Born in 1989, Michel Meis belongs to the new generation of Luxembourgish Jazz musicians and regularly proves his versatility and openness through numerous projects. After years of style shaping and sound experiments, Meis' 4tet is about to make its mark on the European jazz scene with a sonic vocabulary that skillfully blends the traditional palette of drums, trombone, piano and double bass with the fresh approach and the broad musical background of open-minded and fearless musicians. The result is an exciting modern jazz where free and experimental improvisations meet well-crafted compositions. Where a rhythm, bursting with energy and vivacity, meets introverted and lyrical melodies. Where conventional jazz elements meet a clever and subtle use of jungle beats and electronic sound effects. Although a true powerhouse drummer, Michel Meis gives enough room for the other instruments to unfold, thus emphasizing the cohesiveness and harmony of the project.

Saxophonist Sigurdur Flosason writes: Music is the universal language of mankind is a frequently cited quote by the 19th century American poet Henry Wadsworth Longfellow. Well, if thats the case, jazz is certainly my favorite dialect. The spontaneity and collaborative nature of jazz makes it ideal for swiftly building bridges between groups of musicians and audiences alike. Nothing is as musically exciting and refreshing as a newly forged relationship of outstanding jazz performers and composers, especially when brought together in the close comfort and proximity of ones living room. This was to be the beginning of what has now developed into a well-brewed and mature unity of musicians that have since then performed at jazz festivals in both Luxembourg and Reykjavik and have now recently recorded this outstanding album, featuring compositions from all four members. The compositions on this album provide a good framework for the musical dialogue. Ranging from melodic ballads such as Flosasons Father of Light and Reis Thank you letter, the folkish melody and melancholy of Demuths Dante and Reis Tundra, to Flosasons more calculated and intellectually infused Counting sheep and Forty-nine, over to Herrs mystic and haunting Moonglow.

New York’s mainstay saxophonist Rob Scheps makes SteepleChase debut here in a quartet format, a version of his renowned NY group The Core-tet. Oregon native Rob Scheps graduated from the New England Conservatory with honors in performance in 1986. He has performed and/or recorded with the Gil Evans Orchestra, Terumasa Hino, Roswell Rudd, John Abercrombie, Jaki Byard, Eddie Henderson, Clark Terry, to mention a few, as well as leading his own groups including the True Colors Big Band. “Scheps .. leads this stellar 17-piece ensemble, providing the kind of musical energy, power and finesse expected from a world-class orchestra, …” (Edward Blanco – AAJ)

Guitarist John Hart has established the status of leading figure in the modern jazz guitar scene with highly acclaimed releases from Blue Note and Concord in the 90s. He has performed and recording with Jack McDuff, Terumasa Hino, Jimmy Smith, and Lou Donaldson, among others, as well as leading his own group. Hart now divides his time between New York and Miami, Florida where he is a lecturer at his alma mater the University of Miami Frost School of Music. “…He’s an amazingly inventive soloist and composer who is not afraid to step out of his comfort zone.” (John Heidt – Vintage Guitar Magazine)

Native of Umbria, Italy, pianist/composer Federico Bonifazi has become a highly acclaimed name both in national and international scene in recent years. For this his 3rd album Bonifazi composed a suite depicting the beauty of his beloved Umbria in the changing colors of autumn performed by Bonifazi’s handpicked elite Italian ensemble. “.. an album worthy of special attention, conceived and created with a strong artistic personality and with a huge communicative generosity, … with the humility and discretion that only the great artists possess and that make this CD a real pearl in the musical production of the Umbrian pianist.” (Proposito di Jazz on SCCD 33125 “You’ll See”)

This album aims to compile the most emblematic works of the end of the twentieth century while seeking to give more recent music a leading role because, fortunately, some of today's creators are of the same quality as the most firmly-established figures of the previous period. This is not work about the flutter-tonguing "traditional contemporary saxophone", display of the shallowest virtuosity, an accumulation of slaps or "strident multiphonics" used as effects, and which have been made an example of our feeblest "clich�s". Quite the contrary, the intention has been to select a programme where various styles coexist while seeking to keep in common the use the individual composers make of the saxophone, of course using E.T.s, although never as techniques themselves but rather with the aim of offering a message, part of the differentiated language of each. This is the main feature of the current panorama, the quest for a sonic language original to each composer, using the saxophone as the medium, never as the beginning or end of the composition.

