More jazz than not.

Beethoven: Piano Sonatas Nos. 30, 31, and 32 Mitsuko Uchida, piano (Philips 475 6935 0)

This seems to be a perfect marriage of repertoire and performer (and listener). The final three piano sonatas by Beethoven are profound musical treasures and Mitsuko Uchida is a pianist who always plays both beautifully and thoughtfully. She seems to have a way of bringing out the beauty of a piece without ever exaggerating for effect. It is as though she has a natural sense of beauty that makes beautiful music sound like a beautiful organic whole, not like a collection of beautiful moments. For this music, that is the perfect approach, and I recommend this new recording even to those who may already have a favorite recording of these works.

Beethoven: Piano Sonatas Nos. 5,6, 7, and 8 ("Pathetique") Andras Schiff, piano (ECM New Series 1942 B0005922-02)

Pianist Andras Schiff continues to work his way chronologically through the complete Beethoven piano sonatas on this ECM New Series release. Once again these are fine performances, well worth acquiring by those who love piano music. Schiff's style is a bit on the percussive side, which is not to imply that he is a banger; rather, I mean that you can hear a little bit of a harpsichord in his approach--just a little, but enough to make you remember that the piano is a percussion instrument. It will be exciting to greet and audition each new installment in this set as it is released. The first two releases have both been excellent; I look forward to having the whole set of 32 sonatas someday, as I am sure many other music lovers will also.

Anouar Brahem: Le Voyage de Sahar (ECM 1915)

Long-time readers of this column may recall that Anouar Brahem is a master of the oud and a weaver of musical spells. On this recording, he is joined by Francois Courturier on piano and Jean-Louis Matinier on accordion. From this unlikely trio of instruments the resultant sounds are intriguing and beguiling. This is music that almost seems to have an odor about it, a blend of spices that hint of far-off places with hot afternoons but cool evening breezes in which there are dances and longing in the dark.

This is not quite jazz, not quite chamber music, not quite folk music, but a blending of all three. As such, it should appeal to a wide variety of listeners, especially those with a longing for something a little exotic, a little out of the ordinary.

Brahms: Piano Concerto No. 1 Krystian Zimerman, piano/Berlin Philharmonic/Simon Rattle (Deutsche Grammophon B0006203-02)

Perhaps I am just getting older and grouchier (imagine that ...), but like the younger and cheerier David Rich, I just find it harder and harder to get very excited about new releases of old standards. In that light, I must report that this new recording of the Brahms Piano Concerto No. 1 is a good example of a disc that simply seems superfluous, especially at full price.

There is nothing really wrong with it, in fact it is quite excellent in many respects, but there is simply no compelling reason to run out and purchase such a release--again, especially at full price--if you already have a good recording of the work in your library. In my case, that would be the account by Stephen Kovacevich, which I find more satisfying than this new one in every respect. Rattle and Zimerman seem to be trying to make this already grandiose work even more grandiose, with the net result that it is just not all that rewarding to listen to this recording. If you enjoy the big-scale approach and want to have the latest superstars, and don't mind paying full price, then this is the recording for you.

Rolf Lislevand: Nuove Musiche (ECM New Series 1922 B0005070-02)

This is a truly intriguing and wholly delightful recording that could easily have been dreadful. Rolf Lislevand has managed to take 17th century music, arrange it for a small ensemble of traditional instruments, get a group together to improvise, and make a recording that sounds fresh, exciting, original, and natural. As I listened to this faxcinating recording, I could not help but compare it to a similar attempt to "update" older music, a recording of a Mozart piano concerto arranged by Jacques Loussier (who usually does a nice job of arranging and playing classical music in a jazzy style). Where the Mozart sounded contrived and unsatisfying, I found this Nouve Musiche to be utterly delightful. By bringing a bit of Gypsy spirit and jazz energy to these melodies, Lislevand and his band really do this music a service.

The musicians on this recording include Rolf Lislevand (archlute, baroque guitar, theorboe), Arianna Savall (triple harp, voice), Pedro Estevan (percussion), Bjorn Kjellemyer (colascione, double-bass), Guido Morini (organ, clavichord), Marco Ambrosini (nyckleharpa), and Thor-Harald Johnsen (chitarra battente). They do a wonderful job of making this music sound so fresh and exciting; they clearly have a great enthusiasm and love for what they are doing, and they blend together well. The sound quality is open and spacious, and the liner notes are quite helpful. ECM has done a great production job to complement the great musical product.

Charles Lloyd: Sangam (ECM 1976 B0006160-02)

Long-time readers well know that Charles Lloyd is one of my musical heroes. Each new release is an exciting event for me, and as I have noted before, some of his releases have found their way into my life at emotionally trying times, bringing comfort and hope, and even when I saw him in concert, it was after one of the most emotionally wrenching experiences of my life. Sangam, though, arrived under very ordinary circumstances. But it is far from an ordinary recording.

Lloyd had a long and fruitful musical relationship with the late drummer Billy Higgins; it is that relationship which illuminates Sangam, as Lloyd (who plays tenor and alto saxes, tarogato, bass and alto flutes, piano, and percussion on this recording) has joined forces with two young percussionists, Zakir Hussain (tabla, voice, and percussion) and Eric Harland (drums, percussion, and piano). The interaction of the two drummers is especially noteworthy; they sound as thought they are having the time of their lives, and Lloyd gives them plenty of space to challenge and support each other.

