More jazz than not.

Beethoven: Piano Concerto No. 5 "Emperor"; Piano Sonata No. 28 Helene Grimaud, piano/Staatskapelle Dresden/Vladimir Jurowski (Deutsche Grammophon B0009840-02)

This new recording of the "Emperor" Concerto arrived not long after I had completed my comparisons of two recordings of that venerable composition for Issue 114's Double Double. For more than a month, though, I simply could not bring myself to listen to another version. I was Emperored out!

Having put the CD atop a pile of CDs that I needed to review, I often caught the intense eyes of Ms. Grimaud staring up at me, imploring me to give her recording an audition. When I finally yielded to her gentle pleading, I was glad I did. This is an excellent performance, one that I prefer to either of the performances I compared in Issue 114. It has both power and grace, with excellent playing from both the soloist and the orchestra. Ms. Grimaud, Maestro Jurowski, and the members of the Staatskapelle Dresden combine to do Beethoven proud. Bravo!

In addition to her exuberant rendition of the Concerto, Ms. Grimaud also provides a fine recording of Sonata No. 28, a wonderfully lyrical work for solo piano that is always a delight to hear. This is music that sings and soars, never failing to capture the imagination. These two pieces together provide a rewarding program that will reward the listener.

I do have some slight reservations about the sound, however. At times, the orchestra sounds a bit threadbare, which I am not sure is the engineering or the musicians, although I suspect the former, as the overall sound spectrum seems a bit tilted up. Not harsh, just lacking in the warmth that would make it a top-flight sonic achievement. There was also occasional thumping sound to heard during the Concerto; perhaps a system without a subwoofer would not have revealed this sonic anomaly (and I must admit that I had my subwoofer volume set too high at the time I listened to this CD). Still, the performances are simply wonderful, and I recommend this disc highly to all fans of this music, of which I suspect there are many among our readership.

Carla Bley: The Lost Chords Find Paolo Fresu (ECM/WATT 34 B0010120-02)

I had modest expectations for this recording. Carla Bley albums always manage to disappointment me, usually because it seems that she is just trying to be too musically cute. When I saw the song titles (the word "bananas" receiving inordinate attention) and read some of the accompanying promotional material, my expectations really took a nosedive. Cuteness seemed to be totally out of control.

I was wrong. This is the most solid and musically satisfying recording that Carla Bley has ever released. Thank goodness the Lost Chords found Paolo Fresu! His horn is heard at the very outset of the recording, setting a mellow mood. The Lost Chords comprise Carla Bley on piano, Andy Sheppard on soprano and tenor saxophones, Steve Swallow on bass, and Billy Drummond on drums, with Paolo Fresu joining in on trumpet and flugelhorn. The music is by turns moody and playful, but always enjoyable and just plain fun. All of the musicians get a chance to shine, with Swallow on bass providing color as well as rhythm as he shows once again why he is one of the most versatile of bassists. Fresu and Shepard trade some beautiful lines, Bley and Drummond both shine in their respective roles, and the net result is a recording that should appeal to a wide variety of music fans. Highly recommended.

Marc Copland: New York Trio Recordings Vol. 2, "Voices" (Pirouet Records PIT3023)

Pianist Copland is joined on this outing by bassist Gary Peacock and drummer Paul Motian. The end result is a piano trio recording that truly highlights all three members of the trio, not just the pianist. Of the eight cuts on the recording, four are by Peacock, three are by Copland, and one ("All Blues") is by Miles. Although Motian is not listed as a composer, his work on the drums contributes mightily to the music; certainly, he is much more than an accompanist.

What is delightful about this recording is the way that it blends a modernist edge with the smooth comfort of more traditional jazz. The music is always easy and enjoyable to listen to, but you always feel the three musicians pushing. They are never content to get into a pleasant groove and ride it mindlessly. However, all three are such masters of their art that the end result sounds smooth and natural, never forced or conflicted. This is jazz at its best, building on the past but peering into the possible.