For the past ten years saxophonist/composer/arranger/educator Chris Byars has passionately excavated and re-examined earlier gems of music by jazz’s historical contributors such as Gigi Gryce, Lucky Thompson, Freddie Redd, Duke Jordan, among others. For this new album Byars penned nine original compositions as a tribute to jazz greats who turned 100 years in 2017. “Chris Byars has done a remarkable job reviving these neglected compositions of Frank Strozier while also putting his own stamp on them with his inventive arrangements.” (Ken Dryden – NYCJR on “The Music Of Frank Strozier” SCCD 31824)

Professor Emeritus of Jazz Studies (Eastman College of Music, Univ. of Rochester) Harold Danko pays homage to Be Bop’s song-smith Duke Jordan here in an inaugural meeting with New York’s rising star cornetist Kirk Knuffke. Duke Jordan’s distinctive melodies receive Danko/Knuffke duo’s refined and creative reading and mingle naturally with their free tunes in between. “… (Harold Danko’s remarkable authority and heartfelt approach have been nothing short of an inspiration” (C. Andrew Hoven – AAJ) “This is a fascinating showcase for Kirk Knuffke's versatility. He can apply his cornet to a dazzling variety of settings ...” (Jerome Wilson – AAJ on “Witness” SCCD 31859)

The first attempt went awry. When Nat and his older brother Julian 'Cannonball' Adderley tried to start a quintet in the mid-fifties, hardly anyone was interested in the newcomers from Florida. And that, in retrospect, was good. Because the trumpeter Nat landed in this way in the bands of Jay Jay Johnson and George Shearing, and there refined, under expert guidance, his art of elegant blues-bopping ensemble playing. The alto saxophonist Cannonball in turn became Miles Davis' counterpart to tenor saxophonist John Coltrane for a good four years, a time he later described as the most artistically important of his life. When the brothers came together again in 1959, they had both matured and were ready to lead one of the most successful jazz bands of the 1960s. Unlike experimental colleagues who tested the limits of music, but more and more lost their audience, the Cannonball Adderley Quintet managed to reach a large audience with hits like "This Here", "Work Song", "Jive Samba" and above all "Mercy, Mercy, Mercy". No wonder, then, that a wave of applause greeted the Cannonball Adderley Quintet in the Liederhalle Stuttgart in 1969. Completed by bassist Victor Gaskin and drummer Roy McCurdy, they had brought with them just the right repertoire.

Bassist/Composer/Educator Jay Anderson (b. in California) is so much in demand that it is difficult to come up with any distinguished musicians who have not had Jay in their band for gigs and/or recordings. Here on his 92nd appearance on SteepleChase the label has the pleasure of showcasing Jay Anderson as the frontline soloist/leader. Anderson with dazzling ability to create musical landscape presents 11 tracks with diversity unified by the deep resonance of a double bass superior. “Mr. Anderson has a melodic sense that effectively shapes his solos and adds subtle touches to his accompaniments.” (John S. Wilson – New York Times) “…a most imaginative and sympathetic bassist.” (The Observer - UK)

New York’s stalwart ensemble Vic Juris Trio (with Jay Anderson and Adam Nussbaum) has been regularly performing Vic Juris’ compositions, which are recording ready for this session. Vic’s trademark versatility and inventiveness come to the fore with the use of electric and acoustic guitars. “Juris’ inventive lines and rich harmonic gifts are apparent from the beginning, as is the familiarity of the trio with one another…. The trio … is truly interactive in their stunning interpretation. It’s hard to describe a jazz artist in his 60s as a “talent deserving of wider recognition”, but with CDs like this, Vic Juris has made an ample case.” (Ken Dryden - NYCJ on SCCD31841 “Eye Contact”)

New Orleans is a musical melting pot that has been cooking up music royalty for nearly over a century. The New Orleans Jazz Orchestra, now in it's seventeenth year, is dedicated to preserving the tradition of New Orleans music and culture while exploring the works of artists that might be considered slightly outside the realm of jazz.

