http://www.fojazz.com/index.php/reviews/ Reviews of new and classic jazz recordings by Forrest Dylan Bryant en fo@fojazz.com Copyright 2008 2008-06-15T19:00:00-08:00 http://www.fojazz.com/index.php/reviews/after_the_city_has_gone_quiet/ http://www.fojazz.com/index.php/reviews/after_the_city_has_gone_quiet/#When:19:00:00Z From the March 2008 issue of JazzTimes… Recorded over a three-day period in 2004, this two-disc set of stark improvisations places pianist Gestrin in ever-changing trio, duo and solo settings with a dozen compatriots from Vancouver’s creative music scene. The pieces are quiet and roomy, suffused with a cool northwestern mist as they roam through soft scribblings, mysterious foreign landscapes and composed-sounding impressionist sketches. Remarkably, the diverse pieces all feel like parts of a planned whole, a freeform Zen suite to be contemplated and absorbed. Modern Jazz 2008-06-15T11:00:00-08:00 http://www.fojazz.com/index.php/reviews/the_masters_return/ http://www.fojazz.com/index.php/reviews/the_masters_return/#When:18:26:01Z From the March 2008 issue of JazzTimes… Christian Fabian’s band swings easily over this mix of new and classic bop tunes, serving them straight up and showing excellent poise. Fabian’s fat basslines and upbeat attitude set up several tasty solos, leaving pianist Mike Longo and drummer Lewis Nash plenty of room to make their own warm statements. Guest trumpeter Jimmy Owens and sax man Andres Boiarsky goose some of the uptempo numbers into a funkier space, while the trio casts a golden glow on ballads. Modern Jazz 2008-06-14T10:26:01-08:00 http://www.fojazz.com/index.php/reviews/peter_evans_quartet/ http://www.fojazz.com/index.php/reviews/peter_evans_quartet/#When:18:45:01Z From the March 2008 issue of JazzTimes… In his noisy debut as a bandleader, trumpeter Peter Evans squeezes forth brash sounds at once familiar and obscure. Unspooling long, spiky reels of notes in stream-of-consciousness fashion and flying to the extremes of his instrument’s tonal range, Evans tosses his ideas into a great, haphazard heap of tottering phrases. Brandon Seabrook chunks and trills on guitar, also adding murky electronics at opportune moments, while drummer Kevin Shea kicks at the foundations and bassist Tom Blancarte crafts a wry running commentary. Modern Jazz 2008-06-13T10:45:01-08:00 http://www.fojazz.com/index.php/reviews/manic_moments/ http://www.fojazz.com/index.php/reviews/manic_moments/#When:17:42:00Z From the March 2008 issue of JazzTimes… Featuring a trio, quartet and septet, organist Gary Brunotte’s fourth album shifts from cool Brazilian breezes to twitchy urban struts, and from haunting balladry to happy stomps. He switches instruments as well, supplementing his gleefully sneaky approach to the organ with gentle piano, tender accordion and some throaty vocal turns. The disc is unified by Brunotte’s sunny spirit: Whether he’s creeping stealthily across Jimmy Rowles’ “The Peacocks” or parading a children’s choir through “Mas Que Nada,” his love of the material shines through. Modern Jazz 2008-06-12T09:42:00-08:00 http://www.fojazz.com/index.php/reviews/one_peace/ http://www.fojazz.com/index.php/reviews/one_peace/#When:18:55:00Z From the March 2008 issue of JazzTimes… Gregg August’s sophomore release grabs you by the collar, gets directly in your face and growls, Listen. Loaded with streetwise postbop tunes, the disc rides in on the leader’s low, suspenseful bass riffs and a rock-solid band with as much forward momentum—and as many quick turns—as a roller coaster. There are plenty of persuasive solos, too, with John Bailey’s gritty trumpet, Myron Walden’s odd sax angles and E.J. Strickland’s drum bashing sitting particularly well opposite Gregg’s chewy, elastic sound. This is a winner. Modern Jazz 2008-06-11T10:55:00-08:00 http://www.fojazz.com/index.php/reviews/real_and_imagined/ http://www.fojazz.com/index.php/reviews/real_and_imagined/#When:21:02:00Z From the March 2008 issue of JazzTimes… With a bright, crisply articulated guitar tone and a slippery attack, Dave Allen takes an exceptional quartet on a spin through nine original tunes, showcasing both his own subtle compositional style and the seamless interplay of his band. Saxophonist Seamus Blake projects a smoothly undulating linearity against Allen’s more circular solo approach, while bassist Drew Gress and