Daily jazz blog, Marlbank

Euro jazz clubs - the 5 gigs to go to

1 Alfredo Rodriguez New Morning, Paris Friday 28 June Coral Way - the latest from pianist Alfredo Rodríguez - exuded the same restless stylistic sense of exploration in a contemporary domain you also gain from a Jon Batiste album. You don't need to …

Published: 27 Jun 2024. Updated: 10 days.

1 Alfredo Rodriguez New Morning, Paris Friday 28 June

Coral Way - the latest from pianist Alfredo Rodríguez - exuded the same restless stylistic sense of exploration in a contemporary domain you also gain from a Jon Batiste album. You don't need to place this necessarily on a jazz shelf as there were lots of crossover elements and maybe in that latter side to the record it loses us a bit. But the well picked tunes include a lively cover of Juan Luis Guerra’s 'La Bilirrubina' and plenty of optimism thrown in for good measure on an album that never takes itself too seriously.

2 Reuben James Jassmine, Warsaw Fri 28 June

3 Valet & the Dogs Le duc des Lombards, Paris Monday 1 July

Following the Sun from vibist Alexis Valet released earlier this year from the formidable French jazzer was a Franco-American affair. Valet's earlier work included the self titled Alexis Valet (Deluge, 2019) release that featured players such as superb guitarist Romain Pilon on it and the more recent Explorers from 2021 (also on Jazz & People) that had the incredible pianist Bojan Z on 5 of that album's tracks. Following the Sun sported an ultra hip approach but does not try too hard. Originals of Valet's - who shakes and vacs to put the freshness back compositionally - played beautifully by everyone land in a melodic 21st century blissed out take on progressive hard bop. So if you like Jalen Baker whose Be Still we chilled to last year beat a trail to the Duc.

4 Gretchen Parlato and Lionel Loueke Jazzhus Montmartre, Copenhagen Mon 8 July

Highly influential and innovative US singer Gretchen Parlato on Lean In last year with long time collaborator the Herbie Hancock guitarist and singer US based Benin jazz great Lionel Loueke proved very much a close knit affair, Gretchen's husband drummer Mark Guiliana of Mehliana fame, Guiliana and Loueke family members and close friend bassist Burniss Travis (known for his work with Common and James Francies) figure among the personnel on Lean In, which was recorded in Los Angeles. Full of Brazilian music, West African sounds and more it joined the dots passing the baton from singer to instrumentalism and back again in a parity of esteem and represents another peak in both Parlato and Loueke's remarkable careers. Songs included Loueke tune 'Akwê' and a very fine version of Lynn Malsby's 1980s song 'I Miss You'. A Loueke arrangement of the Dave Grohl song 'Walking After You' heard on the Foo Fighters' The Colour and the Shape (1997) a song that the Foo Fighters later re-recorded for the soundtrack of The X-Files also worked.

TOP CHOICE

5 Joshua Redman and Gabrielle Cavassa ZigZag, Berlin Tuesday 9 July.

Sax icon Joshua Redman pictured rang in the changes on Where Are We last year with his first album for Blue Note and his first featuring a singer - in this case Gabrielle Cavassa. With his signature 1990s melodic and accessible style still very much a factor in his work there are a few twists and turns along the way provided by pianist Aaron Parks who added plenty of sparkiness harmonically. Brian Blade on drums was the ideal companion going back many years with his fellow American. Kurt Rosenwinkel - also in ZigZag during the same week as Redman coming up in July - popped up as a guest along the way as did vibist Joel Ross, trumpeter Nicholas Payton and guitarist Peter Bernstein. With tracks themed to reflect US cities Redman's version of Bruce Springsteen’s 'Streets of Philadelphia' is a must with Rosenwinkel on hand for an added dimension. The way Redman slides from Count Basie to Sufjan Stevens on 'Goin' to Chicago Blues' is like an earworm.

Tags:

Peter Vuust and Aarhus Jazz Orchestra, New Views, Storyville ***

Ask yourself what do you value first if forced to make a choice, the compositions or the playing? If so it's difficult to decide here. Also factor in the way the Peter Vuust compositions are framed and you get a further complication: the quality or …

Published: 27 Jun 2024. Updated: 10 days.

Next post

Ask yourself what do you value first if forced to make a choice, the compositions or the playing? If so it's difficult to decide here. Also factor in the way the Peter Vuust compositions are framed and you get a further complication: the quality or otherwise of said framing - meaning the arrangements. Pushed come to shove I'd say the tunes are a focal point more than the nevertheless high standard of playing. We have no way of knowing what the tunes sound like arranged differently. But you could guess in the wrong hands they could come over more laboured and clunky.

Characteristically lush, tonal centres know how to find their way tidally eventually back to make sense of their starting points. And there is plenty of room for thoughtful paraphrase in terms of the expressivity shaped through the discipline of post Gil Evans-ian jazz harmony (best heard before the initial sax solo on 'Young Blue Eyes') as well as free enough to allow for some sort of organic leeway to the naked ear.

Considered unravellings

An album of beginnings, middles and endings with a few interspersed diversions that eventually resolve and untangle themselves is easy to discern as a general comment.

Vuust is a bassist and scientist from Denmark. A neuroscientist, who was also nominated for a Danish Music Award in 2014, he researches at the Center for Music in the Brain in the university of the Danish city of Aarhus that bears its name. Pleasant and not demanding, tightly arranged the groove is found best on 'High Five' where there's also a fruity baritone sax solo to harvest up.

Were I going ''under the knife'' I'd be happy enough to have these sounds switched on in the operating theatre, before the anaesthetic starts to do its own spicy riff-groove sorcery paying tribute in inevitable compliance to the demands of Morpheus. The recherché arrangements are by Aarhus Jazz Orchestra director Nikolai Bøgelund and trumpeter Jesper Riis. We have a sweet tooth for melodicism with a strong swung triplet feel so like this a fair bit. It lands the right side of stick-in-the-mud old fart. But that said to embrace it you do need to immerse yourself in heritage big band culture a bit and go the extra mile as a listener given that the Vuust approach is in no way the norm these days. The head bobbing 'Hey, Fred!' swings most. SG