"Songs: The Music of Allen Toussaint" is the fourth studio recording by the Orchestra and the first under new music director Adonis Rose. Toussaint, one of New Orleans' most well-known composers, wrote the classic tunes "Java", "Electricity", "Southern Nights" and "Working In A Coal Mine" which all get fresh large ensemble interpretations on this new disc. Other tunes associated with Toussaint, but not necessarily written by him, such as the classic "Tequila", are also on the playlist. A raucous and swinging tribute to a true American music original performed by his home town ensemble.

REVIEW:

Allen Toussaint (1938-2015), a composer / producer who made his mark in the broad spheres of R&B, rock and roll, funk, country and pop music, may seem at first glance an unusual choice for a big-band jazz tribute. On the other hand, the New Orleans native never strayed far from the pivotal music of his home city, embracing and supporting jazz even as he found other musical worlds to conquer. So when vocalist Dee Dee Bridgewater remarked to Adonis Rose, artistic director of the New Orleans Jazz Orchestra, that she’d never heard a big-band treatment of Toussaint’s music, Rose took her comment to heart and decided to make it happen.

The result is the buoyant and earthy Songs, on which NOJO, recording for the first time under Rose’s baton, explores half a dozen songs written by Toussaint, one more associated with him (“Tequila”), and colorful tribute numbers by Gerald French (“Gert Town”) and Leonard Brown (“Zimple Street”). Bridgewater is the orchestra’s guest vocalist on “It’s Raining” and (alongside Philip Manuel) “With You in Mind.” Percussionist French sings on the rhythmic “Gert Town” (named for the neighborhood in which Toussaint grew up), overdubbing himself on vocal and various percussion instruments, accompanied only by Rose on bass drum and NOJO percussionist Alexey Marti on congas. Brown sings and plays trumpet on “Zimple Street,” a bluesy cooker on which he fashions one of the album’s brightest solos (preceding another strong statement by either Khari Allen Lee or Jeronne Ansari on alto sax).

“Tequila,” introduced by The Champs in 1958 and later covered by Toussaint on his album We the People, sounds even better sans voices here, thanks to steadfast blowing by NOJO and crisp solos by (unnamed) tenor sax and trombone. The orchestra does well by Toussaint’s themes too, opening in an old-line New Orleans groove on “Southern Nights” (nice vocal by an unbilled Michael Watson who is at least cited in Rose’s liner notes) before proceeding to the handsome ballad “It’s Raining,” on which Bridgewater is in full seductive mode. Edward Petersen’s impressive arrangement of “Working in the Coal Mine” showcases alto Ansari with male chorus, the funky, second-line “Ruler of My Heart” the orchestra’s splendid resident vocalist, Nayo Jones. The lively, staccato “Java,” which earned trumpeter Al Hirt a Grammy Award in 1964, doesn’t suffer much from his absence, thanks to unflagging work by the ensemble and Ashlin Parker’s nimble trumpet solo.

Even though more or less divorced from his normal realm of influence, Songs is a tribute that Toussaint surely would have loved, as it is New Orleans to the max, astutely designed and adeptly performed by Rose and the rejuvenated New Orleans Jazz Orchestra.

-- AllAboutJazz.com (Jack Bowers)

Once the West and Japan were not familiar with one another. But today, in the 21st century, the two worlds which are so very different can come a little closer to each other. We learn, wonder, and discover different cultures, lifestyles, nature, architecture, images and sounds. Fumio Yasuda’s music comes from modern Japan, which already opened up to the West in the 18th century. Yasuda studied classical music with a preference for Karl Amadeus Hartmann. From childhood he grew up with Western pop and jazz music, yet was still deeply rooted in the Japanese tradition. Time, space, and infinity play an important role in his music. In his scores there are no pause signs like in Western music, but signs of silence between lyrical, deeply poetic tones and chords that tell stories about Japanese landscapes, rain, forests, fog, longings and eternity. Yasuda works in a deep musical understanding with Joachim Badenhorst, Nobuyoshi Ino and Akimuse. His gentle piano sounds unite with the sounds of the clarinet, the plucked bass strings, and the tender voice of Akimuse.

