ANDREW CYRILLE QUARTET

“The indefatigable risk taker.

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The Vanguard Jazz Orchestra began its life as the Thad Jones/Mel Lewis Orchestra in 1966.The world-famous Village Vanguard jazz club in New York City booked the newly formed band for three Monday nights that February. Those performances were wildly successful and the engagement was extended indefinitely. The Village Vanguard’s owner, Max Gordon, told Mel Lewis, “We’ll keep it going until it tapers off.” Over half a century and more than 2700 Monday nights later, it still hasn’t. The Vanguard Jazz Orchestra stands apart from all other modern ensembles of its kind and is still as strong and vital as ever.

“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.

“Both in sound and improvisational approaches, the two offer fascinating contrasting and complementary sensibilities. Lovano’s cobalt-blue tone on tenor saxophone paired with Douglas’ crimson-tinged trumpet flares create startling timbres when they play in unison or intertwine improvisational lines.

“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.

“Changes come and go in Manhattan’s West Village neighborhood, but the basement club occupying 178 Seventh Avenue South since 1935 remains a stable and revered New York City landmark.