Live in Mińsk Mazowiecki Obara International (ForTune) The Other Side Of If NAK Trio (Doublemoon) by Fred Bouchard Poland has stood firm in the vanguard of jazz in Eastern Europe since the ‘50s, in the wake of enthusiastic swing bands like Melomani, with gleeful anti-Soviet fervor embracing ‘decadence’ and strong boosts from Willis Conover’s “Voice of America” radio programs. There’s way too much history to go into here so let’s fast forward to today. Drummer Jacek Kochan writes NAK Trio’s book and alto saxophonist Maciej Obara writes all but two for his band’s live set at the House of Culture in Mińsk Mazowiecki, a Warsaw suburb. Their common thread is the commanding piano of Dominik Wania, a canny wild-man with classical chops, adventuresome fluidity and dramatic flair, skills he honed studying on scholarship in Boston with Danilo Pérez. Wania anchors Obara International’s linear wanderings as “Sleepwalker” gathers momentum and applies chordal glue as horn lines dip and fray on “Magret” but he also flies untethered in widening gyres of Cecil Taylor-esque lightning arpeggios on “M.O.” and clambers through thorny horn harmonies to illuminate the aforementioned “Magret” with Bartók-ian winking fireflies. Obara’s lyrical alto has roots in Herb Geller and Charlie Mariano, which bear fruit in free-blown sections, of which there are many, as the set evolves in a languid flowing jam. British trumpeter Tom Arthurs’ tart tone and lean technique make for a modest counterfoil, especially as horn solos often overlap. A Norse rhythm section fills out the band: bassist Ole Morten Vågan goes from energetic pizzicato into meditative arco on “M.O.” and drummer Gard Nilssen scores atypical solos with long, quiet rolls early on and pensive brushes on the closing ballad “Joli Bord”, reminiscent of the world-weary style of trumpeter Tomasz Stanko, a revered ex-boss. Wania doublehandedly turns “One For…” from somnolent dirge into frisky swagger with dominant technique and runaway ideas; the horns stand tall to witness his rolling into an extended coda. And Wania powers the lively climactic “Idzie Bokiem” with aggressive lockhand chugging, then storms into a commanding, tumbao-flecked solo over tight bass and chattering kit; when the horns falter, he comes back for more, firing off new-world heat into old-world languor. Voices are in better balance in the NAK Trio, where the creative exhilaration is mutual and the intimacy immediately apparent in the highly synchronized “Fortitude”. The title track rises amiably in 6/8, its jagged cross-rhythms played tautly yet at their ease. “Everything Is A Good Sign” emerges as a relaxed, melodic ballad that confidently gathers speed and raises body temperature. “Wooing to Woo” plays with short phrases with beats added, cheerful accelerations, careful attention paid by all while tumbling headlong, as Kochan slips from sticks to brushes for Michal Kapczuk’s bass solo. “Between Now and Never” begins as an introspective piano ballad then builds steam with marvelous cross-rhythms. Kapczuk opens “I Have Two But One Is Not Mine”—jumpy left-handed funk with a shuffling sidestep and dry dialogue between piano and electric keyboard. “Illegal Sleeping” wraps this three-way conversation with more natty polyrhythmic games and speedy, elliptical free-play. Whee, baby. NAK? It’s just the last letter of each member’s surname—playful, cryptic, philosophical. For more information, visit for-tune.pl and doublemoon.de. Dominik Wania is at Jazz Standard Jun. 21st with Obara International and Cornelia Street Café Jun. 25th, both as part of Jazztopad Festival Presents. See Calendar. Live at Montreux (1993) Al Jarreau (Eagle Rock Entertainment) by John Pietaro Al Jarreau is an icon of crossover jazz. Far from a slight, as the vocalist is one of the true talents of the genre, an auteur of quality material in the company of leading instrumentalists, he wears the honor well. For the uninitiated, Jarreau was a staple of programming on New York’s long-lost WRVR-FM jazz radio due to his unique reimagining of jazz vocals. His abilities are on fine display on this live recording from 1993. Though he appears to revel in faithfully reproducing the hits, Jarreau leaves just enough space for improvisation to keep the music fresh. His dreamy, reaching sound, riding on subtle funk