Arild Andersen: double-bass; Paolo Vinaccia: drums; Tommy Smith: tenor saxophone
7 suggested words:
imagination | layer | exploratory | intensity | quality | raw | marvel
Marion Brown alto saxophone, zomari, percussion
Anthony Braxton alto and soprano saxophones, clarinet, contrabass clarinet, chinese musette, flute, percussion
Bennie Maupin tenor saxophone, alto flute, bass clarinet, acorn, bells, wooden flute, percussion
Chick Corea piano, bells, gong, percussion
Andrew Cyrille percussion
Jeanne Lee voice, percussion
Jack Gregg bass, percussion
Gayle Palmoré voice, piano, percussion
William Green top o’lin, percussion
Billy Malone african drum
Larry Curtis percussion
Sunday is almost over – it pleases me how this music is so reassuring – keeping fears and doubts in the distance.
There are magic moments when an artist can be said to have well and truly “arrived.” For Ralph Alessi, the release of Baida – his ECM debut as a bandleader – is just such a moment, despite his already extensive resume. Among those in the know, Alessi is renowned as a musician’s musician, a first-call New York trumpeter who can play virtually anything on sight and has excelled as an improviser in groups led by Steve Coleman, Uri Caine, Ravi Coltrane, Fred Hersch and Don Byron, as well as leading his own bands. But Alessi has created something breathtaking with Baida, an album sure to beguile a wider audience with its atmospheric depth and melodic allure. To voice his suite of compositions, the trumpeter has convened a powerhouse New York band with pianist Jason Moran, bassist Drew Gress and drummer Nasheet Waits. As a vessel for the album’s seemingly bottomless lyricism, this quartet of virtuosos plays with extraordinary finesse; but there is also a tensile strength emanating from the performances, a muscularity that one can feel. Then there is the silver of Alessi’s trumpet tone; as The New York Times has said, it has “a rounded luminescence, like the moon in full phase.”
RALPH ALESSI trumpet
JASON MORAN piano
DREW GRESS double bass
NASHEET WAITS drums
On these 10 pieces he sounds quietly wired and fascinated by what his partners are firing at him, while not remotely detached from his signature virtues of tonal purity and unflustered invention.
More open, more translucent and somehow more intrinsically pure, Baida welcomes Alessi to a label whose instinctive ability to find and draw out good music where it lives remains both unparalleled and fundamental to its ongoing success and reputation.
Choose a musician, it’s OK, if it is one of your favourites, go to the right place – choose again according to other musicians – now go to the place you call paradise – a few more clicks – the music starts, you aren’t dreaming . We’re living strange days …
Kenny Wheeler trumpet
Julian Priester tr0mbone
Steve Coleman alto saxophone, soprano saxophone, flute
Marvin “Smitty” Smith drums, percussion
Jarrett’s first-ever solo disc, made at the beginning of his long creative association with ECM in 1971, and cited as an influence by innumerable pianists since then.
Jarrett’s association with ECM dates from November 1971, when he and producer Manfred Eicher first collaborated on the hugely influential solo piano album Facing You, eight short pieces which, in Eicher’s words, “hold together like a suite”. The album also prefigured the solo piano concerts which would be such a defining aspect of Jarrett’s career.
(…) on September 11, 2000, Terry Gross, the host of National Public Radio’s Fresh Air, interviewed jazz great Keith Jarrett.
(…) GROSS: You certainly pioneered the solo piano concert, which eventually really caught on and spread to other instruments as well. What was it like in the early days being alone out there on the stage and improvising on your own?
MR. JARRETT: It started out maybe as a result of recording “Facing You.” I can’t remember. But it started out, I remember, at the Heidelberg Jazz Festival (ph), where I was supposedly–I wasn’t very well-known, I guess. And I came out and did a solo thing. And it was tunes, but I started to connect them somehow. Like, I’d have these transitional parts that connected everything. And then that somehow just moved slowly into the expanded solo concert, where there are no songs whatsoever and everything is improvised on the spot.
I don’t know. Someone once sent me a note from the audience that saying, `You must be awfully alone. You must feel awfully alone,’ or something like that. And I realized, when I read that, that that was true. It is a terribly a lonely thing to do. I mean, you’re not even bringing material along for companionship. (…)
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