Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. CD

Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. EXTENDED PLAY was nominated for the 2004 Grammy Award for Best Jazz Instrumental Album. With a front line that features saxophone, trombone, and vibraphone/marimba, the Dave Holland Quintet features an immediately identifiable band sound. As for backing, bassist Holland and traps man Billy Kilson provide a push-me-pull-you, supple and responsive rhythm section that is an embarrassment of riches when it comes to accompaniment ideas. The thing that separates the men from the boys in the world of jazz improvisation is listening--when the performers are paying close attention to one another, the creative horizons are all but limitless. It would be a slight to say this quintet is all on the same page, better to imagine they all bring their knowledge of great art and fine cuisine to bear each time they play together--it's a multi-faceted, heady brew. Holland's compositions are angular but never dissonant, polished but also earthy. The illusion is that these tunes flow effortlessly from this smart ensemble. The truth is that this is one of the best groups in early 21st-century jazz, based on a refined collective sensibility that is savvy and rare. Dave Holland Quintet: Dave Holland (double-bass); Chris Potter (soprano, alto & tenor saxophone); Robin Eubanks (trombone, cowbell); Steve Nelson (vibraphone, marimba); Billy Kilson (drums). Personnel: Dave Holland (double bass); Chris Potter (soprano saxophone, alto saxophone, tenor saxophone); Robin Eubanks (trombone, cowbells); Steve Nelson Quartet (vibraphone, marimba); Billy Kilson (drums). Recording ...

Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. In addition to having excellent cover art (an illustrated cityscape in which a giant saxophone--complete with windows, a doorway, and stoop--takes its place among the neighboring buildings), LENOX AVENUE BREAKDOWN is also a dynamic, unjustly overlooked jazz album. Prodigiously talented as an instrumentalist and composer, alto saxophonist Arthur Blythe was one of the most innovative jazz musicians of the 1970s and '80s, and LENOX AVENUE BREAKDOWN, his Columbia Records debut, proves it. Blythe's ability to marry the best of the genre's traditions (he is equally versed in swing, post-bop, and romantic styles) with his avant-garde leanings is evident here. "Odessa," for example, a modal exploration, begins melodically, yet pushes further into free-jazz territory as the tune progresses. The angular bop of the title track is offset by adventurous soloing and unique instrumentation (flute and tuba add to the sonic palette here, along with guitarist James "Blood" Ulmer and drummer Jack DeJohnette). Blythe also knows how to keep things groovy, as the Latin-infused "Down San Diego Way" shows, with its interlocking webs of percussion. This is challenging, engaging jazz of the first order that still sounds fresh decades after its release. Recorded at Mediasound Studios, New York, New York. Originally released on Columbia (35638). Includes liner notes by Stanley Crouch. Reissue producer: Donald Elfman. Personnel: Arthur Blythe (alto saxophone); James Blood Ulmer, Cecil McBee (guitar); James Newton (flute); Bob Stewart (tuba); Jack DeJohnette (drums); Guilherme Franco (percussion). Audio Mixers: Doug Epstein; Arthur Blythe; Bob Thiele. Liner Note Author: Stanley Crouch. Recording information: Mediasound Studios, NY. Photographer: Jim Houghton. Personnel: Arthur Blythe (alto saxophone); Bob Stewart (tuba); James Newton (flute); James "Blood" Ulmer (guitar); Cecil McBee (bass); Jack DeJohnette (drums); Guillermo Franco (percussion). Producer: Bob Thiele. Re-Issue

Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. In his time, European classical composer Gustav Mahler (b. 1860, d. 1911) had both his supporters and his detractors. Some people in Europe understood his work; some people didn't. And in the 21st century, the same thing can be said about Uri Caine, a risk taker who has been called everything from ultra-pretentious to a musical visionary. The latter, not the former, is accurate; Caine's jazz/Euro-classical experimentation has had its excesses at times, but dismissing him as pretentious or silly is unwarranted -- and his pluses greatly outweigh his minuses. Caine's creativity is at a very high level on Dark Flame, a tribute to Mahler. Caine does not pay tribute to Mahler by performing his work exactly as it was played in the 19th century or early 20th century; instead, Caine interprets, offering an orchestral jazz/classical mixture that is Mahler-influenced but is hardly an exact replica of Mahler's work. World music is also an influence for Caine, who incorporates everything from East European music to Asian music. Mahler, of course, was never influenced by jazz, which existed in his lifetime but wasn't recorded officially until after his death (although jazz historians believe that cornetist Buddy Bolden and his colleagues were playing an early form of Dixieland in New Orleans in the 1890s, it wasn't until the release of the Original Dixieland Jazz Band's "Lively Stable Blues" in 1917 that a jazz recording finally became commercially available and was widely distributed). And the very fact that Caine has a jazz perspective lets you know that his Mahler tribute isn't going to sound exactly like a classical orchestra. Much of Dark Flame is instrumental, although parts of the album include spoken word; either way, Caine celebrates Mahler on his own terms on this consistently intriguing CD. ~ Alex Henderson Recorded at Marstall, Munich, Germany between July 1999 & May 2003. Adapter: Uri Caine. Personnel: Uri Caine (piano); Tong Qiang Chen, Kettwiger Bach Chor, Sepp Bierbichler, Shulamith Wechter Caine, Sadiq Bey, Aaron Bensoussan, Barbara Walker, Julie Patton (vocals); David Gilmore (guitar); Mark Feldman (violin); Bao Li Zhang (erhu); Don Byron (clarinet); Ralph Alessi (trumpet); Jim Black (drums); DJ Olive (electronics, turntables); Tao Chen (dizi). Audio Mixer: Adrian von Ripka. Recording information: Bauer Studios, Ludwigsburg, Germany (07/1999-05/2003); Friedenskirche, Krefeld, Germany (07/1999-05/2003); Marstail, Munich, Germany (07/1999-05/2003); Sound On Sound, New York, NY, Unites States (07/1999-05/2003). Translators: Nili Cohen; Shulamith Wechter Caine; Burton Caine. Arranger: Uri Caine. Personnel includes: Uri Caine (piano); Aaron Bensouddan, Sadiq Bey, Sepp Bierbichler (vocals); Ralph Alessi (trumpet); Don Byron (clarinet); Mark Feldman (violin); Michael Formanek (bass); Jim Black (drums); DJ Olive (turntables, electronics).

Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. Very few, if any, attempts to merge classical music and jazz have succeeded. Somehow, jazz pianist Uri Caine's masterful and magnificent interpretations of selected works of the 19th century classical composer Gustav Mahler work remarkably well. Of course, it does not hurt to work with a stellar ensemble, including trumpeter Dave Douglas, violinist Mark Feldman, clarinetist Don Byron, and drummer Joey Barron, and turntable spinner DJ Olive, among others. However, it is Caine's clever arrangements that take the cake. He does not simply "jazz up" Mahler, which would mock the greatness of his works. Instead, he worms himself inside the songs and harmonies and uses them as a starting point to create a related, but new, synthesis of his music. Jewish folk melodies, cantorial renditions, free jazz, and classical violin are all merged in a whole that transcends the parts. ~ Steve Loewy Recorded at Systems Two, Brooklyn, New York on June 11-14, June 22, and June 26, 1996. Includes liner notes in English, French, Italian, Spanish, Japanese, and German by Franz Winter. Adapter: Uri Caine. Personnel: Uri Caine (piano); Dean Bowman, Arto Lindsay (vocals); Aaron Bensoussan (cantor, percussion); Danny Blume (guitar, electronics); Mark Feldman (violin); Larry Gold (cello); Don Byron (clarinet); David Binney (soprano saxophone); Dave Douglas (trumpet); Josh Roseman (trombone); Joey Baron (drums); DJ Olive (turntables). Audio Mixer: Carlos Albrecht. Recording information: Systems Two Brooklyn, NY (06/11/1996-06/26/1996); Systems Two, Brooklyn, NY, Unites States (06/11/1996-06/26/1996). Editor: Carlos Albrecht. Photographers: Robert "RX Lord" Lewis; Robert Lewis . Arranger: Uri Caine. Personnel: Uri Caine (arranger, piano); Dean Bowman, Arto Lindsay (vocals); Aaron Bensoussan (cantor, hand drums); Dave Binney (soprano saxophone); Dave Douglas (trumpet); Josh Roseman (trombone); Don Byron (clarinet); Mark Feldman (violin); Larry Gold (cello); Danny Blume (guitar, electronics); Michael Formanek (bass); Joey Baron (drums); DJ Olive (turntables).

Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. Bob Brookmeyer New Art Orchestra: Bob Brookmeyer (conductor); Marko Lackner, Stefan Pfeifer (alto saxophone); Paul Heller, Nils Van Haften (tenor saxophone); Marcus Bartelt (baritone saxophone); Thorsten Benkenstein, Torsten Mass, Sebastian Strempel, Ralf Hesse, Jorg Engels (trumpet); Ludwig Nuss, Ansgar Striepens, Christian Jakso (trombone); Edward Partyka (bass trombone); Kris Goessens (piano); Jurgen Grimm (keyboards); Ingmar Heller (bass); John Hollenbeck (drums); Christopher Dell (percussion). This stunning release features the recording debut of Bob Brookmeyer's New Art Orchestra, made up mostly of young Europeans recruited by the valve trombonist while touring the Continent. The four-part suite "Celebration" was originally written as a feature for the late baritone sax great Gerry Mulligan for a special concert in 1994, two years before his death. Scott Robinson fills Mulligan's role admirably on this initial recording of this extended work, and Brookmeyer's incredible voicings within the haunting ballad movement "Remembering" are also worth noting. The tracks following the suite are a diverse lot, but all of them merit strong praise. The leader's solo on the closer, "Boom Boom," demonstrates that his playing is as exciting as ever. Highly recommended! ~ Ken Dryden New Art Orchestra. Recorded at Bauer Studio, Ludwigsburg, Germany from July 28-30, 1997. Includes liner notes by Scott Yanow. Personnel: Marko Lackner (alto saxophone); Nils Van Haften (tenor saxophone); Scott Robinson (baritone saxophone); Sebastian Strempel, Thorsten Benkenstein, John Engels, Ralf Hesse (trumpet); Ansgar Striepens, Ludwig Nuss (trombone); Edward Partyka (bass trombone); Kris Goessens (piano); John Hollenbeck (drums); Christopher Dell (percussion). Recording information: Bauer Studio, Ludwigsburg, Germ (07/28/1997-07/30/1997). Photographer: Joost Leijen. Additional personnel: Scott Robinson (baritone saxophone).

Gustav Mahler In Toblach: I Went Out This Morning Over The Countryside. Canadian-born pianist Paul Bley has quite the resume--after all, how many musicians have played with Charlie Parker, Chet Baker, Charles Mingus, and Ornette Coleman? During the intense flowering of the 1960s avant-garde, Bley proved one could play both "free" and with focused lyricism simultaneously. NOTHING TO DECLARE is another entry in Bley's long list of solo recitals, but he's far from coasting on past successes, as this stands with much of his best work. Whereas some of Bley's albums could, understandably, be considered a bit on the moody side, this set has a crisp, bright, sunny-afternoon feel, as if he were commemorating a happy occasion. Bley still considers his notes carefully, yet he's never tentative or stiff--there's a gentle melodiousness to the proceedings, and there are several subtle tributes to classic, historical jazz piano styles. "Breakdown" has the genial gentleness of Errol Garner, the economy of Thelonious Monk, and the sly, limber tunefulness of Fats Waller woven perfectly into a captivating tapestry. "Blues Waltz" finds Bley getting a little frantic and a lot bluesy, artfully combining elegance and tension. Both intelligent and unassuming, NOTHING TO DECLARE is recommended to Bley fan and newcomer alike. Solo performer: Paul Bley (piano). Liner Note Author: Frank Kimbrough. Recording information: Sound on Sound, New York, NY (05/16/2003).