July round-up

Fred Hersch has mostly recorded solo and with small groups, so it’s fascinating to hear him with a 16-piece big-band. For Begin Again nine of his compositions have been arranged for the WDR (Westdeutscher Rundfunk) Big Band by Vince Mendoza, whose association with them goes back at least a quarter-century. Usually I’m not a big-band fan (though exceptions include Count Basie and Mike Westbrook) but this is captivating stuff, the arrangements mostly at the orchestral end of the bigband spectrum. There are some fine solos from band-members as well as from the classically-trained Hersch himself, playing with all the thoughtfulness and elegance we expect of him. (Palmetto

PM2195 ★★★★)

On Il Cielo Sopra Berlino the London-based Kino Trio tackle eight of their own excellent compositions. I’m not familiar with this Trio, which I believe has only relatively recently got together, but if this recording is typical I want to hear much more of their work. Pianist Bruno Heinen, who studied with Hersch, Michele Tacchi (electric bass) and Riccardo Chiaberta (drums) support, prompt and interact with each other, achieving the paradoxical feat of being simultaneously laid-back and graceful, yet intense and passionate. (Babel BDV19154 ★★★★★)

Believin’ It is 13 convincing demonstrations of why Claire Martin has been dubbed The

First Lady of British Jazz and has won the Best Vocalist laurels eight times at the British Jazz Awards. With urbane and immaculate support from Martin Sjöstedt (piano), Niklas Fernqvist (bass) and Daniel Frederiksson (drums) she sails stylishly and persuasively through a varied programme of well-wrought songs, drawing on the work of diverse talents including Michael Franks, Joni Mitchell,

Pat Metheny,

John Surman and Karin Krog, Gordon Jenkins and Johnny Mercer, all given debonair arrangements by Sjostedt and captured in sumptuous soundquality. (Linn AKD 563 ★★★★)

Like Bruno Heinen, Brad Mehldau studied with Fred Hersch and, like Hersch, usually plays in small group or solo contexts. Finding Gabriel finds him in startling surroundings. Inspired by the Old Testament books of Hosea, Daniel, Job, Ecclesiastes and Psalms, Mehldau began by recording basic versions of the tracks on a new synthesizer, accompanied by drummer Mark Guiliana. He then added layers of additional sounds, sometimes over-dubbing himself, and recruited extra singers and instrumentalists, such as trumpeter Ambrose Akinmusire, saxophonists

Joel Frahm and Chris Cheek, and violinist Sara Caswell. Some tracks are heavily pop-influenced, and some choral bits I could do without, but in all this is adventurous and absorbing. (Nonesuch 7559792635 ★★★★)

A Wall Becomes a Bridge by Kendrick Scott Oracle is another album that might discombobulate purists who look no further than the line-up: Scott has added turntablist Jahi Sundance to Oracle’s basic quintet line-up. In fact, Sundance’s contribution is sparing and restrained, fitting perfectly with the thoughtful, subtle cast of the music, intended as a journey from a realisation of the fears and weakness that cause divisions amongst people to the grasping of opportunities that could heal rifts between us. The music, both in performance and composition, stands up in its own right and is a pleasure to listen to: persuading not haranguing.

(Blue Note 774 9206 ★★★★).