Tomasz Stanko: In From The Shadows

Tomasz Stanko (trumpet; b. 1942)

Tomasz Stanko is one of the premier European trumpeters on the scene today. He acknowledges and relishes in his Miles Davis influence whenever he is asked. But when you listen to his albums or see him live you realize there is something much more going on here than just an appreciation of the late legend. He is truly starting break away from the comparisions.

Tomasz Stanko began his career in the apprenticeship of fellow Polish composer and musician Krzysztof Komeda, known to most of the world as the composer of many of Roman Polanski's best psychological thrillers like Rosmary's Baby and Knife in the Water. These were haunting soundtracks, but (in the case of Knife) they were also beautiful jazz albums typified by the elegance of Tomasz Stanko's trumpet.

Tomasz Staknko has released a number of albums since the late 60's. For the uninitiated I would recommend you go straight for the collection entitled Selected Recordings (ECM). Selected Recordings covers a good amount of the material he has done with his long standing relationship with ECM Records.

The new album Dark Eyes (ECM) is nothing short of brilliant. The album is highlighted by a new band that marvelously constructs Stanko's vision of sparse but evocative rhythms into an enjoyable investigation of sound and emotion. The addition of guitarists Jakob Bro has added a new element to Stanko's usually calm and consistent quartet. I had always felt that Tomasz Stanko's devotion to Miles was running into a brick wall on his last two records but Dark Eyes has a whole new voice and direction that I have been enjoying for a few months now. The title track "The Dark Eyes Of Martha Hirsch" is fantastic. It's origins stem from a painting exhibition he visited. Stanko has also included two compositions from the legendary musician/composer, Krysztof Komeda. While including Komeda material is nothing new for Stanko it is the cohesion of the band that has makes these two tracks ("Dirge For Europe" and "Etiuda Baletowa No.3") standout for me.

The fresh lineup change has really breathed new life into Tomasz Stanko's writing. The album's mixture of Stanko's excellent attention to the detail of every note as well as a fresh ideas his new band have incorporated makes Dark Eyes my favourite Tomasz Stanko album in years.

In addition, I hope you would take the time and investigate the following albums for the sublte dark beauty of Tomasz Stanko throughout the years.


Balladyna (ECM; 1975) A phenomenal album with solid production work. Quiet but still very inventive at a time when many other artists (Europe and America) were trying figure out how to combine fuse jazz and funk together into something rhythmic for the masses. This is not that type of record. Stanko's solos on this record highlight his influence as well the attention to beauty that Chet Baker always demonstrated in the studio.

Bluish (Powers Brothers; 1991) While there are a couple of albums from the 80s I could mention, the majority of that period is disappointing to me but Bluish--done with a European line up including Arlid Anderson (bass) and Jon Christensen (drums) is fantastic and moves from dark introspection to lively inspiration with tremendous precision. Each of these musicians are known as highly revered masters in the jazz community. Bluish is just one example of their great work together.

Leosia (ECM; 1996) This is one of the best jazz albums of the 90s and probably Stanko's best album. Also featuring an all European quartet including drum legend Tony Oxley. All of the album shines due to the individual performances, and it sounds like there is no true leader as Stanko allows the band to have complete freedom but you see that he is always the link that holds the session together.

Soul Of Things (ECM; 2001) After a brief three year hiatus from 98-01, Tomasz Stanko returned with a new younger quartet of Polish performers for the album that I think might be the best introduction for anyone unfamiliar with his work. This is a slow melodic session for which all the members are in complete harmony. Its an album that you have to sit down and listen to all the subtleties that wind there way through this magnificent recording. Soul Of Things is by far the album I have most recommended to my friends time and a time again. If you do get into any of these album please let me know your thoughts.

Leon Parker: The World Is A Drum

Leon Parker (drums, percussion; b. 1965)

With an idea of explore how far one can take rhythm within and outside jazz, Leon Parker has shown that imagination, creativity and aesthetic can erupt in the smallest and sparsest of places. Leon Parker use of percussion's and drums was different from the onset. To me he must have been influenced by the late, great legend, Billy Higgins. He did a great bit of gigging in the New York scene before getting a gig with Columbia records which saw him becoming one the most talked about musicians during the '90s heyday for jazz scene. At the time artists like Wynton and Branford Marsalis, Roy Hargrove, Christian McBride, Jeff "Tain" Waits, Charlie Hunter and others were stepping into the gap left by Miles, Monk, Dizzy and others.