Lloyd's playing ranges from fiercely aggressive to calmly introspective, with the two percussionists providing appropriate support. Indeed, all three players share in supporting each other and the group, the net result leaving the listener to marvel at how three acoustic instruments can be so expressive and powerful. This is a fun recording, one that adds even more luster to Lloyd's legacy. It would be a real blessing to be able to see this band live. For now, this recording will just have to do, and a wonderful job it does.

Moravec: The Time Gallery *; Protean Fantasy **; Ariel Fantasy ** eighth blackbird */Peter Sheppard-Skaerved, violin **/Aaron Shorr, piano ** (Naxos 8.559267)

Based on this brilliant new Naxos CD, I would have to say that American composer Paul Moravec (b 1957) is the most intriguing composer I have never heard of before (hey, I live in Ostrander, not Manhattan, so cut me some slack). The chamber ensemble eighth blackbird (the lack of capitalization is their conceit--remember "conrad-johnson?") does a remarkable job in the opening composition, The Time Gallery, which makes use of bells, percussion, and all kinds of delightful sonic effects as it progresses through its four movements, "Bells: Devotional Hours," "Time Machine," "Pulse: The Feeling of What Happens," and "Overtime: Memory Songs." Moravec contributes liner notes that explain the significance of the movements; you can enjoy the music without reading any of this (as I did, immensely, the first few times I played this CD), but the notes are quite interesting, and they make you want to go back and listen to the music some more.

The Time Gallery has energy, flow, melody, and charm in abundance. It sounds distinctly modern, but not at all confrontationally so. The instruments are used as musical instruments, not as sound effects generators--they are played, not abused. This is engrossing music that you will want to play over and over again for both stimulation and enjoyment.

The two piano/violin pieces, Protean Fantasy and Ariel Fantasy, are also excellent, suffused with melody and energy as they race out of your speakers and leap into your room to grab your attention. They are true fantasies, wild and imaginative, but again, they are solidly musical and richly satisfying.

With great music, great liner notes, and great sound, all at a bargain price, Naxos has done it again. This is a wonderful release; I am going to have to seek out some of Moravec's other recordings, which Naxos generously refers to in their liner notes, even though they are on other labels.

Enrico Rava: Tati (ECM 1921 B0005061-02)

For those who like small-ensemble acoustic jazz, Tati offers a fine program by the trio of Enrico Rava (trumpet), Stefano Bollani (piano), and Paul Motian (drums). Following the opening piece by George Gershwin, "The Man I Love," the rest of the compositions are by members of the trio. Even without a bass, there is plenty of rhythm and drive; moreover, the lack of a bass anchor seems to set the three musicians free to concentrate on weaving melodies--yes, I meant all three musicians, as even drummer Motian seems to have a melodic, sometimes lyrical sense to his playing. Although this is hardly a blockbuster release, it is one that jazz fans should find eminently satisfying. Very tasty stuff!

Nik Bartsch's Ronin: Stoa (ECM 1939)

Ronin is a jazz ensemble comprising Nik Bartsch (piano, Fender Rhodes piano), Sha (bass and contrabass clarinet), Bjorn Meyer (bass), Kaspar Rast (drums), and Andi Pupato (percussion). Stoa is one of the most fascinating--and rewarding--jazz releases I have heard in quite some time, but I am at a bit of a loss when it comes to describing what it sounds like. I am afraid that my attempts to describe their sound might make some shy away from this music, but my intention is certainly quite the opposite: this is a must-hear!

With that warning out of the way, I will now press forward. The music this ensemble makes resembles the minimalism of, say, Steve Reich, but at the same time, it is clearly and identifiably jazz, not classical in its feel. The music sounds composed, and is, but you can still feel the creative impulses of the musicians at work, and you know that they have played together and that they really enjoy what they are doing. This music has pop--it jumps out at you--and it never sounds rote or routine. Nor does it sound as though it is done merely for effect, as some of the music of groups such as The Bad Plus can sound.

If you like jazz, you will like this recording. If you like chamber music of a progressive bent, you will like this music. If you like to meditate as you listen, you will like this music. If you like to play air drums or piano or bass as you listen to recordings, you will like this music. You can enjoy it played softly, or you can enjoy it cranked up to 11.

In case you have not noticed by now, I find this to be a truly exciting release, with music and sound that really rev me up intellectually and emotionally. Amazing stuff, really, and I recommend it without reservation.

Ralph Towner: Time Line (ECM 1968 B0006312-02)

Ralph Towner has seemed like an old friend for 30 years or so now, from his early work with Oregon, his work with other ensembles, and his solo albums. In the liner photos, he looks mature and dignified, at peace with himself; the music on Time Line reflects that peace and maturity. Whether playing his own compositions or standards such as Harold Arlen's "Come Rain or Come Shine" and George Gershwin's "My Man's Gone Now," Towner plays with a quiet, reflective intensity that communicates genuine love for this music and genuine devotion to his craft. Never flashy, but always intense--that is the essence of Towner's approach to music, and it brings great rewards to the listener.