Keith Jarrett Inside Out

Though he has recorded in many different contexts before, from duets to trios to big bands, Michel Camilo has released only one solo piano outing in his long career up to now, 2005's Solo, which revealed in intimate detail his tactile, technical facility. What's Up? is a few steps down the road. Comprised of seven originals and four covers, this date showcases the composer and pianist's love of harmony, texture, color, and rhythmic invention in performing solo jazz piano. Camilo is a wily and rangy player; he embraces the jazz piano tradition throughout this date, and extends it with Latin and classical music He opens with boogie and stride in the title cut; it's punchy, knotty, joyous, and swinging – a fine ride through Camilo's blues imagination. Following this energetic opener is the moodier "A Place in Time," with its classical nocturne feel that explores varied hues and timbres inside a minor-key arrangement.

Miles Davis - Miles Davis at Fillmore (1970) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1223~24}
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© 1970, 2006 Sony Music Japan / Columbia | SICP 1223~24 | DSD | HQD High Quality Disc
Jazz / Jazz Rock / Jazz Fusion / Trumpet

Four sides of long improvised grooves from Miles Davis – a set that's quite similar to the classic studio album Bitches Brew, but which captures the sound in more open live setting! The work is more inside than some of the Davis Japanese sessions of the time, but no less revolutionary – really opening up in some wonderful ways – with lots of spacious modal riffing over some heavy vamps. Groovy and quite free at the same time, but not nearly as out as the later electric recordings!

This LP from ECM's early days finds Swedish pianist Bobo Stenson leading bassist Arild Andersen and drummer Jon Christensen in a program of uncompromising, collectively improvised post-bop. Andersen is prominent in the mix and plays just tons, all of it totally relevant to the music. Christensen provides structure, drawing on his breathtaking talent to contribute a dazzling range of color, a deft, flawless pulse, and fresh rhythmic ideas for the pianist and bassist. Stenson stakes out a middle ground, communicating closely with his partners and underpinning the group with subtle cues and harmonic shifts. Stenson's title track, a great post-bop, piano-bass-drum performance, goes for broke, but with discipline and a shared sense of purpose.

Henrik Hellstenius's intense yet unassuming exploration of the interacting worlds of sound and time has spanned more than three decades. That hunger for discovery is perhaps the single most unifying feature across his life and work. It was already forming rapidly in his youth, from his teenage years spent listening to Keith Jarrett and Jan Garbarek to his studies of spectral music with Gerard Grisey in Paris.