The Miles Davis cut really brings this feeling to the fore. Right away you recognize the cut as "All Blues," but for the first four minutes or so, the music is "out there," never quite settling into the comfortable groove that jazz fans have loved for decades. Then suddenly, there it is, as the trio pays direct homage to the original. But even then, the three musicians retain their own voices, their own unique perspectives. If you are fan of piano jazz, then you really ought to hear this recording. It's a definite keeper.

Keith Jarrett/Gary Peacock/Jack DeJohnette Setting Standards (ECM B0009948-02)

Not only did ECM recently release a new album by Jarrett, Peacock, and DeJohnette (My Foolish Heart, reviewed in Issue 114), but also they have released a remastered three-CD set comprising the first three releases from the "standards" trio, all of which were recorded at the Power Station in New York back in January 1983: Standards, Vol. 1; Standards, Vol. 2, and Changes. Many jazz lovers doubtless already own these albums on LP or CD, but for those who do not, here is the chance to immerse themselves in some of the finest piano trio recordings ever released.

Eschewing the tightrope act of his solo concerts, Jarrett put together a trio to play standards in an improvisational style. Somehow, these three musicians really clicked musically, and were able to record these three fine albums in their first studio sessions together. The first two releases, as you might guess from their titles, consist almost entirely of standards, while Changes contains three compositions by Jarrett that are a bit more freewheeling in style but still quite enjoyable and easy to get caught up in.

Truly, these three musicians are masters of their instruments; moreover, working together they achieve a level of creative musical energy that is a marvel to behold. Twenty-five years have passed since they first came together to record their perspective on venerable jazz standards such as "The Meaning of the Blues," "All the Things You Are," "God Bless the Child," and "I Fall in Love Too Easily," plus some originals by Jarrett, and these performances still sound every bit as fresh, powerful, and persuasive as they did when they were first released.

Between the recent release titled My Foolish Heart (reviewed in Issue 114) and Setting Standards, over the past few months I have had five Keith Jarrett CDs full of amazing music that has brought many, many smiles to my face and made my fingers quiver as I found myself playing air piano, air bass, and air drums while listening to these three amazing gentlemen ply their craft and magnify their art. If you have any young acquaintances or old friends that you would like to introduce to the glories of jazz, either or both of these releases would make a perfect gift.

Mahler: Das Lied vonder Erde Maureen Forrester, contralto/Richard Lewis, tenor/Chicago Symphony Orchestra/Fritz Reiner (RCA Red Seal 88697-082812)

Looking over the liner notes as I prepared to start writing this review, I noted that this performance was recorded 48 years ago yesterday. Fitting it is that this music was recorded in November, that month of impending darkness and sorrow. By the time you read this, the days will be getting longer once again in the Northern Hemisphere, but as I type these words, the days are still growing shorter and life is getting darker.

This is a wonderful recording, with excellent singing, expressive playing, and vintage sound quality. For me, the ultimate Das Lied recording is the Klemperer on EMI, but this Reiner-led performance is in the same league. Both singers are admirable, the orchestra is superb, and the somewhat archaic quality of the recording adds to the poignancy and longing of the music.

This release is a bargain at the price. I auditioned the CD stereo layer, but there is a three-channel SACD layer for those whose systems include a center channel. Should any of our readers have auditioned this recording in that format, I would invite them to write us and share their impressions.

Mahler: Symphony No. 10-Adagio; Shostakovich: Symphony No. 14 Kremerata Baltica/Gidon Kremer (ECM New Series 2024 476 6177)

This is a recording that will most likely be of interest to only a limited number of music lovers. First of all, you have to be a Mahler fan. Next, you have to be enough of a Mahler fan that you are willing to listen to a chamber-orchestra reduction of the magnificent opening Adagio from the 10th Symphony. (You also have to be enough of a Mahler fan that you don't mind paying for a chamber-orchestra reduction of the Shostakovich 14th Symphony that you may never listen to more than once).

