FRED HERSCH TRIO

“In the quest to describe the music of Fred Hersch in a word — a preposterous task, but not a pointless one — you could do a lot worse than “refinement.” Mr. Hersch is a pianist of cultivated taste and erudition; he’s also the sort of jazz musician who brings a lissome elegance to his playing, disinclined to accentuate the effort behind it all. But there’s another definition of refinement that has to do with painstaking progress, the incremental stretch toward an elusive ideal.  

“Hard-bopping pianist Harold Mabern made his recording debut in 1959 with drummer Walter Perkins' quintet and led his first session in 1968 for Blue Note, and here he is, at 82, playing with straight-ahead, youthful joie de vivre!

“Mr. Frisell can pen a tender ballad, and wring from it both complex musical ideas and straightforward emotion. He can thrash his way through distortion and feedback without losing his melodic thread. He swings playfully yet forcefully, then sounds as if relaxing around a campfire. And it all fits a single narrative.

“Mr. Frisell can pen a tender ballad, and wring from it both complex musical ideas and straightforward emotion. He can thrash his way through distortion and feedback without losing his melodic thread. He swings playfully yet forcefully, then sounds as if relaxing around a campfire. And it all fits a single narrative.

“A beautiful new suite of John Zorn music performed by the all-star guitar trio of Bill Frisell, Julian Lage and Gyan Riley! Inspired by the life and thought of the beloved spiritual figure Saint Francis of Assisi these ten lovely compositions sound beautiful on vinyl. An essential release that will appeal to perhaps the widest audience Zorn has ever had, this is truly music of the Angels.

“["The Declaration of Musical Independence" is a] portentous title for an unself-consciously inquisitive, selflessly collective quartet nominally led by the great drummer Andrew Cyrille, an elderly master of unpredictable yet flowing free-jazz momentum, steered by the kind of patience that drummers aren’t always famous for. It all swings without regular swing, sounding fluently melodic, though much of it is cell-like and episodic.

“The first incarnation of Chris Potter’s Underground Quartet in 2006 was a full-volume blast of collective virtuosity and urban grime infused with the spiky bass lines and rhythmic layers of Craig Taborn’s Fender Rhodes piano. [Today] the grit and fluency remains intact and are equally compelling but are delivered at an acoustic level more in keeping with the saxophonist’s current label, ECM. Taborn is replaced by holding-role bassist Fima Ephron, making for a more orthodox sax and rhythm jazz quartet that brings out individual skill as much as crunchy collectivity. And with Potter and guitarist Adam Rogers fully focused and playing at full stretch, skill is in generous supply.

“As a unit, this must be one of the best piano trios ever, and certainly as instantly recognisable as any of its great predecessors. Charlap’s touch on the keyboard is light, almost stealthy, even when playing full chords, but always firm, clear and beautifully articulated. With the spirited support of bassist Peter Washington and drummer Kenny Washington (famously unrelated), the total effect is just perfect. As always, Charlap’s playing provides convincing proof that it is still possible to create fresh but pertinent treatments of well-known standard songs.

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As a unit, this must be one of the best piano trios ever, and certainly as instantly recognisable as any of its great predecessors. Charlap’s touch on the keyboard is light, almost stealthy, even when playing full chords, but always firm, clear and beautifully articulated. With the spirited support of bassist Peter Washington and drummer Kenny Washington (famously unrelated), the total effect is just perfect. As always, Charlap’s playing provides convincing proof that it is still possible to create fresh but pertinent treatments of well-known standard songs.

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The New York saxophonist has amassed a solid reputation outside of his last name...With such a strong lineage, he must feel great pressure to create like his parents. Yet Ravi sounds natural, even if his fluid horn play recalls his father’s approach.

“Pianist Aaron Parks’ trio with Ben Street and Billy Hart create a deep and rich mosaic of intricate sounds on his collection of originals. Parks has a rich and classical feel to his delivery, and is able to create rich dynamics with Hart’s  pulsating high hat and dancing cymbals.