Record Reviews
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  | MARIA PIA DE VITO ~ NEL RESPIRO
PROVOCATEUR 1031 (Barcode: 5038491103127) ~ ITALY ~ Jazz
Recorded: 2001 - 2002 Released: 2002
Following her brilliant album “VersoFind albums with this title”, recorded a couple of years earlier, Italian Jazz singer Maria Pia De VitoFind albums by this artist returns with her second album on the splendid ProvocateurFind albums on this label label, and her sixth consecutive album. Her two faithful companions on the previous album: British pianist John TaylorFind albums by this artist and US guitarist Ralph TownerFind albums by this artist are back with her again, but this time the instrumental ensemble is expanded to a quartet with the participation of legendary US bassist Steve SwallowFind albums by this artist and French drummer / percussionist Patrice HeralFind albums by this artist.
The music, composed by De Vito, Taylor, Towner and Swallow, is beautifully minimalist and quite complex, providing an ideal vehicle for the singer’s vocal explorations. She uses lyrics and vocalese interchangeably, with a rare ability to sound perfectly right at each given moment. The written music is but a frame for hers and the musicians’ improvisations, which keep floating effortlessly. De Vito continues in her singing the modern European vocal Jazz tradition, initiated in the 1970s by singers like Urszula DudziakFind albums by this artist, Lauren NewtonFind albums by this artist and Jeanne LeeFind albums by this artist (Vocal SummitFind albums by this artist), but of course this tradition is brought up-to-date and her personal input is dominant.
The album is a beautiful collection of highly sensitive, lyrical music, which captures the listener totally and requires his total dedication. Most importantly it keeps the process of exploration, as far as vocal Jazz is concerned, alive, rather than following the “easy” path of yet another attempt at vocal Jazz standards. Listening to this album one realizes that vocal Jazz is still alive and kicking, a relief indeed, and has a lot of fascinating innovations to offer. Don’t even think twice!
| | Updated: 03/07/2020Posted: | CD 1 HDCD Recommend To A Friend |
  | ELMA ~ AD REM
HEVHETIA 0113 (Barcode: 8588005257657) ~ POLAND ~ Jazz
Recorded: 2012 Released: 2016
This is the second album by Polish Jazz vocalist ElmaFind albums by this artist, but in fact it could be viewed as the second part of Elma´s debut album, as it presents material recorded at the same recording session as the material released on the debut. A conscious decision was made at the time to collect the "song oriented" material on the debut and the improvised material on this second album
The album was recorded by a quartet, which features Elma with Finnish trumpeter Verneri PohjolaFind albums by this artist and Polish pianist Dominik WaniaFind albums by this artist and bassist Maciej GarbowskiFind albums by this artist and was recorded at the Studio Tokarnia and engineered by Jan SmoczynskiFind albums by this artist. The music on this album comprises of twelve improvised pieces; a prologue and then an eleven-part suite. Except for the first part of the suite which is credited to Elma and Pohjola, the rest of the music is credited to all four participants.
Although the Improvised Music is enjoying a spectacular Renaissance in the last few years, it is almost always completely instrumental and does not involve the human voice. The glorious days of the vocal Improvised Music are sadly completely gone and pioneering vocalists like Jeanne LeeFind albums by this artist, Lauren NewtonFind albums by this artist, Urszula DudziakFind albums by this artist, Jay ClaytonFind albums by this artist, Bobby McFerrinFind albums by this artist and others are either forgotten or changed their field of interest. Therefore Elma can be considered as the torch bearer of this fantastic tradition into the 21st Century.
Elma treats her voice as an instrument, which has always been the basic rule of great vocalists. Since the human voice is limited only by the vocalist´s imagination, it is the most versatile and virtually unlimited instrument, a fact which becomes plainly evident to anybody listening to this music. With the incredibly compassionate accompaniment Elma receives from her three partners, the resulting music is one of the most unique musical creations recorded in the last few years.
