Note :

http://www.nelscline.com

http://www.myspace.com/nelscline

Nearly 10 years into leading the winkingly named instrumental trio the Nels Cline Singers, it's hard to imagine what fringe of jazz and improvised rock could be unearthed next by the local guitar hero who joined the boundary-pushing band Wilco in 2004.

Now with their fourth album, Cline and a taut but feral rhythm section of bassist Devin Hoff and drummer Scott Amendola have regrouped for an often-breathtaking recording that's also their most rewarding and immediately approachable listen.

A sprawling double album split between one disc of studio recordings and a bare-knuckled live set, "Initiate" is steeped in the worldbeat-dusted jazz-rock of the ‘70s. Opening with a swirling chorus of electronic effects, they land a bracing first shot with "Floored," which finds Cline flexing a guitar tone akin to the warped keyboards of Chick Corea's work in Miles Davis' electric period while Amendola and Hoff lay down a concrete-busting funk-rock groove. "King Queen" forges a sort of psychedelic take on Cuban jazz as Cline and guest organist David Witham ride Hoff's elliptical bassline, building an insistent melody that opens to the outer limits.

They  also show a  more delicate side with "Divining" and "Zingiber" -- tracks featuring an atmospheric chorus of actual singing from the trio -- but with the second disc the group lays on the throttle and seldom lets up. Highlighted by a blistering, 14-minute cover of Weather Report's "Boogie Woogie Waltz" (featuring members of San Francisco indie band Deerhoof), they  course through fiery improvisations while also nodding toward jazz tradition with a cover of Carla Bley's "And Now, the Queen" and a Jim Hall-dedicated version of the Singers' comparatively straightforward "Blues, Too."

Engrossing and ceaselessly inventive, "Initiate" isn't always easy listening, but it's essential for lovers of jazz and its fertile frontier.

-- Chris Barton
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Origine du Groupe : North America
Style : Experimental , Jazz , Rock
Sortie : 2010

Tracklist :
CD1 :
01 - Into It
02 - Floored
03 - Divining
04 - You Noticed
05 - Red Line to Greenland
06 - Mercy (Supplication)
07 - Grow Closer
08 - Scissor Saw
09 - B86 (Inkblot Nebula)
10 - King Queen
11 - Zingiber
12 - Mercy (Procession)
13 - Into It (You Turn)

CD2 :
01 - Forge
02 - Fly Fly
03 - Raze
04 - And Now the Queen
05 - Blues, Too
06 - Thurston County
07 - Sunken Song
08 - Boogie Woogie Waltz

Note :

http://www.vervemusicgroup.com/wayneshorter

http://www.myspace.com/unofficialwayneshortertribute

Gamin, Wayne Shorter et son frère dévoraient les bd et les films de série B avec extra-terrestres, monstres, loup-garou, vampires et créatures de Frankenstein. Speak No Evil clôt l'année 1964, où Wayne a participé à l'enregistrement de 20 disques dont 3 avec les Jazz Messenger, 9 avec Miles Davis, 3 avec Gil Evans, 1 avec Lee Morgan, 1 avec Grachan Moncur III et Night Dreamer puis Juju en tant que leader. L'album s'inscrit dans la lignée bop, un bop avec un soupçon d'étrangeté - mais on en est pas encore au Weather Report - et Wayne Shorter précise : I was thinking of Misty landscapes with wild flowers and strange, dimly-seen shapes-the kind of places where folklore and legend are born. And then I was thinking a thing like witchburnings, too*. La session d'enregistrement du 24 décembre 1964 menée par Rudy Van Gelder parle de magie, de sorcière, de diable, de danse de cadavres et de fleurs sauvages ; 6 compositions de Wayne Shorter avec Freddie Hubbard à la trompette, Herbie Hancock au piano, Ron Carter à la basse et Elvin Jones à la batterie. Dance Cadaverous  est une composition un peu décalée, piano sophistiqué qui se promène du côté du classique. Quelque chose d'étrange - comme dans les compositions de Monk - et de planant se glisse dans la mélodie vers le milieu du morceau, la rythmique est plutôt cool. Shorter dit à propos du morceau : I was thinking of some of these doctor pictures in wich you see a classroom and they're getting ready to work on a cadaver*. On se penchera aussi avec bonheur sur le jeu d'Herbie Hancock pour Infant Eyes, la balade, où le saxophone tenor de Wayne balance du velours. A l'instar de Witch Hunt  qui ouvre l'album, le disque sonne de manière nonchalante, mais faut pas s'y tromper, c'est du lourd que nous avons là. Des mélodies un peu bizaroïdes qui une fois rentrées dans la caboche risque fort de continuer à trotter.

*Notes extraites du livret de Don Heckman.

Origine du Groupe : North America

Style : Jazz

Sortie : 1964

Tracklist :
   1. "Witch Hunt" 8:07
   2. "Fee-Fi-Fo-Fum" 5:50
   3. "Dance Cadaverous" 6:45
   4. "Speak No Evil" 8:23
   5. "Infant Eyes" 6:51
   6. "Wild Flower" 6.00
   7. "Dance Cadaverous" (alternate take) 6:35

Note :

http://fr.wikipedia.org/wiki/James_Brown

http://www.godfatherofsoul.com

Une compilation de morceau jazz de James Brown, jamais sortis auparavant .