But if you are willing to audition this disc, you will be rewarded, at least by the Mahler (sorry, the Shostakovich 14th does little for me in the original version and this reduction does even less--YMMV). The arrangement offers an interesting perspective on this music, bringing out some of the lyrical qualities at the expense of reducing the music's crushing power. Kremer makes the violin sing, making Mahler's music intimate and personal. If you are a true Mahler lover, this arrangement is not something you would probably want to play often, but it is something that you will be glad you have heard and have available to admire from time to time.

Bennie Maupin: The Jewel in The Lotus (ECM B0009927 02)

Recorded back in 1974 but just now making its first appearance on CD is this vintage recording from ECM that features the impressive lineup of Bennie Maupin on reeds, voice, and glockenspiel; Herbie Hancock on piano and electric piano; Buster Williams on bass; Freddie Waits on drums and marimba; Billy Hart on drums; Bill Summers on drums and percussion, and Charles Sullivan on trumpet. Although the appearance of three percussionists might make it seems as though this would be some sort of Latin/funk rave-up, a glance at the title offers a more revealing clue. This is music that is inwardly directed, expressive of reflection rather than reflective of expression. Still, with three percussionists, Herbie Hancock, and a trumpet, you are reminded that jewels, even when encased in flowers, are hard and brilliant.

Buster Williams on bass really drives this music, creating not so much a foundation as a core around which the other musicians add layers of sound. The end result sounds, to use an overused term, organic. The whole truly is greater than the sum of the parts. Bennie Maupin put together a wonderful recording back in 1974, making The Jewel in the Lotus quite a welcome re-release from ECM.

Radiohead: In Rainbows (download from website)

Radiohead created quite a media stir in October 2007 with their announcement that they would make their new recording available as a pay-what-you-want-to download from their website. By the time you read this, perhaps the commercial CD version of In Rainbows will be available. Who knows?

At any rate, my oldest daughter and I were early downloaders. She paid about two dollars, while I paid about four dollars. The process was relatively easy; the band obviously gave this some thought to ensure that it would not be a fiasco.

I was disappointed to find that a full-CD version was not available for download, but rather a lesser-resolution MP3-type download. With music that is gated and compressed from the git-go, the penalty is not as severe as it would be for, say, orchestral music. Still, I will look forward to being able to get a 16-bit version to compare to my download one of these days.

Musically, In Rainbows is a hit, with a variety of musical textures ranging from moody and introspective to driving and dynamic. The fourth cut, "Weird Fishes/Arpeggi" is one of the most engrossing tunes the band has ever put together. In any event, the download has really whetted my appetite for more cuts with more fidelity (I can picture KE rolling his eyes as I type this).

Radiohead: In Rainbows (TBD Records TBD0001 88088-216222-2)

Thanks to our retarded (please think back to the original politically correct definition of this word) publishing schedule, the commercial CD version will definitely be available when you read this, because it was in fact available before I even had to finish pulling this issue's material together to send to Snyder. To be honest, I would say that for most fans, the downloaded version is probably sufficient. Over most compact delivery media, the downloaded version will sound just fine, as the music on the CD is still rather loud and compressed. But if you have a decent stereo and want to get the full 16-but version, it is certainly worth picking up. "Weird Fishes/Arpeggi" still blows me away after several months of listening, and the album as a whole is still a delight (and now I can see KE just sadly shaking his head in puzzled resignation).

Enrico Rava/Stefano Bollani: The Third Man (ECM B0010513-02)

This duet album by the veteran trumpeter Enrico Rava and the relatively young pianist Stefano Bollani is a delightful diversion. Much of the music is credited to Rava, some to Bollani, plus there are cuts by other composers, most notably the late Antonio Carlos Jobim. Although I have found Bollani's solo efforts to be a bit dry, pairing him in this setting with Rava (Bollani also plays with Rava as part of the trumpeter's quintet), who tends to wear his musical heart on his sleeve, yields solid dividends. The end result is a recording that most jazz lovers will find to be engrossing and enjoyable.

