Her­lin ON RECORD ES­SEN­TIAL al­bums

Rhythm - - THE RHYTHM INTERVIEW -

Ah­mad Ja­mal Live At The Montreal Jazz Fes­ti­val 1985 (1986)

A brisk, en­er­getic live set from Ja­mal, ac­com­pa­nied by bassist James Cam­mack, Sel­don New­ton on per­cus­sion, and Ri­ley on drums. The in­ter­ac­tion be­tween all the mu­si­cians is in­ven­tive and ar­tic­u­late with Ri­ley cut­ting a snappy solo in ‘Foot­prints’.

Junko Onishi Trio Live At The Vil­lage Van­guard (1994)

In pi­anist Junko Onishi’s trio, Ri­ley was able to play with his favourite bassist, Regi­nald Veal, and the chem­istry be­tween the three play­ers is im­pres­sive. They swing hard through Min­gus’ ‘So Long Eric’ and Irv­ing Berlin’s ‘Blue Skies’. LiveAtThe

fol­lowed in 1995. Vil­lageVan­guardII

Wyn­ton Marsalis, El­lis Marsalis Joe Cool’s Blues (1995)

Wyn­ton and his fa­ther El­lis Marsalis tackle the songs that pi­anist Vince Guaraldi wrote for the 1960s’ Char­lieBrown car­toons along­side seven orig­i­nals. The sort of an al­bum that can be a gate­way for peo­ple who don’t ha­bit­u­ally lis­ten to jazz, it’s bright, breezy and play­ful.■

Wyn­ton Marsalis Blood On The Fields (1997)

The epic Blood­OnTheFields tells the story of two Africans forced into slav­ery, one a prince, the other a com­moner, and their strug­gle for free­dom. The mu­sic is var­i­ously soul­ful, bluesy, an­gry, or­ches­tral, and up­lift­ing. Ri­ley’s sec­ond line rhythms in ‘Juba And A Brown Squaw’ em­body clas­sic New Or­leans drum­ming.

Wyn­ton Marsalis Stan­dard Time Vol. 6: Mr Jelly Lord (1999)

Marsalis pays trib­ute to the first great jazz com­poser with this col­lec­tion of stan­dards writ­ten by Jelly Roll Mor­ton. Given that Mor­ton started his ca­reer in the bor­del­los of Sto­ry­line, New Or­leans, the mu­sic is full of swag­ger and strut giv­ing Ri­ley the op­por­tu­nity to chan­nel the early Dix­ieland style. ■

Cas­san­dra Wil­son Sil­ver Pony (2010)

A mix­ture of live and stu­dio per­for­mances from the jazz vo­cal­ist that opens with a breath­less per­for­mance of ‘Lover Come Back To Me’ with a brushes solo from Ri­ley. ‘Went Down To St James In­fir­mary’ gives the stan­dard a funky makeover, and The Bea­tles’ ‘Black­bird’ has never sounded more soul­ful.

Her­lin Ri­ley New Di­rec­tion (2016)

The //New Di­rec­tion// of the ti­tle refers not to a change in sound, but to Ri­ley em­brac­ing the band­leader’s role. There’s melodic hard bop in the ti­tle track and ‘The Big Ba­nana’, a kalei­do­scope of rhythms in ‘Con­nec­tion To Congo Square’, and the ir­re­press­ible bounce of ‘Tootie Ma’.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.