Paul Giallorenzo Trio - Bluesnik & Elmo take note

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  • Ian Thumwood
    Full Member
    • Dec 2010
    • 4035

    Paul Giallorenzo Trio - Bluesnik & Elmo take note

    Bluesnik / Elmo

    I thought that I would draw your attention to the Paul Giallorenzo trio recording "Flow" which I have been enjoying this evening. His previous album featured the trombone of the exceptional Jeb Bishop and multi-reed man Mars Williams but this record dispenses with the horns and brings Joshua Abrams in in bass plus Mikel Patrick Avery in drums. I am afraid that I have never heard of the drummer but he is also an artist and photographer. I believe than Giallorenzo also worked as a copyist for Roscoe Mitchell.

    The reason I have flagged this up is because the trio really reminded me of Herbie Nichols. The track "Rolling" could have been written by Nichols. In fact, if you are in to pianists like Monk, Nichols or Elmo Hope this record is going to be quite interesting. It is refreshingly different from so much contemporary jazz piano even if there are moments where Giallorenzo pushes the music quite outside the structure of the music. I find that a lot of Delmark material seems to have a nostalgic air about it - even the most outside stuff seems to work on the premise that the jazz of the 1960's is very much unfinished business and what has happened on the intervening 50 years has been discounted. It is probably the least faddish label out there but "Flow" is the first piano trio I have been tempted by on this label. They do not often include groups with pianos. This is a really interesting disc with the music feeling like much of the adventurous stuff from the late 50's. I think the drummer is really laid back and , oddly for contemporary trios, the bassist seems to work more the group than in the liberated post- La Faro fashion. Some of the music is introspective despite the harmonies taking odd twists yet the over-riding impression is that this piano is really coming out of the Nichol's tradition. For that reason, I thought both of you might be interested.
  • elmo
    Full Member
    • Nov 2010
    • 526

    #2
    Originally posted by Ian Thumwood View Post
    Bluesnik / Elmo

    I thought that I would draw your attention to the Paul Giallorenzo trio recording "Flow" which I have been enjoying this evening. His previous album featured the trombone of the exceptional Jeb Bishop and multi-reed man Mars Williams but this record dispenses with the horns and brings Joshua Abrams in in bass plus Mikel Patrick Avery in drums. I am afraid that I have never heard of the drummer but he is also an artist and photographer. I believe than Giallorenzo also worked as a copyist for Roscoe Mitchell.

    The reason I have flagged this up is because the trio really reminded me of Herbie Nichols. The track "Rolling" could have been written by Nichols. In fact, if you are in to pianists like Monk, Nichols or Elmo Hope this record is going to be quite interesting. It is refreshingly different from so much contemporary jazz piano even if there are moments where Giallorenzo pushes the music quite outside the structure of the music. I find that a lot of Delmark material seems to have a nostalgic air about it - even the most outside stuff seems to work on the premise that the jazz of the 1960's is very much unfinished business and what has happened on the intervening 50 years has been discounted. It is probably the least faddish label out there but "Flow" is the first piano trio I have been tempted by on this label. They do not often include groups with pianos. This is a really interesting disc with the music feeling like much of the adventurous stuff from the late 50's. I think the drummer is really laid back and , oddly for contemporary trios, the bassist seems to work more the group than in the liberated post- La Faro fashion. Some of the music is introspective despite the harmonies taking odd twists yet the over-riding impression is that this piano is really coming out of the Nichol's tradition. For that reason, I thought both of you might be interested.
    Ian

    Thank you for highlighting this musician, I had not heard of him. I have played part of the track" A frollock in" and have immediately ordered up a copy of that album, I have a great love for the Monk/Nichols/Hope school of pianists. There are a number of pianists that continued to explore the rich vein pioneered by the Monk school - The late Frank Hewitt, Horace Tapscott and Andrew Hill.
    I am also awaiting an album by Brian Marsella "Outspoken" The music of Hasaan Ibn Ali. Hasaan was a contemporary of Herbie and Elmo - his only recorded work was a brilliant album on Atlantic with Max Roach.

    Will follow up with my impression of both albums when they arrive.

    Thanks Ian
    elmo

    Comment

    • Serial_Apologist
      Full Member
      • Dec 2010
      • 36839

      #3
      Originally posted by elmo View Post
      Ian

      Thank you for highlighting this musician, I had not heard of him. I have played part of the track" A frollock in" and have immediately ordered up a copy of that album, I have a great love for the Monk/Nichols/Hope school of pianists. There are a number of pianists that continued to explore the rich vein pioneered by the Monk school - The late Frank Hewitt, Horace Tapscott and Andrew Hill.
      I am also awaiting an album by Brian Marsella "Outspoken" The music of Hasaan Ibn Ali. Hasaan was a contemporary of Herbie and Elmo - his only recorded work was a brilliant album on Atlantic with Max Roach.

      Will follow up with my impression of both albums when they arrive.

      Thanks Ian
      elmo
      Hill in particular in the ways in which he managed to bridge that particular vein and that of the more modal pianists coming up at the time, such as McCoyTyner.

      Comment

      • Ian Thumwood
        Full Member
        • Dec 2010
        • 4035

        #4
        I just feel that the whole process started with Ellington and eventually worked it's way through until you have a musician such as Jason Moran these days.

        I love Andrew Hill's work but Giallorenzo doesn't really have the same oblique, rubato style of attack that you find a lot on the elder pianist's work. Listening to this album again the approach really pre-dates the kind of stuff Hill was doing in many aspects. As I said, it does come out if the Herbie Nichols kind of school where the emphasis is on swinging really hard. I was also put a but in mind of Mal Waldron's playing too. Giallorenzo used a lot of ostinato bass figures and the themes are quite simple and catchy. They have some weird harmonic turns and he tends to spool out these ideas but there are some tunes which take quite basis ideas such as one which used penta-tonic scales. Like Monk and Nichols' music, Giallorenzo does rely on a drummer who drives the trio along and this music is a million miles away from someone with the technical flash of Brad Mehldau which has a lighter and more nimble approach to rhythm. However, Giallorenzo does chop and change the meter a lot and the bassist clearly pitches the music in 2017 as opposed to 1957.

        I suspect that the most enthusiastic people for this music on this board will be Bluesnik and Elmo. I think it would also appeal to Jazzrook too but it is probably too grounded in the progressive jazz of the 1950's to appeal to you. The whole trio swings and you would be forgiven thinking that it was some obscure Blue Note from about 1960 albeit I don't think many pianists would play around with the time quite like Giallorenzo fifty years ago. His earlier album also used similar basic ideas for a framework for improvisation with the result that the music sounded something like Mingus' "Ah hum" band would have sounded like if it had tried to record "Kind of blue."


        Comment

        • Ian Thumwood
          Full Member
          • Dec 2010
          • 4035

          #5

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