{"id":9773,"date":"2018-07-14T17:49:39","date_gmt":"2018-07-15T00:49:39","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9773"},"modified":"2018-12-16T21:28:31","modified_gmt":"2018-12-17T05:28:31","slug":"recent-listening-in-brief-black-art-jazz-collective-lynn-arriale","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/07\/recent-listening-in-brief-black-art-jazz-collective-lynn-arriale\/","title":{"rendered":"Recent Listening In Brief: Black Art Jazz Collective, Lynn Arriale"},"content":{"rendered":"

Black Art Jazz Collective<\/strong>, Armor of Pride<\/a><\/em> (High Note Records)<\/p>\n

\"\"Half of the Collective\u00e2\u20ac\u2122s members are leading lights among jazz artists in their forties and early fifties. They include trumpeter Jeremy Pelt, tenor saxophonist Wayne Escoffery and pianist Xavier Davis. The younger trombonist James Burton III, bassist Vicente Archer and drummer Jonathan Blake blend into a modern mainstream sextet inspired, at least in part, by Wayne Shorter\u00e2\u20ac\u2122s writing during his Art Blakey period (and since) and by Miles Davis\u00e2\u20ac\u2122s pre-electronic bands. Among the highlights are Escoffery\u00e2\u20ac\u2122s title tune alternating intricate passages with floating ones and featuring his burly tenor solo. Throughout, Pelt\u00e2\u20ac\u2122s trumpet solos soar and dip. Increasingly impressive as a composer, Pelt contributes a pair of ballads: \u00e2\u20ac\u0153And There She Was, Lovely As Ever\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Pretty,\u00e2\u20ac\u009d which lives up to its name. With his witty improvisation on Davis\u00e2\u20ac\u2122s \u00e2\u20ac\u0153When Will We Learn,\u00e2\u20ac\u009d trombonist Burton reinforces his growing reputation. On the same piece, Davis reminds us what a substantial piano soloist he is, and has been since his 1990s debut with singer Betty Carter.<\/p>\n

Lynn Arriale Trio, Give Us These Days<\/a><\/em> (Challenge)<\/p>\n

Attention to this superior piano trio album may go to Arriale\u00e2\u20ac\u2122s covers of pieces by Joni Mitchell, Lenon & McCartney and\"\" Tom Waits. Using \u00e2\u20ac\u0153Woodstock,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Let It Be\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Take It With Me\u00e2\u20ac\u009d as bases for her interpretations makes musical and promotional sense, but her title tune, the accurately named \u00e2\u20ac\u0153Slightly Off-Center\u00e2\u20ac\u009d and the delightful \u00e2\u20ac\u0153I Got Rhythm\u00e2\u20ac\u009d-ish original called \u00e2\u20ac\u0153Over And Out\u00e2\u20ac\u009d demand equal, if not greater, attention. Dutch bassist Jasper Somsen and drummer Jasper Van Hulten complement Arriale\u00e2\u20ac\u2122s rhythmic flexibility and harmonic imagination. The album was recorded in Belgium except for the final track, a quiet, reflective version of Waits\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Take It With Me\u00e2\u20ac\u009d sung by Kate McGarry accompanied only by Arriale\u00e2\u20ac\u2122s sensitive piano.<\/p>\n

I keep going back to \u00e2\u20ac\u0153Over And Out\u00e2\u20ac\u009d and enjoying the fun that Arriale, Somsen and Van Huten have with it.<\/p>\n

More Listening In Brief<\/strong> to come. Stay tuned.<\/p>\n","protected":false},"excerpt":{"rendered":"

Black Art Jazz Collective, Armor of Pride (High Note Records) Half of the Collective\u00e2\u20ac\u2122s members are leading lights among jazz artists in their forties and early fifties. They include trumpeter Jeremy Pelt, tenor saxophonist Wayne Escoffery and pianist Xavier Davis. The younger trombonist James Burton III, bassist Vicente Archer and drummer Jonathan Blake blend into […]<\/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-9773","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\/9773","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=9773"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9773\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}