SOLO

Yuko Mabuchi Trio thrills audiences with every concert. Her January performance opening for Branford Marsalis in the 1,800 seat Renée and Henry Segerstrom Concert Hall whet international jazz appetites. She next headlined the Arlington Jazz Festival in Texas, and Yuko Mabuchi Trio performed in Blues Alley in April as part of the Cherry Blossom Festival in Washington D. C. European and Asian stages beckon. Yuko s debut recording on Yarlung, "Yuko Mabuchi Trio," was a top seller in the Yarlung catalog last year, in all formats. Yuko deserves this success. "The Absolute Sound" published a rave review of her Segerstrom concert. Elaborating further, Rick Brown writes in Yarlung News Yuko Mabuchi combines sexy athleticism at the piano with serious musical poetry. The young fans in the house responded to both with great enthusiasm. So did audience members in their 70s and 80s. This was a fast up tempo set resulting in thunderous applause with audience members yelling and stamping their feet for the standing ovation at the end.... I recognized some audience members who had driven from San Francisco or flown in from Hong Kong and different parts of the country for the event....

KOHASHI-OVERWATER-VERPLOEGEN trio is a collective jazz group that creates a unique sound, standing on an equal footing with each other. Kohashi from Japan, Overwater and Verploegen from the Netherlands, beyond ethnicity and nationality, they seek and discover their own sound sharing the passion for music. Japanese pianist Atzko Kohashi had something special in mind when she invited Dutch bass player Tony Overwater to join her for a musical encounter. She longed to create a unique unit of bass harmony and melody with each voice being equal and contributing selflessly to the music. Her vision is connected to Japanese Zen aesthetics that generate simplicity and spontaneity. With trumpet player Angelo Verploegen they found their match- a soloist who can blend in, shine and support the music all at the same time. On a cold winter day, they met in an empty church in Amsterdam and started playing. For hours. Instantly the delicate sound of these three instruments blended into gentle and generous music that warmed their hearts. A few months later, they recorded the debut album Virgo in the only way possible for such a collaboration: in a beautiful radio studio from the 1930s, with a great sounding Steinway, only a few microphones but of the utmost quality and recorded directly to a two-track analogue tape recorder before a live audience.

NYC-based saxophonist/composer Adam Niewood was born into a musical pedigree with jazz saxophonist father and classical pianist mother. The composer of the tunes recorded here is Adam’s father, Gerry Niewood who rose to his fame in the 70s and had achieved a successful career until his untimely death 10 years ago. Adam with his dream rhythm section dedicates this album to his father. ”… craftsmanship and attention to detail is also evident in his music. Adam Niewood has a distinctly powerful, supple and soulfully intelligent presence.” (Mark F. Turner – AAJ)

Andy LaVerne, prolific composer, prominent educator and resourceful recording artist of five decades’ experience, is putting a new quintet together here to interpret his timeless compositions. The liner notes by the composer give us an intriguing insight into the working of a creative mind. “…. if you want to learn more about Andy LaVerne, this is a wonderful material with lyricism, musical intensity and well perceived format.” (O. Mathiesen – JazzSpecial on SCCD 31818 “Genesis”)

This new release features ten brand new compositions from Danish pianist Heine Hansen, performed by the Heine Hansen trio which includes bassist Thomas Fonnesbaek and drummer Alex Riel. The group's previous album, Signature, received glowing reviews by fans and critics, and this release is sure to be no different. "There is a particularly powerful grace in Heine Hansen's way of playing the piano.(...) The album here is Hansen's receipt for the much deserved Ben Webster award and it shows the pianist as we know him, as one who expresses himself equally convincing in all mainstream jazz forms, and as someone for whom every note has it's clear role to play in the music's figure." (Peter H. Larsen)

