Tia Fuller has toured and played to huge audiences as a sax soloist in Beyoncé’s all-female band, but she’s her own boss here for her second Mack Avenue album. This time she’s joined by sister Shamie Royston on piano, but as on 2007’s Healing Space it’s Miriam Sullivan on bass and Beyoncé bandmate Kim Thompson on drums, with Sean Jones guesting on trumpet. The only non-original is her Cannonball-influenced ‘Can’t Get Started’, a ballad feature also for her other guests, vibraphonist Warren Wolf and bassist Christian McBride, who injects incomparable swing into two other numbers. A feast, here, of great and often joyous playing.
For his third ECM project as leader, the celebrated drummer put together a new group, but it’s a group of old friends. Bassist Pino Palladino is a collaborator of many years, while pianist Jason Rebello played with Katché in Sting’s band. Norwegian saxophonist Tore Brunberg, often sounding like a soft-focus Garbarek, is a long-term ECM labelmate. Guests are guitarist Jacob Young and trumpeter Kami Lyle, who adds lyrics to ‘Stay With You’ with her impossibly warbly yet captivating vocal.
Even given the prodigious talents and open-minded approach of the Hessischer Rundfunk orchestra, you’d think it would be impossible to arrange whole tracks from Miles Davis’ 1970s/80s electric music for big band. But that’s really not what heavy-metal guru turned film composer Colin Towns set out to do. Instead, he pulled out suitable themes and fragments and developed them for the band to work with, though you do hear more complete interpretations of ‘In A Silent Way’ and ‘Tutu’. And, against the expected backdrops of heavy rock beat, funky bass and period wah-wah guitar, he really gives the stellar HR soloists something to run with.
No matter how deeply it’s been mined before, the Blue Note vault is still a rich source of reissue gold. In what amounts to a relaunch of the XRCD audiophile format, Audio Wave has begun with a clutch of soul jazz classics. Soul Station has Mobley’s old Jazz Messengers boss Art Blakey on drums, with Paul Chambers on bass and bluesy pianist Wynton Kelly. This seemingly carefree album marked a turning-point for the light-toned tenor player, as 1961 would see him briefly and not very happily joining Miles Davis.
Still possibly best known for his work with the late Max Roach, here the muscular tenor player has assembled his own absolutely stellar octet. While Wynton Marsalis alumnus Walter Blanding brings in a wily, fluid tenor, James Carter adds a stirring and gutsy baritone sax, and the ebullient trumpets are David Weiss and Terell Stafford. Behind pianist George Burton and bassist Lee Smith is the drive of Jeff ‘Tain’ Watts. This line-up produces some wonderfully buoyant ensemble playing, not least on a stomping, pedal-point opener that sounds a bit like the start of Janáček’s Sinfonietta.
Between 1961 and 1971, Britain’s best-loved poet became Britain’s most hated jazz critic, at least by other critics. In his Telegraph reviews, Philip Larkin was to Coltrane, Ornette and Miles what Brian Sewell is to Hirst, Emin and Serota. Filling the first two discs here is a treasury of Armstrong, Bechet, Condon and so on, the 78s Larkin loved, if not necessarily the artists’ best works. The third and fourth CDs collate items he reviewed and actually liked, mainly reissues.
Probably Europe’s most sought-after bassist, Jasper Høiby has an authority and impact that grabs your attention and holds it. Here his trio Phronesis are heard live at The Forge in London, but with a different drummer: regular Anton Eger couldn’t make the dates, so Høiby drafted in American Mark Guiliana, with spectacular results. From the start, in the opening ‘Blue Inspiration’, Guiliana and the very fine pianist Ivo Neame push each other to greater heights around the sonorous pivot of a simple repeated bass figure. Then, typically, Høiby opens out and the piece blossoms into new shapes.
Never content to stand still, Clarke offers another new concept and striking new sonics. His is still the dominant voice, especially leading with his Alembic tenor bass, yet there’s an emphasis on group contributions, the tunes direct and even lyrical. Behind him is regular keyboardist Ruslan Sirota, but the main guest is Hiromi, whose pianism soars effortlessly over the electric soundbed on ‘No Mystery’ and three other tracks. You also hear singer Cheryl Bentine, guitarists Charles Altura and Rob Bacon, and saxist Bob Sheppard.
Growing up in Oklahoma, Cassity got her first alto saxophone for Christmas at age nine. She moved to New York in 1999 and completed her masters’ at Juilliard in 2007. Her 2008 debut Just For You, on DW Records, was standards-based, but this time she brings her great energy and technique to originals which enliven their straightahead genre with dextrous metrical trickery. Guest horns swell the ranks on some tracks, but the core quintet includes long-time musical partner Michael Dease, a virtuoso trombonist still imbued with the melody and whimsy of an earlier era.
Virtuoso trumpeter, bandleader and composer Don Ellis produced wild, noisy and innovative big band sounds and wrote the music for The French Connection. He recorded his seminal Electric Bath for Columbia, but in 1973 turned to the high-quality German jazz label MPS to release Soaring, following up with Haiku. Inspired by a set of ten Haiku poems, the music has a film-score lushness, with a string orchestra added to a core jazz group which included pianist Milcho Leviev and bassist Ray Brown. Lovingly remastered (using 24-bit/88.
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