Björg Post (1995)

Nina Hagen - FreuD Euch (1995) {BMG Ariola 74321 32064 2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 315 Mb | MP3 @320 -> 106 Mb
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© 1995 RCA / BMG Ariola | 74321 32064 2
Rock / Post Punk / Alternative / Indie

This 1995 release is a tough little CD much like what NinaHagen sounded like in the early 80's. The PUNK sound is back and herwork is all the better for it. Those of us who remember NUNSEXMONKROCK and the self titled NINA HAGEN BAND will appreciate her going back to that rough and tough sound we loved so much! As soon as you stick FREUD EUCH in your CD player Nina will literally blow you away with the first track "(Another junkie), Einfach Nina", with references to those undesirable and contemptible things in life like the neonazi and the yuppie.

Dee Dee Bridgewater performs 13 of Horace Silver's songs on her very well-conceived release. On most selections she is accompanied by her French quintet, but there are also two guest appearances apiece for organist Jimmy Smith and pianist Silver ("Nice's Dream" and "Song for My Father"). Bridgewater uplifts Silver's lyrics, proves to be in prime form, and swings up a storm. Other high points include "Filthy McNasty," "Doodlin'," and "Blowin' the Blues Away." A gem.

During some of the selections on his SteepleChase CD, guitarist Vic Juris displays an echoey tone reminiscent of John Scofield while on a few other numbers he has a dryer and subtle acoustic sound. Juris' improvising is on a high level, performing "Estate," "Falling in Love With Love," two obscurities, and six group originals (four of which are his) with creativity. His sidemen (pianist Phil Markowitz, bassist Steve LaSpina, and drummer Jeff Hirshfield) are alert and have quick reactions. Two high points are the eccentric "Dekooning" and a tasteful bossa nova rendition of "Estate," numbers that best show off Juris' impressive flexibility.

Birds & Monks features five tenors: Johnny Griffin, Harold Land, Joe Farrell, John Klemmer, and Joe Henderson - and altoist Art Pepper - playing one song apiece (five tunes by Charlie Parker along with Thelonious Monk's "'Round Midnight"). Pianist Stanley Cowell provides accompaniment (but sits out on the Henderson cut); either Cecil McBee or John Heard are on bass, and Roy Haynes plays the skins. Each of the saxophonists plays quite well, with John Klemmer's version of "'Round Midnight" being the only ballad. This release is easily recommended for bop fanatics.

There's a 20-plus-year span between electric guitarist Hahn's Brotherhood recordings and this CD. In between he's gone from hippie to tweed suit while establishing the jazz guitar studies program at Wichita State University, taking residence in Portland and Denver, and doing this date in NYC with all-stars bassist Steve LaSpina, drummer Jeff Hirshfield, either pianists Phil Markowitz or Art Lande, and soprano saxophonist David Liebeman for two selections. Hahn's influence on Pat Metheny, John Scofield, John Abercrombie, Mike Stern, and Bill Frisell is clear. He uses a little delay, echo, and reverb, just enough to enhance his improvisations, and when he's technically concentrating, he can easily be coarsely sparse and sharply staccato, elongated from a chordal standpoint, a bit twangy, and consistently tasteful…

Peter Bernstein's second CD as a leader reunites him with pianist Brad Mehldau and once again features him in a quartet. However, both Bernstein and Mehldau had grown quite a bit as soloists during the previous two years (the pianist really tears into "Nobody Else but Me") and this time they are joined by the virtuosic bassist Christian McBride and drummer Gregory Hutchinson. In addition, the songs (five Bernstein originals and four standards) are stronger and challenge the soloists to play at their best. Among the highlights are "Jet Stream," "Jive Coffee" (Bernstein's sly revision of "Tea for Two"), "Will You Still Be Mine," and a tasteful "My Ideal" in addition to "Nobody Else but Me." An excellent effort.