| | Enrico Rava Third Man CD Enrico Rava Discography of CDs
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THE THIRD MAN (2007) is the second collaboration between veteran Italian trumpeter Enrico Rava and soft-keyed pianist Stefano Bollani. As on its predecessor of five years earlier, MONTREAL DIARY (which is also on ECM), the two take cues from each other in quiet phrases gently tossed back and forth. Occasionally, they give way to fits of passion, but mostly the affair imitates a languid late-night conversation in some stumbled-into speakeasy. It's a shadowed, film-noir world the duo inhabits, one recalling the movie with which the album shares its title, but less sinister and more darkly enthralling.
Photographer: Rüdiger Scheidges.
Personnel: Enrico Rava (trumpet); Enrico Rava; Stefano Bollani (piano).
Recording information: Auditorio Radio Svizzera, Lugano, Switzerland (11/18/2006/11/19/2006).
Down Beat (p.58) - 3 stars out of 5 -- "[A]n album rife with rumination....Both improvisers have skills when it comes to brooding; Rava's regal tone can effect a bittersweet feel, and the pianist's earthy middle register understands melancholy."
Global Rhythm (Publication) (p.48) - "Avowed film buffs, Rava and Bollani work with patently cinematic dynamism, as heard in the variations on Rava's 'Birth of a Butterfly'..." Enrico Rava Third Man Songs Purchase Third Man CD To buy, Click on price to add to cart | Enrico Rava Easy Living CD (2004)
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Easy Living marks the return of veteran composer and trumpeter Enrico Rava to the roster of Manfred Eicher's ECM label after a 17-year break. Rava is regarded by many as the father of modern Italian jazz, and on Easy Living it's easy to see why. Rava's consummate, innovative lyricism and subtle yet profound harmonic inquiry lie at the heart of the Italian music in all of its manifestations, from post- and neo-bop to free and avant-garde articulations. Recorded at home in Udine with the same band he's been gigging with for the past four years, Easy Living is a relaxed, low-key affair that is nonetheless fully engaged and deceptive in its pastoral appearance. The nine compositions on Easy Living run the gamut from songlike architectures like "Cromosomi," which opens the set, to the shimmering contrapuntal speculative investigations of "Sand," where Stefano Bollani's piano and Gianluca Petrella's trombone engage one another in a slippery minor-key dialogue on both sides of the modal frame. When Rava enters for his solo across this spacious blue-black abyss, he roots the tune in both space and time with a subtle tension that follows Bollani's outward efforts but then brings them back into the scalar line. On "Algir Dalbughi," Rava plays completely unaccompanied to open the tune, singing sweetly and forlornly into the void before Bollani and Petrella join him, underscoring his melodic line with hushed droning chords and quiet ostinato adornments until the halfway point, where Rava turns the lyric back on itself and it becomes ...
| | Dave Holland Overtime CD (2005)
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This exceptional date by Dave Holland Big Band was recorded in 2002 in New York, yet remained unreleased until 2005. As is to be expected, Holland assembled a fine cast of seasoned and young players, some of whom are veterans of Holland's quintets and quartets. These are four saxophones -- two alto, tenor and baritone -- three trumpets and trombones, and vibes as well as bass and drums. They include Chris Potter and Robin and Duane Eubanks, Antonio Hart, Steve Nelson, Josh Roseman, Billy Kilson, Taylor Haskins, Gary Smulyan, Jonathan Arons and Alex Sipiagin. The music centers around the opening four-part "Monterey Suite," a tour de force commissioned by the Monterey Jazz Festival and originally performed there in 2001. Holland's writing for the trombone section is dynamite. Roseman, Arons, and Robin Eubanks offer up solid bottom rung lines and tight timing as anchors for the rest of the brass though they often charge out front. Potter once more displays his talents as not only a fine soloist but as an excellent ensemble player, carrying the chair with authority and verve. The beautiful "Ario" hosts some really knotty and swelling harmonic interludes and the closer, "Last Minute Man," is ...
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| | Keith Jarrett Setting Standards: New York Sessions CDs (2007) Box Set; Special Edition
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Whether that song is the opening moment of Standards, Vol. 1, "Meaning of the Blues," or its hinge piece, "It Never Entered My Mind," or the latter two selections on Standards, Vol. 2, "If I Should Lose You" and "I Fall in Love Too Easily," the effect is the same: these three men can swing as hard as anybody, but they also investigate harmonically, rhythmically, and intuitively the far more subtle aspects these tunes offer as possibilities. Check the intros to both discs for more proof. Another compelling argument is that, given when these recordings were made, when jazz had entered its most reactionary period with the new conservatives like Wynton Marsalis rising in the wake of the backlash against the vanguard of the 1970s and more electrified current of jazz-funk and later smooth jazz, the records of this trio offered another view of the rigidity of the Young Lions at the time. The true respect and even loving view these three had for the canon is everywhere evident from the beginning, but it is not limiting. In fact, if anything, recordings like these offered proof that the tradition itself need not be guarded and held in the new cultural confines it was being courted with, and which sadly now is its "mainstream." Here was new grammar built solidly from the old, where one form of musical speech translated without misunderstanding to another.
The final disc in this set is not a standards recording. It is basically a pair of improvisations called "Flying, Pt. 1" and "Flying, Pt. 2" (then divided by LP sides), though they are credited to Jarrett. The first part is a little more marginal, but its ...
| | Carla Bley Lost Chords Find Paolo Fresu CD (2007)
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The curious title of Carla Bley's 2007 release THE LOST CHORDS FIND PAOLO FRESU is meant quite literally, since Bley's quartet the Lost Chords ...
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A fixture on the jazz scene since the early 1960s, reedist Charles Lloyd has played with practically everyone under the sun and has demonstrated remarkable variety in his playing, ranging across post-bop, chamber ...
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