Nik Bartsch's Ronin: Holon (ECM B0010526-02)

Swiss pianist Nik Bartsch is back with his ensemble Ronin, featuring Sha on bass clarinet, contrabass clarinet, and alto saxophone; Bjorn Meyer on bass; Kaspar Rast on drums; and Andi Puato on percussion. Back too are the snappy song titles such as "Modul 42" and "Modul 41 ... 37." What is new on this outing is the increased emphasis on acoustic sounds, with Bartsch now employing an acoustic piano.

Overall, though, the music has the relentless rhythmic pulse and minimalist structure that characterized the group's ECM debut recording, Stoa.

Perhaps because of the sound of the acoustic piano, however, Holon makes a different musical impression than did Stoa, the newer release sounding more like jazz and less like minimalism. When I reviewed Stoa back in Issue 105 I said it sounded more like jazz than classical minimalism; with Holon, that claim can be made more emphatically, meaning that Holon is the release more likely to be embraced by more traditional jazz fans.

Ray Sings Basie Swings (Telarc SACD-63679)

The immortality of Ray Charles refuses to die, and ghost bands still have rent to pay. But as disturbingly ghoulish and potentially exploitative as this post-mortal collaboration between the voice of Ray Charles and the legacy of Count Basie may be, the signing and swinging are both quite lively. The producers of this recording have combined the vocal track from an old Ray Charles concert performance with arrangements for the Basie band, blending them together to create a swinging session of Charles standards that is truly delightful.

Dewey Redman Quartet: The Struggle Continues (ECM B0009934-02)

Saxophonist Dewey Redman (father of saxophonist Josh Redman) is probably remembered more for his roles as a sideman (e.g., with Keith Jarrett's early quartet) than as a leader, but this 1982 release, made available for the first time on CD by ECM, features Redman on tenor saxophone, Charles Eubanks on piano, Mark Helias on bass, and the legendary Ed Blackwell on drums. The Struggle Continues comprises a solid set of tunes, with energetic playing from all four musicians, particularly bassist Helias, who really drives things along. If you are a fan of tasty Texas tenor with a dash of hot pepper, you will really enjoy this recording.

Univers Zero: Live (Cuneiform Records Rune 220)

Unlvers Zero is Belgian chamber-rock (for lack of a better term) band that comprises Michel Berckmans on oboe, English horn, bassoon, and melodica; Kurt Bude on clarinet, bass clarinet, and tenor saxophone; Daniel Denis on drums and percussion; Martin Lauwers on violin; Eric Plantain on electric bass; and Peter Van Den Berghe on keyboards. This recording, which is derived from concerts the group made in Belgium and France, is quite vivid and full-range, with a surprising amount of bass power. These guys can fill quite a large chamber with sound, so perhaps it would be better to describe them as a chamber-stadium-progressive-classical-metal-acoustic-rock band.

Interestingly, given the employment of classical-type instruments and sound patterns in the arrangements, all the music was composed by Daniel Denis, the drummer, who plays in a decidedly heavy fusion-rock style. Readers who may have decided from what I have written so far that this recording must be some sort of Spinal Tap put-on need to keep an open mind. This is actually quite an enjoyable concert recording, as these guys can really play and their music is full of energy, color, and power, as is the recorded sound. For those who like their chamber-rock music on the spectacular side, Univers Zero definitely delivers the goods.

Wagner/Stokowski: Symphonic Syntheses Bournemouth Symphony Orchestra/Jose Serebrier (Naxos 8.570293)

If you love to wallow in luxuriant orchestral sound, this is the disc for you. As if the music of Wagner were not already luxurious enough, Leopold Stokowski liked to pull together some the good stuff, add some more color to it, call it a "symphonic synthesis," and then turn the orchestra loose. His protege Jose Serebrier leads the Bournemouth Symphony Orchestra in symphonic syntheses of music from Das Rheingold, Tristan und Isolde, Parsifal, and Die Walkure. The end result might be too much for some musical purists, but for most music-loving audiophiles, the result is sheer bliss. The liner notes are right on the money: "... these tone poems have a unique sumptuousness of sound and for those who love this evocative music gloriously played, there is much here that will ravish the ear." Hear, hear!

--KWN