{"id":9389,"date":"2018-04-12T23:12:45","date_gmt":"2018-04-13T06:12:45","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9389"},"modified":"2018-04-13T08:42:21","modified_gmt":"2018-04-13T15:42:21","slug":"recent-listening-in-brief-shortcapsulesqueitty-bittynot-long","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/04\/recent-listening-in-brief-shortcapsulesqueitty-bittynot-long\/","title":{"rendered":"Recent Listening In Brief (short\u00e2\u20ac\u00a6capsulesque\u00e2\u20ac\u00a6itty-bitty\u00e2\u20ac\u00a6not long)"},"content":{"rendered":"

Danny Green<\/strong>Trio Plus Strings, One Day It Will<\/a> (OA2)<\/p>\n

\"\"Pianist Green\u00e2\u20ac\u2122s earlier album”\u00a0Altered Narratives<\/em> put strings with his trio on three tracks. The melding with a string quartet worked nicely. One Day It Will<\/em> carries the idea to album length, with excellent arrangements by Green and smooth interaction among a string quartet and the trio featuring bassist Justin Grinnell and drummer Julien Cantelm. Among many highlights: the evocative languor of Green\u00e2\u20ac\u2122s \u00e2\u20ac\u0153October Ballad,\u00e2\u20ac\u009d Cantelm\u00e2\u20ac\u2122s accents amounting to commentary behind Green\u00e2\u20ac\u2122s dancing solo on \u00e2\u20ac\u0153As The Parrot Flies,\u00e2\u20ac\u009d Grinell\u00e2\u20ac\u2122s solo on the waltz \u00e2\u20ac\u0153Lemon Avenue,\u00e2\u20ac\u009d the richness of Kate Hatmaker\u00e2\u20ac\u2122s violin on \u00e2\u20ac\u0153As The Parrot Flies.\u00e2\u20ac\u009d Sound quality is superb.<\/p>\n

Jeremy Pelt<\/strong>, Noir en Rouge<\/em> Live In Paris<\/a> (High Note)<\/p>\n

The trumpeter and his quintet recorded Noir en Rouge<\/em> in Paris during a heat wave last summer.\"\" They were hot in more than one sense. Pelt, pianist Victor Gould, bassist Vicente Archer, drummer Jonathan Barber and percussionist Jacuelene Acevedo had established their unity and fire in the earlier Make Noise!<\/em><\/a> for High Note. Now they refined their togetherness before the famously knowledgeable and appreciative audience at the Sunset-Sunside club. Pelt long since established himself as a great trumpeter, continually refining his inheritance of the Lee Morgan-Freddie Hubbard-Woody Shaw tradition. His mastery of harmonic language, trumpet technique, phrasing and the art of knowing what to leave out make his continuing artistic growth worth following. In Paris, the quintet concentrated on Pelt compositions with the exception of a slow, deeply felt performance of Parisian Michel LeGrand\u00e2\u20ac\u2122s \u00e2\u20ac\u0153I Will Wait For You\u00e2\u20ac\u009d from the film The Umbrellas Of Cherbourg<\/em>. One can almost hear<\/em> the audience listening. Their second or two of silence following Pelt\u00e2\u20ac\u2122s final note is as much a tribute as the applause and cheers that follow.<\/p>\n

Kairos Sextet<\/strong>, Transition<\/em><\/a> (Dafnison Music)<\/p>\n

\"\"The Kairos Sextet are prot\u00c3\u00a9g\u00c3\u00a9s of the superb Cuban drummer Dafnis Prieto, who assembled them from among his students at Miami\u00e2\u20ac\u2122s Frost School of Music after he came to the US a decade ago. The group has been in demand for work supporting major players including Dave Liebman and Joe Lovano, but in Transition<\/em>, they are on their own, gloriously so. Prieto\u00e2\u20ac\u2122s guidance may have been essential in the band\u00e2\u20ac\u2122s formation, but trumpeter Sam Neufeld, saxophonists Sean Johnson and Tom Kelley, pianist Nick Lamb, bassist Jon Dadurka and drummer Johnathan Hulett have evolved into an ensemble whose solo abilities and big collective sound put them in the first rank of contemporary groups. The pieces are original compositions by the members, except for Victor Schertzinger\u00e2\u20ac\u2122s classic \u00e2\u20ac\u0153I Remember You.\u00e2\u20ac\u009d Kelley gives it a stirring arrangement with minor-key flavors.<\/p>\n

The Three Sounds<\/strong>, Groovin\u00e2\u20ac\u2122 Hard, Live At The Penthouse 1964-1968<\/em><\/a> (Resonance)<\/p>\n

There is no excuse for my having let this album languish on the shelf all these months. It is what\"\" upscale music magazines used to call a basic repertoire item. The Three Sounds thrived for a few years under the leadership of pianist Gene Harris. For most of the group\u00e2\u20ac\u2122s existence, Andy Simpkins was the bassist and Bill Dowdy the drummer. Engineer and celebrated on-air host Jim Wilke recorded the group when he presented them in live broadcasts that became steady fare for Seattle-area listeners. The trio has sometimes been described as representative of jazz-rock, but their music was deeper and broader than the term suggests, as this album\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Yours Is My Heart Alone,\u00e2\u20ac\u009d \u00e2\u20ac\u0153The Night Has A Thousand Eyes\u00e2\u20ac\u009d and \u00e2\u20ac\u0153The Shadow Of Your Smile\u00e2\u20ac\u009d attest. It\u00e2\u20ac\u2122s not just a question of repertoire, but of musicianship and the blues feeling with which Harris, Simpkins and Dowdy infused everything they played. That includes Ray Brown\u00e2\u20ac\u2122s \u00e2\u20ac\u0153A.M. Blues,\u00e2\u20ac\u009d Toots Thielemans\u00e2\u20ac\u2122 \u00e2\u20ac\u0153Bluesette\u00e2\u20ac\u009d and Three Sounds specialties like \u00e2\u20ac\u0153Rat Down Front\u00e2\u20ac\u009d and \u00e2\u20ac\u0153The Boogaloo.\u00e2\u20ac\u009d Kalil Madi or Carl Burnett substitute on drums for Dowdy on a few tracks and carry the torch splendidly. Resonance Records and Wilke deserve praise for preserving the music and finally releasing this album. Warning: It could make you decide to dust off your 1960s boogaloo moves.<\/p>\n","protected":false},"excerpt":{"rendered":"

Danny GreenTrio Plus Strings, One Day It Will (OA2) Pianist Green\u00e2\u20ac\u2122s earlier album”\u00a0Altered Narratives put strings with his trio on three tracks. The melding with a string quartet worked nicely. One Day It Will carries the idea to album length, with excellent arrangements by Green and smooth interaction among a string quartet and the trio […]<\/p>\n","protected":false},"author":2,"featured_media":9390,"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-9389","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9389","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=9389"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9389\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/9390"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9389"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9389"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9389"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}