The importance of this music is twofold; firstly it is breathtakingly beautiful, emotionally intense and aesthetically stunning and secondly it is intellectually courageous and fascinating. Elma is not regressing to the 1970s to create more of the same vocal Improvised Music created then, but takes the tradition right up to date, moving forward and updating the concept, adapting it to contemporary Jazz language, sound and vision. Her vocalese and other tricks of the trade, most of which she invented herself or expanded from earlier examples, is a completely new language in itself, which enables her to go where nobody went before; an extremely rare quality these days.
The contributions of the three instrumentalists present here is simply outstanding. They all manage to contribute to the music without overshadowing the focus of the vocals and their empathy and ability to communicate with Elma almost telepathically is simply phenomenal.
This is indisputably one of the most important albums released on the Polish Jazz scene in the last decade and as far as vocal Jazz is concerned, also on a world scale. There is no other vocal Improvised Music of this intensity and innovative authority anywhere else at the moment, which makes this album simply a one of its kind. To say the truth, this album should be studied by every vocalist in the world, Jazz and otherwise, just to make them aware of what the human voice (and mind) is capable of. This might of course make some of them stop singing, which would be of great benefit of course.
Absolutely essential item in every serious record collection!
| | Updated: 29/02/2016Posted: 29/02/2016 | CD 1 Digipak Essential Recommend To A Friend |
  | ELMA ~ LICENTIA POETICA
HEVHETIA 0232 (Barcode: 8588005259286) ~ POLAND ~ Free Jazz / Improvised Music
Recorded: 2020 Released: 2022
This is the long awaited third album by Polish Jazz vocalist ElmaFind albums by this artist (a.k.a. Elma KaisFind albums by this artist) recorded live with American guitarist Knox ChandlerFind albums by this artist, Australian (resident in Berlin) bassist Daigo NakaiFind albums by this artist and German drummer Klaus KugelFind albums by this artist. The album presents thirteen original pieces, all co-composed by the four musicians.
The music is spontaneously improvised, although obviously somewhat pre-conceived, and as such could be classified as Improvised Music or Free Jazz, but honestly it makes no sense to apply any definitions to it, as it is as free-spirited as humanly possible. Although Elma’s vocal parts are obviously in the center of the listener’s attention, the music is collaborative and involves all four musicians at the same level of creativity.
Elma continues her wordless vocalese / “voice as instrument” approach, which she demonstrated on her two earlier albums, but takes it further out into the truly virtuosic sphere, which sets her in a separate universe from almost all Jazz vocalists active today, continuing the vocal Jazz revolution started in the 1970s by European vocal pioneering female vocalists like Urszula DudziakFind albums by this artist, Lauren NewtonFind albums by this artist, Jeanne LeeFind albums by this artist, Mirka KrivankovaFind albums by this artist and several others. On contemporary Polish Jazz scene, she seems to be almost completely solitary, except for the work of Anna GadtFind albums by this artist.
There is no doubt that this album is completely unique, as far as vocal Jazz is concerned, and Elma’s talent shines ever so brightly, fulfilling gracefully all the great hopes she stirred with her earlier albums. The music she creates with her colleagues hits the listener straight between his eyes, shocks and uplifts on a truly spiritual level, which happens only very rarely with new music that arrives on my desk. Considering the fact that Elma practically reinvents the approach to vocal improvisation, throwing away all pre-conceptions and limitations, she is able to cross into uncharted territory. We often tend to think that “everything was already done” in music (or otherwise), but that is a defeatist approach and life proves that there a possibility for progress.
