Record Reviews

PIERLUIGI BALDUCCI ~ BLUE FROM HEAVEN DODICILUNE 303 (Barcode: 8033309693033) ~ ITALY ~ Jazz Recorded: 2012 Released: 2012 This is an album by Italian electric bassist / composer Pierluigi BalducciFind albums by this artist, recorded in a quartet setting with American oboist / saxophonist Paul McCandlessFind albums by this artist, British pianist John TaylorFind albums by this artist and Italian drummer Michelle RabbiaFind albums by this artist. The album presents ten tracks, one of which is a bonus alternate take, all but two composed by Balducci and one each by Brad MehldauFind albums by this artist and Charlie HadenFind albums by this artist. The album was released by the excellent Italian DodiciluneFind albums on this label label, which is the home of many excellent albums. The music is a superb collection of mostly original compositions, brilliantly executed by the quartet of first class musicians. Balducci’s electric bass is given a lot of exposure, as appropriate for a leader / composer, and his playing is wonderfully melodic and round. McCandless is given most of the solo space, and he is the usual “Pied Piper of Hamelin”, weaving the endless oboe and soprano saxophone parts, like only he is able to. Tylor is, as always, heartbreakingly lyrical and provides sublime harmonic support and occasional brilliant solos. Rabbia keeps the proceeding rolling in a tight rhythmic frame. Together they are simply a blissful European Jazz experience. McCandless, although American, is an ideal partner here, as his approach to Music in general, and Jazz in particular, always was much more open and appreciative of European aesthetics, as well as World Music influences, making him a true Global artist. His work with Oregon and his extended recording legacy, which spans well over a hundred albums, earned him a universal respect among his musical peers. Overall, this is a wonderful album, full of beautiful lyrical music, with perfect harmonies and heartwrenching melodic themes, performed by some of the best musicians out there, and although probably completely unfamiliar to most Jazz listeners, is absolutely worth being discovered, which I wholeheartedly recommend of course.

Updated: 29/01/2025Posted: 29/01/2025

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ANDRZEJ JAGODZINSKI TRIO ~ BACH STUDIO REALIZACJI MYSLI TWORCZ (Barcode: 5907222840047) ~ POLAND ~ Jazz-Classical Fusion Recorded: 2020 Released: 2020 This is an album by veteran Polish Jazz pianist / composer Andrzej JagodzinskiFind albums by this artist recorded with his fabulous trio with bassist Adam CegielskiFind albums by this artist and drummer Czeslaw BartkowskiFind albums by this artist. As the title suggests, the album is dedicated to the music of Johann Sebastian BachFind albums by this artist and presents six of his compositions, beautifully transformed into the Jazz idiom. Playing Bach by Jazz musicians is of course nothing new and the romance goes back to the early 1960s, when French pianist / composer Jacques LoussierFind albums by this artist made a grand career by Jazzing up Bach’s compositions for the crowds, and many other Jazz musicians since tried to tackle this task, including Keith JarrettFind albums by this artist and Brad MehldauFind albums by this artist, with varying results. Bach’s music, which undoubtedly is one of the absolute pinnacles of Human artistic ingenuity, in most cases is best served by being left alone in its original form and shape, with rare exceptions. I am happy to see (or rather hear) that Jagodzinski and his trio are up to the challenge of successfully transforming Bach’s music into the Jazz realm, served by their great sensitivity, talents and of course extensive experience. They manage to avoid trivializing this great music, keeping the original sense of flow, melody and rhythm intact, and adding the Jazzy ornamentations with carful respect of the original compositions. This is not altogether surprising taking into consideration the sublime Jazz oriented interpretations of the music by Polish National composer Frederic Chopin, which Jagodzinski and his cohorts managed to create in the past. The performances are absolutely stellar, as expected, and although the piano is naturally in the epicenter of the sonic experience, the rhythm section also contributes some superb parts, which deserve no less admiration. Personally I hear a bit of Chopin on these interpretations of Bach, which again is hardly surprising, as Chopin’s music flows in the blood (or sub consciousness) of every Polish musician at all times. Overall this is a wonderful album in every sense, both emotionally and intellectually, which deserves to be heard by every true lover of Jazz-Classical Fusion, Bach’s followers and Jazz piano trio enthusiasts all over the world. A true elixir for mind and body at these crazy days of misfortune and suffering. On a personal note, almost exactly to a day last year I had the immense pleasure to attend a concert at a small Jazz club outside of Warsaw, where messieurs Jagodzinski, Cegielski and Bartkowski (and others) were performing. This was an unforgettable evening of great music and friendship, especially since it was the last live concert I managed to attend before the pandemic and the last time I was abroad…

