REVIEW: ‘Sankofa’ – Amaro Freitas

THERE’S ALWAYS a frisson of excitement when a left-field approach to ‘piano trio’ comes into view; and an online search for ‘Amaro Freitas’ soon returns live video which goes towards confirming the audio essence of new album Sankofa – that of a man who is utterly and perhaps even spiritually absorbed in his instrument and his music-making.

Read my full review at LondonJazz News…

Released on 25 June 2021 and available as CD, vinyl and digital download at Bandcamp.

 

Amaro Freitas piano
Hugo Medeiros drums, percussion
Jean Elton double bass

amarofreitas.com

Far Out Recordings (2021)

RECENT LISTENING: June 2021

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REVIEW: ‘A New York Flight’ – Andreas Toftemark Quartet

HAIRS RAISED on the nape of the neck, here. Why? Well, the sound of Danish saxophonist Andreas Toftemark and his quartet, on new release A New York Flight, is summoning memories of those revelatory early years of musical discovery in bars and halls – the formative experiences of live jazz that are indelibly printed on heart and mind.

Toftemark moved to New York some four or five years ago, studying with Joel Frahm and Ben Wendel, while also learning fast by playing in the heat of its vibrant, yet famously tough jazz scene alongside names such as Peter Bernstein and Ethan Iverson. 2020, a year like no other, saw him return to Denmark, soon establishing a band with his colleagues Calle Brickman (piano), Felix Mosehol (bass) and Andreas Svendsen (drums). For this studio recording, selecting two originals alongside four reinterpretations, Toftemark has crafted a set which captivated on its first hearing, his confident, rounded tenor tone sometimes reminiscent of Scott Hamilton. Significantly, he absolutely achieves that important ‘one foot in the past’ aim of honouring jazz heritage in a way that is just as relevant for our time; and the balmy, romantic thread of these roomy performances (averaging seven minutes apiece) is balanced by both a breeziness and episodes of invigorating sparkle.

The initial, wistful ‘look back’ of the leader’s title-track opener – described in the sleeve notes as ‘a bridge from the New York that was to the near future of the Danish jazz scene’ – soon snaps into a crackling groove which presents the individual merits of each player. Able to create space for detail, they also collectively punch out substantial waves of excitement, Calle Brickman’s rolling piano phrases leading to Toftemark’s gradual pathway towards a potentially limitless torrent of tenor improvisation. Cryptically explained as ‘a row of numbers that seem to follow Andreas in love and friendships’, his gladsome, streetwalking 2223 ramps up into blistering full-on swing – certainly a feel-good gem amongst gems.

Count Basie classic, Blue and Sentimental, is transported oh so elegantly from its 1930s beginnings into an ease-back blues brimming with delectable, acciaccatura piano phrasing, while Toftemark’s measured explorations pay homage to that golden era of jazz; and the assured rhythms of Mosehol and Svendsen are beautifully controlled. From a decade earlier, Donaldson/Kahn’s Love Me or Leave Me (recorded by Ella Fitzgerald, Billie Holiday, Nina Simone et al) feels at home in instrumental guise as the quartet navigate its push-pull metre before cruising to the leader’s extemporisations – and even when he bows out midway, the remaining piano-trio display, incorporating fine piano and drum soloing, is similarly engaging.

The Big Apple is evidently dear to Toftemark, his dusky, heart-on-sleeve interpretation of enduring Autumn in New York seemingly glinting in the afterglow. Focusing on each cadence, his cool delivery of this Vernon Duke evergreen (originally written with a longing for the city) is consistently a joy, supported by lucent touches from his attentive personnel – and it’s easy, too, to imagine a rapt audience in the shadows of the bandstand. To close, romantic I’m a Fool to Want You (Jack Wolf, Joel Herron, Frank Sinatra) is treated to a lush arrangement which finds light amongst the original’s lovelorn torment, gently swinging to bewitching tenor and piano spotlights.

Aside from the overriding pleasure of these 43 minutes, the intriguing takeaway is what might yet be in the pipeline from the relatively young Andreas Toftemark and, indeed, his friends on this recording. As fine, contemporary interpreters of the tradition, and with that glimpse of the saxophonist’s compositional prowess, the stage seems well and truly set.

Released on 11 June 2021, A New York Flight is available in CD, vinyl and digital formats at Bandcamp.

 

Andreas Toftemark tenor saxophone
Calle Brickman piano
Felix Mosehol bass
Andreas Svendsen drums

andreastoftemark.com

April Records – APR086CD / APR086LP (2021)

REVIEW: ‘Perihelion’ – Guido Spannocchi

COOL AS YOU LIKE, Viennese alto saxophonist Guido Spannocchi’s Perihelion (a title referencing the position in the orbit of a planet where it’s nearest to the sun) has ‘summer’ written all over it!