Overall, this is a shockingly beautiful, uplifting musical experience, which happens extremely rarely. As pompous as this might sound, this is probably the most perfect Polish Jazz vocal album of all times, a creation of unprecedented courage, inventiveness and free-spirited exploration. Yes, yes I see all the sceptics shrugging…
| | Updated: 21/05/2022Posted: 21/05/2022 | CD 1 Mini-Sleeve Recommend To A Friend |
  | OVER THE HILLS ~ ESCALATOR OVER THE HILL
IMR 008 (Barcode: 3426300098870) ~ FRANCE ~ Jazz
Recorded: 2015 Released: 2015
This is an album by French Jazz nonet called Over The HillsFind albums by this artist, co-led by bassist Bernard SantacruzFind albums by this artist and drummer Bruno TocanneFind albums by this artist. As the title suggests, it is a remake of the iconic Jazz opera “Escalator Over The HillFind albums with this title”, composed by Carla BleyFind albums by this artist with libretto by Paul HinesFind albums by this artist, originally released in 1971. The album presents ten tracks, all composed by Bley and included in the original version of the opera (but appearing in a different order), arranged by members of the nonet.
The original recording of “Escalator Over The Hill” took three years and included some of the greatest talents on the international music scene, like bassist / vocalist Jack BruceFind albums by this artist, guitarist John McLaughlinFind albums by this artist, trumpeter Don CherryFind albums by this artist, vocalists Jeanne LeeFind albums by this artist, Sheila JordanFind albums by this artist and Linda RonstadtFind albums by this artist and many, many others. It was a true spiritual experience, with an Avant-Garde concept and attitude at the helm, reflecting the wonderful atmosphere of freedom that the Arts enjoyed at this period of human Artistic apogee, perhaps the last, surely the last so far.
This remake, recorded forty-five years later, reflects some of the power of the original music, but fails to rekindle the drama and shocking innovation of the original delivery. It is simply way to well organized and beautified / smoothed up in comparison, at least to me. The somewhat hectic, disorganized aura of the original is lost here completely in favor of coherent orchestral arrangements, which are all very skillful of course.
But of course the brilliant music by Bley is still here, and the performances are all first class, creating a very enjoyable listening experience. If any younger listeners are about to discover the original opera thanks to this recording, all is well and the effort was worthwhile. This album is definitely worth being discovered just a token of appreciation for the heroic effort involved in this undertaking.
| | Updated: 31/08/2021Posted: 31/08/2021 | CD 1 Mini-Sleeve Recommend To A Friend |
  | HAROLD RUBIN ~ BLUE BAG
NOT ON LABEL ~ ISRAEL ~ Jazz
Recorded: 1996 Released: 1997
Harold RubinFind albums by this artist is one of the very few true Renaissance men I’ve had the pleasure to meet and befriend over the years. An architect, a poet, a painter and an outstanding musician, but also a wonderful human being, who hates bullshit of any form and shape. This, often bold, honesty is present in every creative process Harold is involved with, and what makes his music so wonderfully different and outstanding. Blue Bag is a musical suite, a complete work of art, rather than a collection of separate and unrelated pieces of music. It is probably Harold’s most “accessible” album. It involves a larger group of musicians (as opposed to his regular trio / quartet setting) and for the first time also features vocals. Stylistically it involves, in addition to the obvious jazz contents, some rock elements (for the first time since Harold played with ZaviotFind albums by this artist), some theatrical aura and a much clearer melody lines. The entire album brings fond memories of Brecht’s operas and works by musicians like Gunter HampelFind albums by this artist and his wife Jeanne LeeFind albums by this artist or Mike WestbrookFind albums by this artist and Kate WestbrookFind albums by this artist. It also prominently features for the first time Harold’s poetry, which constitutes the libretto for the entire suite. The musicians playing with Harold include Mark SmulianFind albums by this artist, his partner in Zaviot, who proves he can play the guitar as skillfully as he can handle the bass, Smulian’s wife the wonderful singer Gani TamirFind albums by this artist, Israel’s best drummer Asaf SirkisFind albums by this artist (who plays on many albums released on my JazzisFind albums on this label label), extremely talented trombonists Reut RegevFind albums by this artist and Rafi MalkielFind albums by this artist, and bassist Amit CarmeliFind albums by this artist. Harold contributes his unique brand of clarinet virtuosity and occasionally recites / narrates his fantastic poetry with the music playing in the background (reminiscent of the wonderful “Jazz & Poetry” movement of the 1960’s). If I could, I’d make every person on this planer to listen to this Magnum Opus, but obviously I can’t do that. Hopefully some of you will read this and subsequently discover some of the best music ever recorded on this planet.
