Phrases 2015

Chris Dingman - The Subliminal And The Sublime (2015) {Inner Arts Initiative 60237}
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© 2015 Inner Arts Initiative | 60237
Jazz / Chamber Jazz / Modern Composition / Modern Creative / Post-Minimalism / Ambient / Vibes

On Chris Dingman's sophomore album, 2015's The Subliminal and the Sublime, the creative jazz vibraphonist/composer finds inspiration in nature, and the result is an often stunning album of both grand gestures and detailed, percolating undercurrents. Featuring alto saxophonist Loren Stillman, pianist Fabian Almazan, guitarist Ryan Ferreira, bassist Linda Oh, and drummer Justin Brown, Dingman's sextet displays true mastery of wide dynamics across a suite whose extended-form movements culminate in strikingly dramatic fashion. Opener "Tectonic Plates" begins with high singing tones and chordal volume swells, creating an ethereal ambience over which Stillman introduces a calm melody, briefly joined by sharper yet still understated support from the other bandmembers to close this lovely four-and-a-half-minute intro.

Timme Rosenkrantz - Timme’s Treasures (2015) {Storyville 1018439 rec 1944-1945}
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© 1944-45, 2015 Storyville Records | 101 8439
Jazz / Bop / Swing

Known in New York and Denmark as the Jazz Baron, baron Niels Otte Timme Rosenkrantz was a man of many talents and many friends. On this CD, we find exclusive recordings of some of the grand musicians of Harlem’s golden jazz age – most of it recorded in Timmy’s (as the Americans nicknamed him) private Manhattan apartment, where the jazz society came to party and play. This CD features tracks performed by renowned artists such as Stuff Smith, Thelonious Monk, Don Byas and pianist Erroll Garner, whom Timme Rosenkrantz is actually credited for discovering and being the first to record. The CD is the first ever release of these private recordings from the mid-1940s.

Billy Cobham, the pioneering jazz-rock fusion drummer who left all his rivals and imitators in the dust when he surfaced in the 1970s, always sounded like a complete musician rather than simply a technical miracle. Approaching 70, he still does. Cobham and a hard-rocking quartet are at Ronnie Scott's, celebrating the 40th anniversary of the drummer's bandleading debut album, Spectrum, by playing most of the music from it, and a little new material besides.
What made this flat-out show so much more than a routine tribute-band trot through a famous tracklist was the enthusiastic drive of the band.

Sanchez's experience composing the Birdman score was heavily influential on the cinematic scope of The Meridian Suite, his fifth album as leader on Italian label CAM JAZZ. "The movie is basically one long continuous shot", he explains, referring to the film's illusion of being shot in a single take as it follows Michael Keaton through his Broadway breakdown. "That's also what I wanted to do with this suite; to the listener it should be seamless". The suite takes full advantage of the versatility and wide-ranging palette of Migration, the quartet that Sanchez has led since 2011. Tenor saxophonist Seamus Blake doubles on Electric Wind Instrument (EWI), John Escreet on piano and Fender Rhodes, and Matt Brewer on both acoustic and electric bass. Sanchez also layered keyboard atmospherics onto the album in post-production along with a wide array of guitars from Adam Rogers, while singer Thana Alexa contributes soaring lyrics to the second movement, "Imaginary Lines", and coloristic wordless vocals elsewhere.

The sound world of Bach’s last great Mass has changed radically in recent decades; one-to-a-part performance practice is, as conductor Lars Ulrik Mortensen puts it, “changing our entire notion of Bach’s acoustic universe”. This bold claim is amply proven in an account of dazzling transparency, dance-like rhythms and utter clarity. Sometimes the balance seems not quite right, for example when organ continuo dominates, but some superb ensemble numbers pit voices against virtuosic instruments so each seems to outdo the other in joyous exuberance. The five soloists complement each other well, and the addition of just five extra singers is all that is needed to explode Bach’s universal vision into life.

Third release on Ondine by the Austrian star violinist Benjamin Schmid contains fresh arrangements of well-known piano pieces by Shostakovich and Prokofiev for violin and piano. Also included is a suite transcribed from Kurt Weill's iconic ‘The Threepenny Opera'. All the three original works by the composers were written during the 1910s and 1920s.[/quote