Just bought a couple of CD's by some new names having been inspired by earlier purchases and reading reviews on other websites.
The first disc is by trumpeter Ambrose Akinmusire and represents his debut for Blue Note. i've been listening to this record this afternoon and would have to repeat my enthusiasm for this musician having previously really appreciated his work on the latest Walter Smith III record. Here, the favour is returned and the tenor saxophonist is featured in a quintet that also features another young player I have been very impressed by, pianist Gerald Clayton .I think ""When the heart emerges glistening" is probably one of those records which will give up it's treasures with repeated listening. The musicianship from these 20-something players is exceptional and Akinmusire and Smith seem to be joined at the hip such is their affinity with each other. This will certainly be in the running when it comes to the best CD's of 2011.This is a record that is locked very much into the jazz tradition but sounds thoroughly contemporary and uncompromising. If you heard the reent session the band did on Jazz on 3, you will know what to expect.
Even more curious is singer "Gretchen Parlato's "The lost and found" which was not at all what I expected. I was really disappointed to miss her set at Vienne this year having been soaked through to the skin at a Chick Corea gig and had to go back to the hotel to get out of my wet clothes. The intensity of the storm made it impossible to return to hear her band play and I can't imagine many people turned up because of the almost tropical storm drenching everyone who set foot outdoors within 30 seconds. Hailed at the most important jazz singer to emerge since Cassandra Wilson, I was really amazed by the intimate quality of her voice. The record was produced by pianist Robert Glasper and music has an almost pop-sensibility but is coupled with a desire to play in a contemporary jazz setting. The opening "Holding back the years" is re-worked in a fashion that is far, far more savvy than the original "Simply Red" version whereas something like Wayne Shorter's "Juju" sounds like the saxophonist's current quartet plus singer. A version of "Blue in Green" makes only passing reference to Evans' minimal theme and is almost unrecognisable in this uncompromising arrangement. This website has seen numerous arguments over who is or who isn't a jazz singer. Parlato's record offers an interesting take as the packing trio with Taylor Eigsti on piano offers an defininative, contemporary jazz sound whereas the vocals are a million miles away from the likes of Wilson, Winstone or Reeves. It is a fascinating record - obviously tipping it's hat towards pop but equally remaining in an uncompromising jazz environment. This is not cross-over as per Jamie Cullum, Madelaine Peyroux or Dianne Krall and sticks a defiant middle finger up at the retro-swing genre. I suppose it is best summed up as applying vocals to the current, fashionable trends in the more hardcore jazz performed by the likes of Glasper, Greald Clayton, JD Allen, Esperanza Spalding, Akinmusire (whose tune "Henya" features on both of these records) ,etc who are honest enough to acknowledge the influence of popular musics outside of jazz.
With a increasing number of 20/30 - something artists now appearing on the scene fully feldged, these two records seem to afford the observation that this resurgance is almost a new movement in jazz.
The first disc is by trumpeter Ambrose Akinmusire and represents his debut for Blue Note. i've been listening to this record this afternoon and would have to repeat my enthusiasm for this musician having previously really appreciated his work on the latest Walter Smith III record. Here, the favour is returned and the tenor saxophonist is featured in a quintet that also features another young player I have been very impressed by, pianist Gerald Clayton .I think ""When the heart emerges glistening" is probably one of those records which will give up it's treasures with repeated listening. The musicianship from these 20-something players is exceptional and Akinmusire and Smith seem to be joined at the hip such is their affinity with each other. This will certainly be in the running when it comes to the best CD's of 2011.This is a record that is locked very much into the jazz tradition but sounds thoroughly contemporary and uncompromising. If you heard the reent session the band did on Jazz on 3, you will know what to expect.
Even more curious is singer "Gretchen Parlato's "The lost and found" which was not at all what I expected. I was really disappointed to miss her set at Vienne this year having been soaked through to the skin at a Chick Corea gig and had to go back to the hotel to get out of my wet clothes. The intensity of the storm made it impossible to return to hear her band play and I can't imagine many people turned up because of the almost tropical storm drenching everyone who set foot outdoors within 30 seconds. Hailed at the most important jazz singer to emerge since Cassandra Wilson, I was really amazed by the intimate quality of her voice. The record was produced by pianist Robert Glasper and music has an almost pop-sensibility but is coupled with a desire to play in a contemporary jazz setting. The opening "Holding back the years" is re-worked in a fashion that is far, far more savvy than the original "Simply Red" version whereas something like Wayne Shorter's "Juju" sounds like the saxophonist's current quartet plus singer. A version of "Blue in Green" makes only passing reference to Evans' minimal theme and is almost unrecognisable in this uncompromising arrangement. This website has seen numerous arguments over who is or who isn't a jazz singer. Parlato's record offers an interesting take as the packing trio with Taylor Eigsti on piano offers an defininative, contemporary jazz sound whereas the vocals are a million miles away from the likes of Wilson, Winstone or Reeves. It is a fascinating record - obviously tipping it's hat towards pop but equally remaining in an uncompromising jazz environment. This is not cross-over as per Jamie Cullum, Madelaine Peyroux or Dianne Krall and sticks a defiant middle finger up at the retro-swing genre. I suppose it is best summed up as applying vocals to the current, fashionable trends in the more hardcore jazz performed by the likes of Glasper, Greald Clayton, JD Allen, Esperanza Spalding, Akinmusire (whose tune "Henya" features on both of these records) ,etc who are honest enough to acknowledge the influence of popular musics outside of jazz.
With a increasing number of 20/30 - something artists now appearing on the scene fully feldged, these two records seem to afford the observation that this resurgance is almost a new movement in jazz.
Offtopic, but Kenny Wheeler speaks like Kermit! I don't think he'd be too upset by me pointing this out - his musical associates seem Ok about it! 
- at least since Aretha Franklin brought in that Gospel/Soul use of exaggerated cliched elaboration in the 60s. "A-maaaaa-hay-hay-hay-aaa-aaa-zing Graaa-hay-hay-hay-aace" In the 90s british Soul singers even went to the States to lean how to get it right. 
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