| | | CD 1 Recommend To A Friend |
  | SAXOFOUR & MARIA JOAO ~ CINCO
ATS 0744 (Barcode: 9005216007448) ~ AUSTRIA ~ Jazz
Recorded: 2004 Released: 2011
This is a stunning album by the Austrian saxophone quartet SaxofourFind albums by this artist, which consists of Florian BrambockFind albums by this artist, Klaus DickbauerFind albums by this artist, Christian MaurerFind albums by this artist and Wolfgang PuschingFind albums by this artist, who between them play soprano, alto, tenor and baritone saxophones, clarinet, bass clarinet and flute. On this album they combine forces with the wonderful Portuguese vocalist Maria JoaoFind albums by this artist. The album presents twelve compositions, seven of which are by the great Portuguese pianist / composer Mario LaginhaFind albums by this artist, five are by the quartet members and one is a standard. Joao wrote the lyrics to three of the compositions. All the music was arranged by the quartet members.
The music is an orgy of creativity and spontaneity, combining the exquisite sound created by the saxophone quartet with the extraordinary vocal pyrotechnics of Joao. Although seemingly lacking any rhythmic support, this music is full of polyrhythmic complexity, combining the familiar Jazz setting with the exotic South European vivacity.
The saxophone quartet is capable of producing a rich and complex soundscape, combining the four individual instruments into an almost symphonic sound environment. The articulation and sophistication of these four superb musicians seems to have absolutely no limits.
Joao is of course a living legend, one of the most original and forward thinking European Jazz personas, and most significantly one of the sublime vocal Jazz pioneers, who defined the contemporary role of human voice in Jazz, together with a small and exclusive group of other European female vocalists like Urszula DudziakFind albums by this artist, Lauren NewtonFind albums by this artist, Jeanne LeeFind albums by this artist and a few others.
The twelve pieces on this album are all absolute gems with no weak moments whatsoever. The quartet weaves layers of melodic background, spiced with exciting improvisations, and Joao tops the bill with her idiosyncratic vocalese, which is so inventive and refined that it sends waves of pleasure shock down the listener´s spine. The symbiosis between the quartet and Joao is so organic and complete, that it is hard to believe this album was just a one-time cooperation.
Overall the album is an exquisite example of European Jazz at its best, full of wonderful music and sublime performances, which should make even the most demanding Jazz connoisseurs completely happy. For vocal Jazz fans this is an absolute must of course, being one of the finest and most tasteful examples of musical ingenuity. Beyond essential!
| | Updated: 03/08/2019Posted: 03/08/2019 | CD 1 Essential Recommend To A Friend |
  | SCHMOLLING / ARTHURS / KUHNE ~ TICHO
UNIT 4551 (Barcode: 7640114795510) ~ GERMANY ~ Jazz
Recorded: 2013 Released: 2014
This is a brilliant debut album by a trio consisting of German pianist / composer Marc SchmollingFind albums by this artist (a son of Czech poetess Inka MachulkovaFind albums by this artist), female vocalist Almut KuhneFind albums by this artist and British trumpeter Tom ArthursFind albums by this artist. The eight pieces (one composition is repeated twice as the opening and closing track of the album) are based on pre-composed themes, which are then freely improvised upon by the trio members.
The unique piano / trumpet / vocals lineup invokes an immediate associative comparison to the legendary British trio AzimuthFind albums by this artist (John TaylorFind albums by this artist, Kenny WheelerFind albums by this artist, Norma WinstoneFind albums by this artist), and some similarities are of course detectable, but this album is much more oriented towards the Free Jazz / Improvised Music openness, whereas Azimuth, as revolutionary and amazing as it was at the time, was overall much more melodic and structured in form.
