi-eastern play (the author has been there, in practically the homeland of the national jazz – the Lundstrem orchestra from this Russian-Chinese town). In Vladimir Tarasov’s play Tapestry # 3, Grymov plays the bass clarinet with such a deep and rough sound that the spine is itchy (if you suffer from synesthesia, then you better not listen … or take a seat!). From magic tricks: the standard “My Favorite Thing” has been harmonized by remaking it into something called “Anything X”; Debussy’s piano prelude “La cathédrale engloutie” has become a modern soft-jazz piece with a witty-woven saxophone part, rhythm section and pompous electric guitar.
Charles Mingus “Jazz in Detroit / Strata Concert Gallery / 46 Selden” You will, of course, laugh, but in the jazz past a lot of new things happen. After the discovery of the “Unknown Album” by John Coltrane is a no less valuable find. Charlie Mingus live recordings in Detroit in February 1973. As many as 5 discs of unknown material that drummer Roy Brooks found in her home. The abundance of music of excellent quality in a beautiful record – it’s all clear, of course, but there is one more wonderful moment. The fact is that the composition here for the Mingus group is somewhat not typical, not only in compact size, but also by musicians. These are: Brooks, saxophonist John Stubblefield (at one time, by the way, who played in Russia already in Novokuznetsk), trumpeter John Gardner, pianist Don Pullen. Not Minggus people, so to speak. And they play something from a hard-lyric bop to a straight avant-garde, to which Mingus was almost disgusted, but it was in this direction that Pullen then moved. This composition did not last long, but, as we see, it left an interesting testimony for eternity.