drummer Mark Ferber provide gentle yet irresistible force. Melodious and buoyant throughout, this set is easily approached but yields a rich listening experience. Modern Jazz 2008-06-10T13:02:00-08:00 http://www.fojazz.com/index.php/reviews/live/ http://www.fojazz.com/index.php/reviews/live/#When:22:09:00Z Originally hailing from Eastern Europe, the dynamic pianist Kristjan Randalu and mercurial percussionist Bodek Janke are all but unknown to American jazz fans. But the pair belong among the top rank of modern jazz innovators, as evidenced by this thrilling live session recorded in Germany in May 2007. The visceral excitement and engrossing interplay captured on this disc almost defy description: each player sounds like an extension of the other, as Randalu’s outstanding rhythmic instincts mesh seamlessly with Janke’s constantly shifting blend of drums, mouth percussion and assorted sounds. The brilliant, acrobatic “Confidance” blasts off like a lost collaboration between Chick Corea and McCoy Tyner. Standards are playfully warped and refracted as if by funhouse mirrors, while “Hinken” and the traditional Estonian tune “Igaühel oma pill” are carried off to some unnameable, exotic land. In all, it’s a remarkable journey that calls for repeated listenings, and demands greater recognition for Janke and Randalu on these shores. Modern Jazz 2008-04-26T14:09:00-08:00 http://www.fojazz.com/index.php/reviews/moment_in_time/ http://www.fojazz.com/index.php/reviews/moment_in_time/#When:17:51:00Z Recorded in 2005 but only recently released in the U.S., the second CD by Canadian saxophonist Richard Underhill is a hard-swinging modern jazz romp that just seems to get better as it goes along. Underhill’s melodies are relatively simple, giving his tunes a fresh yet classic sound that’s both welcoming and galvanizing. Pianist Luis Huerra adds a strong harmonic boost, bouncing hip, energetic phrases against Underhill’s joyous alto sax lines. The ten original compositions make for a fun ride from start to finish, but “Morse Code” goes above and beyond as Underhill and Huerra each threaten to overheat above a thrilling rhythmic drive from bassist Mike Milligan and drummer Joe Poole. Modern Jazz 2008-04-22T09:51:00-08:00 http://www.fojazz.com/index.php/reviews/song_for_chico/ http://www.fojazz.com/index.php/reviews/song_for_chico/#When:04:17:00Z This second CD by Arturo O’Farrill’s mighty 18-piece band carries all the craftsmanship and style of the ensemble’s former sponsor, Jazz at Lincoln Center.  It’s a study in precision, with bold, intricate arrangements and beautifully rendered performances, recalling the glory days of mambos and cha-chas but also thrusting forward with an eye towards advancing the art form. O’Farrill’s deft leadership and majestic piano guide the group through eight tricky charts, from the classic “Caravan” and “Picadillo” through a few numbers by his illustrious father Chico O’Farrill, and culminating in daring postmodern compositions from Dafnis Prieto and Tom Harrell. But while the emphasis here is more on structure and ensemble than individual pyrotechnics, there’s plenty of that, too: trumpeters Michael Rodriguez and Jim Seeley consistently push the music higher, while veteran saxophonist Bobby Porcelli takes time out for a brilliant soliloquy in the title cut. Modern Jazz 2008-04-20T20:17:00-08:00 http://www.fojazz.com/index.php/reviews/musically_yours/ http://www.fojazz.com/index.php/reviews/musically_yours/#When:20:55:00Z This loving tribute to the late Joe Henderson finds Washington, DC saxophonist Paul Carr at the head of a powerhouse band, well suited to the hard-hitting swing and burning themes of Henderson’s uptempo numbers but also subtle enough to bring out the uplifting quality of his slower tunes. Focusing on some of Henderson’s lesser-known compositions, Carr charges ahead with a burly tone, full of honks, squeals and other expressions of exuberance. Terell Stafford flies high with some hot, sassy trumpet solos while Mulgrew Miller chugs, tumbles and riffs on piano. A tireless rhythm tandem of bassist Michael Bowie and drummer Lewis Nash keeps things grooving, while Carr digs in and spreads the joy around. A sprinkling of original and classic tunes in a Hendersonian vein change things up while maintaining the overall vibe. It’s a wonderful record. Modern Jazz 2008-04-19T12:55:00-08:00