May round-up
The piano trio (see Jazz Choice) is a traditional vehicle for jazz, but at the same time the elasticity of the notional ‘jazz band’ has long been an attribute of the music. Guitarist Pat Metheny is never short of ideas – From This Place is a serious personnel carrier of an album for quartet, guests and orchestra that goes for maximum stretch. Over the years the whole orchestral jazz thing has commuted between the inspired and the abysmal via the overrated, but the arrangements here astutely draw on the best things such forces can offer jazz, which are texture and sheer presence. There’s plenty of variety here, from limpid balladry to churning rhythmic drive, often in the same piece, and while all the guest contributions work well, pianist Gwylim Simcock is clearly exceptionally at home in an environment big enough to accommodate his richly articulate style. (Nonesuch 075597924374 ★★★★★)
The not-quite-big band is popular at the moment, with the four-horn front line of the Tom Green Septet getting a good airing on Tipping Point. A percentage of the album’s revenue is being donated to environmental charities, but the music, mostly originals by the leader/trombonist, eschews fatalism in favour of celebratory melodic modernism that evokes getting things done rather than a state of mourning. The playing is imaginative throughout and the band as a whole refuses to succumb to the studio-induced numbness that afflicts too many jazz recordings at present, remaining energetic and committed throughout. What’s not to like? (Spark 008 ★★★★★)
In fairness, though, bassist/ composer Yuri Goloubev also avoids the constraining aspects of the studio on Two Chevrons Apart. While he thanks his producer in the accompanying notes, much of this is down to the high-content intensity of his music and his quartet’s expertise and enthusiasm in working with it. That said, this set is anything but brow-furrowing, being a superbly mobile, elegantly serpentine collection of originals that simply flows calmly but assuredly from one idea to the next with captivating results, particularly from Tim Garland’s lyrical soprano saxophone.
(Basho SRCD 57-2 ★★★★★)
Continuing to work downwards in terms of ensemble size, the Obradovi -tixier Duo (drummer Lada and pianist David respectively) overcome their four-handedness by doubling on a welter of percussion and electronics on The Boiling Stories of a Smoking Kettle. The eccentric title fits perfectly well with this quirky post(ish)-jazz adventure, as do the cryptic narrative fragments and wicked instrumental transliterations it contains, such as a funk bassline played on a burpy synthesizer. What actually emerges is a very listenable set of avantfusion that is genuinely endearing. How much jazz merits that epithet? (Naim NAIMCD369 ★★★★)
In closing, we can advance the argument that the vocalist is the smallest jazz performance unit of all but needs an empathetic accompaniment, so it’s no surprise that Secrets Are the Best Stories is jointly credited to Kurt Elling and pianist Danilo Perez. Elling is an acclaimed vocalist, with Sinatra’s name often being evoked in comparison, but his ability to negotiate thoroughly oblique melodies alongside the most mainstream of tunes is remarkable. It all happens here, with Perez and an astute backing band. Fans will love it. (Edition EDN1151 ★★★★).