Origine du Groupe : North America

Style : Soul , Jazz

Sortie : 2007

Tracklist :

1. That's My Desire [Alternate Mix]
2. After You're Through [Alternate Extended Version]
3. Tengo Tango
4. Home at Last [Alternate Mix]
5. All About My Girl
6. There
7. All the Way
8. Why (Am I Treated So Bad)
9. What Do You Like [Stereo Single Edit]
10. Cottage for Sale [Alternate Mix]
11. Go on Now [Alternate Mix]
12. For Once in My Life [Alternate Mix]

Note :

http://www.terumasa.com

http://en.wikipedia.org/wiki/Terumasa_Hino

Terumasa Hino

Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. Born in Tokyo in 1942, Hino made his professional debut at the tender age of thirteen, drawing his main inspiration from Freddie Hubbard and Miles Davis.

For the first few years of his career, Hino was something of an opportunist, even jumping open Japan’s early ‘60s eleki bandwagon with the cash-in LP TRUMPET IN BLUEJEANS. However, his fiery temperament and ‘large brilliant tone’, as The Grove Dictionary of Jazz termed it saw Hino’s late ‘60s work increase both in output and quality, and his 1969 Columbia LP HI-NOLOGY as The Terumasa Hino Quintet was extremely successful commercially.

****
Fast, extremely energetic fusion jazz album (with the emphasis on jazz). Hino leaves no doubt that he is indebted to Miles Davis; one of the tracks is titled "Like Miles" (and sounds very much like Miles). And yet, Hino is no Miles clone. In fact, on this 1969 recording Hino ventures into realms that Miles hadn't really visited yet. After Filles de Kilimanjaro, Miles' records were assembled in the studio from snippets, and his live recordings were mostly extended jams of large ensembles. Hi-Nology is much more straightforward and concrete. Whereas Miles became interested in texture, Hino, despite the fusion idiom, also keeps a footing in hard bop. Therefore, songs are never abandoned for patterns, and when the solos deconstruct a theme, they will always eventually piece it together again. If Freddie Hubbard hadn't gone all gooky in the late 1960s, you could image him playing like this.

A very interesting album, much recommended.
And the cover is way beyond cool.

PS. This is the ORIGINAL 1985 CD release. The bonus tracks on the 2005 reissue are best ignored. They lack the electricity, wild energy and funky rhythm of the other tracks and instead present somewhat clichéd melody lines. They also completely subvert the mood of the album.

By postman99
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Origine du Groupe : Japan

Style : Jazz World , Jazz Fusion

Sortie : 1969

Tracklist :

1. Like Miles 9'54"
2. Electric Zoo 12'30"
3. Hi-Nology 14'29"
4. Dupe 7'02"

Note : ++

http://www.stefanobollani.com

http://www.myspace.com/stefanobollani

Origine du Groupe : Italia

Style : Piano , Jazz

Sortie : 2009

Tracklist :

1 - Dom de iludir
2 - Orvieto
3 - Edith
4 - Brigas nunca mais
5 - Il cervello del pavone
6 - Un sasso nello stagno
7 - Improvisation 13 en la mineur
8 - Asuda
9 - Joker in the village

On a parfois tracé une analogie entre le jeu du pianiste Stefano Bollani et celui du comédien Roberto Benigni : même pro-pension au comique du funambule qui en fait des tonnes sur son fil. Tout change avec le trio que Bollani forme avec deux musiciens danois, Jesper Bodilsen et Morten Lund. C'est un trio qui a sept ans de complicité derrière lui, les ego restés au vestiaire et la musique seule en tête. On est dans la tradition du trio de Bill Evans, la contrebasse qui dialogue sans cesse avec le piano, la batterie qui commente à mi-voix. Subtilité harmonique, demi-teintes, minimalisme mélodique, quête constante de la beauté, sobriété émue. Le toucher de Bollani, on le sait, est magique : on le dirait aérien s'il n'était en même temps tellurique. Le choix des thèmes aussi répond à ce seul souci de la beauté qui réconforte, berce, gratifie. La beauté lumineuse de la nuit.

Ce disque est une grande réussite de l'esthétique moderne pour le trio. Il s'ouvre par un morceau de Caetano Veloso qui annonce les couleurs sépia, bleu tendre, doucement orangées ou noir et blanc contrastés de compositions tantôt rêveuses, tantôt joueuses. Sur un thème d'Antonio Carlos Jobim et de Vinicius de Moraes, Brigas nuncas mais et sur l'Improvisation 13 en la mineur de Francis Poulenc, le trio révèle une culture qui dépasse le jazz. ECM, pour son quarantième anniversaire, a trouvé en Stefano Bollani le pianiste qui se montre le mieux à la hauteur de ses prédécesseurs, Keith Jarrett et Bobo Stenson.

Par Michel Contat
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