Diethard Stein Modern Drumming

Stein-Erik Olsen is back! His newest recording “The fifties and Now” displays an impressive side of one of Europe’s most important working guitarists. This record blends classical compositions from the 1950´s from Leo Brouwer and Mario Castelnuovo-Tedesco, with a far more modern composition from Norway’s own Ketil Hvoslef written in 2019.

Portuguese pianist Daniel Bernardes studied both composition (with Emmanuel Nunes and Karlheinz Stockhausen) and jazz (with Carlos Barretto and João Paulo Esteves da Silva, two names of the Clean Feed catalogue). “Liturgy of the Birds” comes from his explorations of Olivier Messiaen's compositional techniques, applied here to a jazz setting, bringing together a piano jazz trio (with double bassist António Augusto Aguiar and drummer Mário Costa, the same of “Oxy Patina” and the Emile Parisien Sfumato Quintet) with Drumming GP, an international reference in the world of modern percussion. "Liturgy of the Birds" is an hommage to Olivier Messiaen, alluding to his profound devotion to Christianity and his love of the birds to the point of notating and using their chants throughout his works. To Bernardes, «the language of Messiaen is a possible path to contemporary jazz», and listening to this astonishing record we have to agree with him. If you’re searching for something new and surprising, search no more: here it is.

With J Jazz volume 4, the BBE J Jazz Bullet Train continues its journey traversing the expansive landscape of modern Japanese jazz. Volume 4 is the latest in the universally praised compilation series exploring the best, rarest and most innovative jazz to emerge from the Far East. Please take your seats for a first-class ticket to J Jazz central.

This album is certain to be placed in the MJQ section of any shop that carries it. In reality though, only four of the cuts here feature the permanent, stand-alone, 1952-vintage Modern Jazz Quartet; the other eight having been done in the summer and fall of 1951, when they were still known as the Milt Jackson Quartet, with Jackson providing all of the original material. The differences are so subtle as to be indistinguishable – Milt Jackson and John Lewis are on every cut, while Al Johns subs for Kenny Clarke on drums, and Ray Brown precedes Percy Heath on four of the tracks. Clarke's drumming is more impressive in its quiet way, but Ray Brown's bass work is simpler and more forceful.