Read my full review at LondonJazz News…

Released on 14 May 2021, Perihelion is available from Audioguido Records.

 

Jay Phelps trumpet
Guido Spannocchi alto saxophone
Sylvie Leys tenor saxophone
Robert Mitchell Wurlitzer, piano
Michelangelo Scandroolio double bass
Tristan Banks drums

Composed, arranged and produced by Guido Spannocchi

audioguido.com

Audioguido Records (2021)

REVIEW: ‘Pendulums’ – Andrew Woodhead

SUBTITLED Music for bellringers, improvisers & electronics, Andrew Woodhead’s Pendulums delivers, without doubt, one of the more unexpected and intriguing releases of the year – something which a random dive into its chiming and full-bodied complexities confirms.

Read my full review at LondonJazz News…

Released on 11 June 2021, available as CD, vinyl or digital download at Bandcamp.

 

Sam Wooster trumpet
Charlotte Keeffe trumpet
Sam Andreae alto saxophone
Lee Griffiths alto saxophone
Helen Pappioannou baritone saxophone
Alicia Gardener-Trejo baritone saxophone
Andrew Woodhead live electronics, compositions

Bellringers:
Tony Daw, Jonathan Thorne, Matthew King, Alex Frye
Graham Kelly, Ros Martin, Angie Wakefield, Richard Grimmett

Videos: Tolls/Waves, Changes

andrewwoodheadmusic.com

Leker – LEKCD001, LEKLP001 (2020)

REVIEW: ‘Close to Home’ – Ari Erev

EVER THE MELODICIST and bestower of hope and light, Israeli pianist Ari Erev releases Close to Home, the follow-up to 2016 album Flow.

Continuing the configuration of piano trio augmented by soprano saxophone and percussion (plus, on this occasion, flute), Erev again presents a considerable breadth of original composition and reinterpretation – over 70 minutes, in fact. Within this music is a beauty which clearly amplifies its overarching title, referencing his deep emotions for family, friends and familiar places – a sentiment which has been pulled into sharp relief for so many, over the past year or so.

The pianist’s deliberate yet rubato expression can sometimes be reminiscent of Abdullah Ibrahim – there’s a warmth and a focus there that reflects both his experience and this album’s theme. In addition, the subtly detuned tone of his instrument creates a ‘chamber’ aura of intimate recital or jazz bar, even with occasional traces of traditional music hall. However you might define this ensemble’s collective sound, it’s a congenial blend.

Curiously, from a purely personal perspective, the opening two numbers – Israeli Story and Playground – don’t necessarily foretell the elegance and interest of the hour which then follows them. But then, immediately in Childhood Scenes, is found the most dreamy, slightly nostalgic trio waltz – an example of how Erev’s originally-stated themes frequently have a recollective dimension, suggesting they might also host a vocal lyric first heard many moons ago. Chipper Falling in Place crackles with Yuval Cohen’s soprano-led exuberance as bassist Assaf Hakimi and drummer Gasper Bertoncelj drive it forward with panache, while Old Friends’ chromatic figure possesses a tentative air. Another ruminative original, Saturday Coffee, features lithe sax improvisations, as well as posing a thought of how the richer timbres of tenor or baritone might also suit the pianist’s output. In Afar (for Tal), though, Cohen’s high register is gracefully interlaced with the flute of Hadar Noiberg, fashioning a particularly homely, trad-jazz-tinged dedication to Erev’s daughter.

In terms of other composers’ works, the emotive, Brazilian shades of Debora Gurgel’s Para Sempre (Forever) find greater mobility with Erev, accented by the percussion of Gilad Dobrecky; and the solid beat of Efraim Shamir’s Shi’ur Moledet (Homeland Class) – from successful Israeli pop band Kavaret – is significantly reworked as a melodramatic, almost silent-movie-styled episode whose percussion impetuously tugs the piano trio towards an excitable Latin groove. Keith Jarrett’s So Tender (known to many in his breezy recording with Gary Peacock and Jack De Johnette) is respectfully visited in a sparkling, bossa miniature; Olha Maria (Antonio Carlos Jobim) flows tenebrously; and Paul Simon’s evergreen Still Crazy After All These Years enjoys a pleasant, countrified outing. To close, Erev’s assuredly grooving Po (Here) displays a theme-tune quality, its bright, memorable melody expanded on by saxophone and piano.

At the heart of this recording and, indeed, Erev’s own pianistic delivery is a sense of both conviviality and gratitude; and his own compositional flair perhaps has the greatest appeal in this collection. Falling in Place is certainly an irresistible, tightly executed, good-time gem!

Released on 8 June 2021, Close to Home is available at Bandcamp.

 

Ari Erev piano
Assaf Hakimi double bass, bass guitar
Gasper Bertoncelj drums
with
Yuval Cohen soprano saxophone
Hadar Noiberg flute
Gilad Dobrecky percussion

arierev.com

(2021)