{"id":5888,"date":"2014-07-16T17:30:25","date_gmt":"2014-07-17T00:30:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5888"},"modified":"2014-07-18T10:54:07","modified_gmt":"2014-07-18T17:54:07","slug":"recent-listening-royston-and-svensson","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/07\/recent-listening-royston-and-svensson\/","title":{"rendered":"Recent Listening: Royston and Svensson"},"content":{"rendered":"

Rudy Royston<\/strong>, 303<\/em>, (Greenleaf Music)<\/p>\n

\"rudyroyston_303_db.jpg\"<\/a>Since his emergence from Denver (area code 303) nearly a decade ago, Royston\u00e2\u20ac\u2122s drumming has graced bands led by Dave Douglas, Bill Frisell, JD Allen, Tom Harrell and other leaders in 21st century jazz. With 303<\/em>, Royston becomes a leader himself. As he has since he first attracted attention playing for Denver trumpeter Ron Miles, Royston is notable not only for the dynamics of his technique but for empathy with his fellow musicians and the reactive support he gives them. His drums are prominent in the mix, but for all of his technical adroitness, he does not put himself on display, even in the rockish insistencies of \u00e2\u20ac\u0153Goodnight Kinyah\u00e2\u20ac\u009d or the vaguely Latin ones that develop into an intense drum solo with horn accompaniment in \u00e2\u20ac\u0153Gangs of New York.\u00e2\u20ac\u009d <\/p>\n

Royston is equally at home coverng Radiohead\u00e2\u20ac\u2122s \u00e2\u20ac\u0153High and Dry\u00e2\u20ac\u009d and adapting Mozart\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Ave Venum Corpus\u00e2\u20ac\u009d as an anthem in which his brush work floats under Jon Irabagon\u00e2\u20ac\u2122s alto saxophone. Royston gives Irabagon, trumpeter Nadja Noordhuis, pianist Sam Harris and guitarist solo opportunities of which they take impressive advantage. He uses two basses, played by Mimi Jones and Yasushi Nakamura, not for novelty but to provide texture and harmonic coherence. <\/p>\n

Hannah Svensson<\/strong>, Each Little Moment<\/em> (Volenza)<\/p>\n

In a 2012 collection of duets with her guitarist father Ewan, Ms. Svensson exhibited charm, clear intonation and a\"Hannah<\/a> confident approach to lyrics. Her new album finds the young Swedish singer again with her dad, plus the masterly pianist Jan Lundgren, bassist Morten Ramsb\u00c3\u00b8l and drummer Kristian Leth. She is affecting in four pieces associated with Billie Holiday, notably so in \u00e2\u20ac\u0153It\u00e2\u20ac\u2122s Easy to Remember,\u00e2\u20ac\u009d whose rarely heard verse she includes. She gives a personal blues spin to a slow \u00e2\u20ac\u0153Fine and Mellow,\u00e2\u20ac\u009d which has effective solos from Svensson, Sr., and Lundgren. She and Lundgren give glowing performances in \u00e2\u20ac\u0153My Foolish Heart.\u00e2\u20ac\u009d Few singers her age would be attracted to Louis Jordan\u00e2\u20ac\u2122s 1944 hit \u00e2\u20ac\u0153Is You Is or Is You Ain\u00e2\u20ac\u2122t My Baby.\u00e2\u20ac\u009d Ms. Svensson takes it on with verve and makes amusing, bluesy, use of her tendency to slide up into notes. Other highlights of the track: Ramsb\u00c3\u00b8l\u00e2\u20ac\u2122s powerful bass work and the harmonic riches of Lundgren\u00e2\u20ac\u2122s solo. For a Rifftides<\/em> review of her previous CD, go here.
\n<\/a> <\/p>\n

More Recent Listening coming soon<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Rudy Royston, 303, (Greenleaf Music) Since his emergence from Denver (area code 303) nearly a decade ago, Royston\u00e2\u20ac\u2122s drumming has graced bands led by Dave Douglas, Bill Frisell, JD Allen, Tom Harrell and other leaders in 21st century jazz. With 303, Royston becomes a leader himself. As he has since he first attracted attention playing […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5888","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5888","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5888"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5888\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5888"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5888"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5888"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}