Updated: 05/02/2021Posted: 05/02/2021

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KONITZ / MEHLDAU / HADEN / MOTIAN ~ LIVE AT BIRDLAND ECM 2162 (Barcode: 602527369877) ~ USA ~ Jazz Recorded: 2009 Released: 2011 This is a live recording made at the legendary NY Jazz club Birdland by a quartet comprising of four legendary American Jazz musicians: saxophonist Lee KonitzFind albums by this artist (born 1927), pianist Brad MehldauFind albums by this artist (born 1970), bassist Charlie HadenFind albums by this artist (born 1937) and drummer Paul MotianFind albums by this artist (born 1931) – which of course makes Mehldau about half the age of the other players. The quartet plays six standards, keeping the music at a slow and contemplative mood, as appropriate for the occasion but also quite free and stretched out, way beyond what one might have expected. Obviously none of these Masters needs to prove anything to anybody any more and they obviously enjoy themselves immensely throughout. Mehldau is playing perhaps a bit more forcefully than the others, but not aggressively and Haden appears to be at his full might, playing brilliantly. Considering the sad reality that this might be the last recording by any of these veterans, this is something to be definitely well remembered by. Respect! Visitors' Comments Christopher  Brice I have to say I found this album very difficult, not just on first playing but for many playings; it sounded to me as if the four musicians were playing in different recording studios, and just happened to be recorded onto one disc - stretched out indeed! I was very surprised because I have heard and loved many recordings of the three veterans playing together live. But the CD player in my car broke down and would not let it out, so I heard the album many more times than I would have bothered with otherwise, and suddenly two days ago it all came together as I listened, and now I would not want to take it out if i could! Truly masterful!!

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KUBA PLUZEK ~ ELEVEN SONGS V 007 (Barcode: 5903111377069) ~ POLAND ~ Jazz Recorded: 2014 Released: 2015 This is the second album by young Polish Jazz pianist / composer Kuba PluzekFind albums by this artist and his first solo piano outing. It presents, as the title suggests, eleven "songs", or rather compositions, treated in a very melodic way, two of which are his own compositions and the remaining nine are by Polish (Zbigniew WegehauptFind albums by this artist, Andrzej KurylewiczFind albums by this artist) and other (Brad MehldauFind albums by this artist, Michel PetruccianiFind albums by this artist, Dave HollandFind albums by this artist) Jazz musicians / composers or by non-Jazz cinematic composers (Hans ZimmerFind albums by this artist, Luis BacalovFind albums by this artist). From the very first notes of this album it becomes immediately apparent that Pluzek justifies all the high hopes expressed as a result of his debut album a couple of years earlier. His technique and touch are completely fluid and seamless, which is quite exceptional at his age. His choice of material seems to be no less intelligent and sophisticated than the actual performance, creating a roundness and sense of continuity, which only a few solo piano albums are able to achieve. The piano playing style Pluzek utilizes on this album is based on extended continuous left hand arpeggios and the right hand stating the melody lines and chord progressions, which is somewhat similar to early Keith JarrettFind albums by this artist solo piano work, and is equally effective. His ability to play around with the tempi and producing a wide range of dynamic shifts is also impressive. But beyond the technical facets of his playing, Pluzek expresses a beautiful lyricism and romance, which only the greatest piano players are blessed with. His interpretation of the classic ballad "Danny Boy", which has been performed countless times before, is a case in point. The entire experience of listening to this album is full of straightforward joy of music and of life, a rare moment of pure pleasure, which leaves the listener relaxed and deeply satisfied once the journey is over. Although this is one of the first Polish Jazz albums of 2015, it is already pretty sure to become one of the contenders of the annual competition of top albums for this year. Definitely a commendable successor to the exceptional debut, this album is everything a piano solo album is supposed to be – a spiritual experience!

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WARREN WOLF ~ CONVERGENCE MACK AVENUE 1105 (Barcode: 673203110526) ~ USA ~ Jazz Recorded: 2016 Released: 2016 This is an album by American vibraphonist / composer Warren WolfFind albums by this artist, recorded with a stellar lineup, which features pianist Brad MehldauFind albums by this artist (on five tunes), guitarist John ScofieldFind albums by this artist (on two tunes), bassist Christian McBrideFind albums by this artist and drummer Jeff WattsFind albums by this artist. It presents eleven tracks, six of which are original compositions by Wolf and five are standards (the last tune is a medley of a standard and a Classical piece). Sadly the stellar lineup is unable to save this album from the terrible boredom that it offers to the listener. In fact this album epitomizes everything that is wrong with American Jazz: it is outdated, unimaginable, derivative and simply tedious. The original compositions are unremarkable and the standards played here offer absolutely nothing that was not already stated thousands of times before. No ambition, no imagination, no effort… Of course these musicians can play, and they do play very well, but the result remains dull and unimpressive, similar to thousands of other mainstream American albums recorded every year and all sounding exactly the same. The two tracks with Scofield at least offer his remarkable power of expression, but that is by far not enough to save this album from complete failure. The funny thing is of course reading the reviews of this album, written by American critics (look them up). They all think this album is remarkable, outstanding and fabulous, which of course goes to show that the entire American Jazz scene is simply completely hypocritical and rotten. Saying that Wolf is the next Milt JacksonFind albums by this artist or Bobby HutchersonFind albums by this artist is an insult to these two great pioneers. Wolf plays well technically but his playing offers no innovation or progress which was the trademark of all great vibraphonists (or Jazz musicians in general) before him. In short this is just another boring American mainstream album, which sounds nice and lets the listener tap his feet to the steady rhythm, requiring zero intellectual effort to listen to the music, which simply washes off the listener´s mind instantly when the music is over.

Updated: 04/11/2016Posted: 04/11/2016

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