At last, they're back! La Section Rythmique, the fabulous group whose stars were always behind the scenes, namely David Blenkhorn, Guillaume Nouaux and Sebastien Girardot. Catapulted to the front of the stage with the release of their first album - it was Record of the Year for Jazz Magazine in 2015 - the group has played countless concerts and done many recordings since then with the likes of Cecile McLorin Salvant, Evan Christopher, Scott Hamilton, Lillian Boutté or Jason Marsalis among others. La Section Rythmique has moved away from the New Orleans material of their first recording and taken swing and bop directions. And since only musicians of this band's calibre could allow themselves guests like these, they've gone into the studio with two giants of the saxophone: American star Harry Allen and young Italian player Luigi Grasso. Only La Section Rythmique could provide such an amazing setting and rival the playing of their two guest soloists. Don't miss this album!

The title “Introducing” is somewhat misleading as Steven Herring has already made a splashing debut as a recording artist last year in Kirk Knuffke’s “Witness” album (SCCD 31859) that received numerous raving reviews for Steven’s commanding performance in a wide-ranging program of opera/gospel/jazz. The Julliard graduate operatic baritone singer Herring here on his leader debut shows off his dazzling talent as a jazz crooner exploring the Great American Songbook tradition. “Herring's commanding, resonant voice is a focal point of this music. He can perform as a romantic crooner, gospel shouter or opera singer as well as integrate himself into the fabric of the instrumental byplay.” (Jerome Wilson – AAJ on “Witness”)

Since his SteepleChase debut with “Whirlwind” album (SCCD 31811) in 2016, the veteran alto saxophonist Andy Fusco has been releasing annually a new album that documents this unique artist with big, edgy and sonorous tone to command your attention. The latest release here finds him in the company of three other horns: trumpet, tenor and trombone to generate vortical energy of an almost big band. “No turmoil here, as saxophonist Andy Fusco is very much in charge – heading up the group with a confident tone and strong sense of voice – which maybe also allows a bit more openness in the other players! Fusco blows alto throughout, with a rich, crispy tone that almost moves more towards a tenor at points …” (Dusty Groove on “Turmoil” SCCD 31843)

Like a lot of elite, Los Angeles-based studio musicians, reedman Bob Sheppard is one of those players whose sound is more familiar than his name. Even though he’s played on dozens of albums during the past 40 years, ranging from guest spots with the likes of Rod Stewart, Joni Mitchell and Leonard Cohen to sideman gigs with Chick Corea, Freddie Hubbard and Peter Erskine, The Fine Line is only his fourth album as a leader. Talk about a late bloomer. Sheppard offers the music here as someone with little to prove, and that casual confidence brings a low-key bravura to the playing. - DownBeat Editors' Pick

 

Click here to read the full review at DownBeat Magazine

 

MOSAISMIC

Two years after the revelation "Opening" which was awarded the Django Reinhardt Prize from the Academie du Jazz, Fred Nardin is back with the bass player Or Bareket and the drummer Leon Parker for the Fred Nardin Trio's second album: "Look Ahead. " "You can be both as intellectual and as soulful as you want, and the swing beat is powerful but subtle. I think you have to devote yourself to it exclusively to do it at that level". (Mulgrew Miller, DownBeat Magazine. ) A pianist bred on experience(s) and tradition, Fred Nardin has only one aim in life: to play as well as he can, just as long as it swings. Reasonable but determined, passionate and enthralling when it is a question of tackling the great masters - Kenny Barron, McCoy Tyner or Mulgrew Miller -every day Fred Nardin gets a little closer to his objective, and Look Ahead is the resounding proof. Co-founder of The Amazing Keystone Big-Band, chosen sideman for Cecile McLorin Salvant, Bria Skonberg, Jacques Schwarz-Bart, Natalia M. King, Stefano Di Battista, Jesse Davis and Gael Horellou, regular feature "After-Hours" at the Duc Des Lombards in Paris: Fred Nardin is everywhere where jazz is happening but it is with the trio of the album "Opening" that he was really discovered in 2017.