"Inner Smile" is the new 2011 studio album from drummer, Aldo Romano - recorded in his country of origin : Italy. The track ‘Inner Smile’ first appeared on Romano’s 1997 Verve album ‘Intervista’. He has surrounded himself here with a top quartet : Enrico Rava on trumpet, Baptiste Trotignon, piano and Thomas Bramerie on bass.
Moppa Elliott is a young bassist who leads a young, talented band. As such, the music—both written and improvised parts—is misleadingly mature. Whether it's strong training and influences or just plain old giftedness I can't say, but it's heartening to see such talent continue to flow into jazz, despite the great old form's ongoing brush with death at the hands of the music business, aided and abetted by an increasingly indifferent or antipathetic public.
"This is Ryan" continues to confirm that trumpeter Ryan Kisor is more than a "young lion, a label he received after winning the Thelonious Monk Competition back in 1990. At the still young age of 32, he is continuing in the tradition of the modal-minded trumpet players who preceded him, sounding like he comes from the direct lineage of the great Woody Shaw. His excellent trumpet technique, especially clear in the upper register, makes possible seamless solo lines. "This is Ryan" features compositions by three major trumpet players from the '50s-60s: Kenny Dorham's "Una Mas, Don Cherry's "Art Deco and Dizzy Gillespie's "Con Alma". The CD also includes four solid Kisor originals: "Waiting for Brown, a hard driving modal tune; "Maiden Lane, a smooth flowing ballad; "Dirty Ernie, a hard swinger; and "Solitaire," a swinging waltz…
Box set in ECM’s acclaimed Old & New Masters series reintroduces Arild Andersen’s first three leader dates for the label – “Clouds In My Head”, “Shimri”, and “Green Shading Into Blue”. Recorded between 1975 and 1978, none of these albums has previously been issued on compact disc, and this edition is eagerly awaited. The music traces Andersen’s personal evolution from ‘free’-inclined bassist to bandleader-composer and introduces some players who would prove important for the future of the music – amongst them an 18-year-old Jon Balke on the “Clouds” session.
Using the texts of playwright Heiner Muller and collecting a wide range of imaginative musicians, Heiner Goebbels constructed a fascinating music-theater piece that mixes languages and musical styles. The text, read and sung by Arto Lindsay, concerns the thoughts and fears of an employee summoned to his boss' office and has something of a Brazil-like aura about it. Perhaps coincidentally, Lindsay interjects some Brazilian songs into the proceedings. But the highlight is the performance by this stellar ensemble, ranging from free to punkishly tinged jazz-rock to quasi-African. There are outstanding contributions from guitarist Fred Frith, trombonist George Lewis, and the late Don Cherry on trumpet, voice, and the African hunter's guitar known as the doussn'gouni. Goebbels brews a rich stew of overlapping languages and styles in a dense matrix that creates an appropriate feeling of angst, but never loses a sly sense of humor…