Although pianist/composer Jacques Loussier is best known for his groundbreaking J.S. Bach albums, his ability to reinvent the work of other composers is equally amazing. Ravel’s Boléro covers two very different aspects of impressionism: a new interpretation of "Boléro" by Maurice Ravel (1875-1937) and seven short compositions by Loussier that were inspired by Claude Monet’s paintings of waterlilies or "Nymphéas." While his emotions are wrapped up in the music and time of Ravel, it is Loussier’s resourceful ability to dance between the borders of jazz and classical music that is most likely to give his latest Telarc release its enduring appeal.
This four-disc set collects the previously released CDs of Peterson's legendary three-night stand in 1990 at the renowned New York City club. Featuring longtime compatriots Herb Ellis and Ray Brown, the "trio" here is actually a quartet with drummer Bobby Durham, who'd played with Peterson in the late 1960s. The collection offers prime playing and stands as a sort of summation of Peterson's longstanding work with both Brown and Ellis. It was only a few years after these performances that the pianist suffered a stroke, from which he recovered, but which altered his style, costing him the stridency of his left hand. Among the first jazz recordings for what up until then had been a classical label, the sets were captured with the warmth and clarity for which Telarc has become known.
This disc was nominated for the 1998 Grammy Awards for "Best Classical Album," "Best Engineered Album, Classical," and "Best Orchestral Performance."
This is not your father's Brahms, though it may be your great-grandfather's. The concept behind this cycle-with-a-difference is to emulate the kind of orchestra Brahms liked to use, specifically the Meiningen Court Orchestra, with which he worked extensively after 1880 and entrusted with several important premieres…
Depending on what track you’re listening to, “Spirit of the Moment” (Telarc) is presenting one of three big ideas. There’s Latin jazz as we know it. There’s jazz as we know it that is unmistakably informed by the cultural backgrounds of his new trio: a Dominican pianist (Michel Camilo), a Cuban bassist (Charles Flores) and a Cuban drummer (Dafnis Prieto). And there is the contemplative, rubato ballad, which reflects no particular identity or place. Each idea could generate a whole album, and it would be good to hear this fleet band make any of those records.
Some jazz musicians aren't documented nearly as much as they should be; one could write a book about all the talented improvisers who made it to 60 or 65 without ever recording an album, or even being featured as a sideman on someone else's album. But Hiromi, thankfully, has been recording frequently ever since she emerged in the early 2000s, and she has been wise enough to record in a variety of settings. Hiromi has recorded unaccompanied, as well as in duos and trios; she has played in both electric groups and acoustic groups, and she has provided straight-ahead post-bop as well as fusion.
It's not uncommon for anyone to turn toward nostalgia as the years wear on, and at age 86, with nearly 60 years of recording behind him and nearly 50 since he shook up the jazz world with his landmark Time Out album, Dave Brubeck is certainly entitled to look back and take stock of his life. Indian Summer – the phrase itself suggests an acknowledgement of a waning in progress – is something of a companion piece to 2004's Private Brubeck Remembers. Like that gem, Indian Summer is a solo piano work comprised of Brubeck's ruminations on standards of the mid-20th century, the period when he was just coming up as an artist and blossoming as a young man.