The Art Of Improvisation, Moffett showcases his extraordinary virtuosity on the upright bass - creating his own universe of singular sounds through innovative bowing techniques and electronic manipulation - while seamlessly switch hitting to fretless electric bass and electric piccolo bass, both of which he plays to beautiful melodic and rhythmic effect.
This album is a radical departure from the rest of Bill's recorded work as it is the first time he has recorded an album of straight-ahead jazz standards. The album has been anticipated for a long time by his many fans who cover genres as diverse as jazz, hip-hop & rock. It must be stressed that this album is very much a jazz CD and not a dance floor record. It is however, a superb album.
Virtuoso pianist Brad Mehldau continues his Art of the Trio series with a two-CD set titled Art of the Trio, Vol. 5: Progression. Recorded live at the Village Vanguard in New York City, this volume is his most satisfying triad outing yet. The trio opens disc one with a swinging up-tempo rendition of "The More I See You" and, for over ten minutes, Mehldau improvises his swinging instincts with his well-organized rhythmic partners, drummer Jorge Rossy and acoustic bassist Larry Grenadier. His original "Dream's Monk" features an extended variation on his profoundly introspective bebop. This composition is the centerpiece of disc one, which otherwise features covers of such standards as "Alone Together," "It Might as Well Be Spring," and "The Folks Who Live on the Hill."
What is the art of travel? As we all know there are many ways of traveling, both physically and mentally. Daydreaming is a way of traveling, where our flowing state of mind flies in and out of timezones without showing a passport. Or actually in real time going somewhere by train, crossing new territory, discovering the beauty of nature and meeting people, making new friends and making connections across borders.
The group is call Billy Cobham’s Art of 5 and features Donald Harrison, Guy Barker, Julian Joseph, and Robert Hurst. I could tell from the line-up not to expect any Mahavishnu covers or “out there” fusion excursions, and what I got was what I expected: well-rendered post-bop with tasteful flourishes courtesy of Cobham. He really is a superb technician, and he follows soloists in ways I had yet to hear other drummers even attempt. He also seems to have incorporated the vocabulary of his “fusion” drumming into that of his “jazz” drumming, as evidenced by his fiery, unexpected press rolls and his rapid, quick-as-lightning kick drum hits.