All three individual contributors are first class musicians of course: Schmolling plays delicately and lyrically, Arthurs is simply brilliant with an incredible technique and extraordinary sensitivity, emerging as one of the top British contemporary trumpeters and Kuhne is a sensational surprise, with stunning vocal abilities combining the powers of modern female Jazz vocal Divas, like Julie TippettsFind albums by this artist, Norma Winstone, Jeanne LeeFind albums by this artist, Lauren NewtonFind albums by this artist and others. She is definitely worth watching very carefully in the future.
The trio works also perfectly as a unit; Arthurs and Kuhne converse fiercely, exchanging vocal and trumpet phrases like never heard before, while Schmolling keeps the music in control with his guiding chords. The overall ensemble result is simply breathtaking. This is a kind of music that combines the free spirit with the essence of European culture, often based on reserve and intrinsic discipline.
Overall this is a excellent piece of music, which holds new surprises with every time it is played, full of wonderful aesthetics and urgency to discover, an example of ambitious creation that works out perfectly and in spite of its intimacy creates a whole universe of sounds and feelings.
It is great to see that intelligent music is still being made in our cultural void, which of course keeps those, who are open enough to listen to it, resistant to the brainlessness out there. Wholeheartedly recommended!
| | Updated: 26/04/2016Posted: 26/04/2016 | CD 1 Digipak Recommend To A Friend |
  | SVELIA ~ TRANSITIONS
LOSEN 136 (Barcode: 7090025831362) ~ SWEDEN ~ Free Jazz / Improvised Music
Recorded: 2014 Released: 2015
This is the debut album by a young Swedish / Australian ensemble SveliaFind albums by this artist, which comprises of vocalist Casey MoirFind albums by this artist, trumpeter Reuben LewisFind albums by this artist, pianist Luke SweetingFind albums by this artist, bassist Johan MoirFind albums by this artist and drummer Aidan LoweFind albums by this artist. They perform eight original compositions / songs, most of which were composed by Casey Moir, who also wrote most of the lyrics, with the exception of two songs composed by Lewis, one by Johan Moir and one by Sweeting.
The music is a surprisingly unusual blend of melodic themes performed in a very free / improvised setting, with a lot of space and breathing space, directed by Casey Moir´s incredible vocal parts and dominated by the complex music she composed. She is one of the very few female vocalist, who tries to continue and keep alive the wonderful vocal Jazz tradition, which was developed decades ago by such wonderful female vocalists as Jeanne LeeFind albums by this artist, Lauren NewtonFind albums by this artist, Urszula DudziakFind albums by this artist and a few others, and which has sadly almost no parallels in contemporary Jazz, even on the European scene.
Casey Moir uses lyrics and vocalese, theatrical expression and on-the-fly vocal improvisations, which make the hair on the back of the listener´s neck to stand up, not only because she is so bizarre and fabulous, but mostly because she dares. The entire concept of this album and the overall impression it makes is truly amazing.
But of course the vocalist is not alone out there and her companions all contribute magnificently to the overall success. Lewis plays some "nasty" trumpet parts, which would make Don Cherry smile, Sweeting delicately adds his free-Baroque ornamentations and the rhythm section, which plays anything but rhythm, completes the sound design by another dimension of freedom.
Personally the more improvised the music gets, the better it gets and I don´t even dare to think what these musicians might come up with next; hopefully something even more daring and wonderfully weird than this gem of an album.
Overall a stunning debut effort, which deserves praise not only for what it offers, but the sheer audacity and chutzpah, mixed with pure genius, which are so rare these days. Another great release on LosenFind albums on this label Records, which again makes me wonder where do you, Odd GjelsnesFind albums by this artist, find all these fantastic musicians?
| | Updated: 22/11/2016Posted: 22/11/2016 | CD 1 Digipak Recommend To A Friend |
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