propelling the rhapsodic, gospel-like turns of phrase, is only enhanced with scat vocals to elevate the listener further still. Super-star studio/fusion musicians like drummer Steve Gadd, guitarist Eric Gale, keyboardist Joe Sample, bassist Marcus Miller, synthesizer player Philippe Saisse, percussionist Paulinho Da Costa and horn player Patches Stewart lay it down well, though many may wish they got to open up more. Still, there are moments: check out a very hip Sample piano solo on “Mas Que Nada” (yes, the wonderful old Sergio Mendes hit) or Miller’s hyper-funky flight on the closing cut. Sample, Stewart and Gale also color The Beatles’ “She’s Leaving Home” beautifully blue. The selections cover a swath of Jarreau’s early discography, beginning with 1975’s “We Got By”, but he throws in a few surprises. Highlights include the aforementioned titles, Gershwins’ “Summertime”, Jarreau’s “Alonzo” and a slow take on Sample’s “Put It Where You Want It”. If Jarreau had closed the set with his noted version of “Take Five”, all may be well in the world, at least for a while. For more information, visit eagle-rock.com. Jarreau is at Town Hall Jun. 25th as part of Blue Note Jazz Festival. See Calendar. While We’re Still Young Patrick Cornelius (Whirlwind) by Thomas Conrad Since 2006, Patrick Cornelius has released a good record roughly every two years. He is a little late with his new one, probably because it is the most ambitious undertaking of his career. His first five albums showed a top-tier alto saxophone improviser. While We’re Still Young is his breakout as composer, arranger and auteur. It is a six-part suite inspired by the poetry of A.A. Milne. It is initially paradoxical that Cornelius describes his tribute to another artist as “a musical self-portrait” but in Cornelius’ family, the verse of Milne has been inseparable from childhood. His grandmother read Milne’s poems to his mother. His mother read them to him. When his own daughter was born, the family copy of the book that gives this album its name was passed on to Cornelius. This music about the joy and wonder of youth is affirmational but never sentimental and only sometimes tender. The band is Jason Palmer (trumpet), John Ellis (tenor saxophone/bass clarinet), Nick Vayenas (trombone), Miles Okazaki (guitar), Gerald Clayton (piano), Peter Slavov (bass) and Kendrick Scott (drums). Cornelius writes graceful melodies and then sets his adept ensemble into motion to take his themes through many shapes and colors. His arrangements, intricate with secondary motifs and contrasting counterlines, create vivid musical counterparts for Milne’s imagery. On “Water Lilies”, Okazaki portrays quiet pools; Clayton bathes them in light; Palmer introduces the action of the winds. All eight individuals contribute compelling input, but their solos are organic to the suite. They slip seamlessly into and out of Cornelius’ evolving forms. “Vespers” is probably Milne’s best-known poem. (“Hush! Hush! Whisper who dares!/Christopher Robin is saying his prayers”) Okazaki opens it, his notes glittering like stars in a night sky. Clayton, Palmer and Cornelius each take the rapt moment away, expanding and intensifying the story. “Vespers” fades away as it began, with peaceful nocturnal guitar. By the end, Cornelius’ self-portrait belongs to all of us. In art, the universal always begins with the personal. For more information, visit whirlwindrecordings.com. This project is at Cornelia Street Café Jun. 26th. See Calendar. 26 JUNE 2016 | THE NEW YORK CITY JAZZ RECORD
Oscar, with Love “His piano, his friends, his music, their way…” To commemorate the 90th birthday of jazz piano legend, Oscar Peterson, Kelly Peterson has produced a world premiere recording of never-before heard original Oscar Peterson compositions, by some of the most celebrated jazz artists in the world. Oscar, with Love is available as a three-CD boxed set, a Deluxe Edition CD with a 100-page commemorative book, a five-LP Limited Edition Vinyl set and a very special Collector’s Edition. “This recording easily ranks among the best of the year.” Chicago Tribune “A one-of-a-kind tribute.” The New York Times “Oscar, with Love is an album to be applauded and treasured.” All About Jazz Exclusively available at www.oscarwithlove.com
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