While there were certainly a wealth of jazz drummers at the time ("Tain" being one of the most high profile) none seemed to be doing something different, original and rewarding like Parker. Leon Parker worked as a sideman with fellow artists such as Dewey Redman, Charlie Hunter, Dave Kikoski, Sam Newsome to name just a few. His albums seemed to combined the natural elements of modern jazz but his use or lack there of of most of his drum kit (using just the cymbals at times) gave the music a "world" or African atmosphere.

His debut album, Above & Below (Epicure) featured a jarring but funky versions of Monk's "Beshima Swing," "Epistrophy" and some very cool percussive work on Dizzy's "Caravan". Parker is also helped on his debut by some even more impressive work from Mark Turner, Joshua Redman and David Sanchez (sax), and the always enjoyable Jacky Terrasson (piano). This is an impressive and inventive debut that is unavailable at the moment but you may be lucky enough to find it at some better used record stores.

His next two albums, Belief (Columbia, 1996) and Awakening (Columbia, 1998) grow on the concepts from the debut but incorporate more percussion and world music themes. Belief starts is with a really cool Caribbean themed "Ray Of Light" that set a nice groove for the album. It has a nice balance of bop and world influences that take the album one step ahead from Above & Below. You can really start to hear Parker coming into his own as a leader and composer on Belief. Awakening while starting off funky levels out with another Caribbean drum tinged "It Is What It Is" and slide you into the lovely, spiritual journey of "Mother Earth". Awakening might take a few listens as it seems Parker might have been given a great deal of freedom in this recording. The emotion and ideas come alive and well worth the experience.

It would take until 2001 for Leon Parker to record another album, The Simple Life (M) which was emulates Parker's diverse talents by being recorded in various settings (live, studio, and even on the street). It includes some wonderful by Monk again as well as a few reimagined originals from the Belief album. Leon Parker's music has a rhythm and tone that is spiritual, haunting and beauty all within the short period of listening to just one album. He is a real talent that I hope starts to record more frequently. Check out the great live work with Jacky Terrasson's band.

 

Dexter Gordon: The Long Tall Legend

Dexter Gordon (sax; b. 1923 - d. 1990)

The Classic Blue Note Recordings

Dexter Gordon was raised in California and learned clarinet, alto and tenor saxophone by age 15. He got two big breaks in 1944 when he performed with the legendary Flectcher Henderson and then Louis Armstrong's band. He would also learn a great deal lyrically from saxophonist Lester Young. Gordon became a sought after musician and the technical grasp and creativity gained from Young made him one of the leading artists in the '40s and early '50s. Standing at over 6ft, Dexter Gordon loomed large on the scene (hence the nickname "Long Tall Dexter"). He would also become a major influence on Sonny Rollins and John Coltrane. His recording career was long and spanned a number of famous labels (Savoy, Dial, Prestige, Blue Note and Columbia to name a few).

The first Gordon album I heard was Our Man In Paris (Blue Note, 1963). It featured mostly standards -- as was typical of the era -- but it was the sheer confidence and forceful execution of Gordon's horn playing that captured my attention. The album is also driven by the incomparable Bud Powell on piano along with Pierre Michelot (bass) and Kenny Clarke (drums) filling out an exciting rhythm section. This was a sort of comeback album for Gordon as he was slowly rebuilding his career in Paris at the time, though he never truly lost his chops.

Gordon's career with Blue Note was stellar. There is a wealth of albums that are worth owning but I think most people should really gravitate to a great collection, entitled The Classic Blue Note Recordings. This is covers a good chunk of albums recorded between '61- '65 and includes a lot of the best known recordings. Gordon was incredibly prolific during this period. His playing was fully bodied and emotionally in tune with every note. For me its felt no clearer than on the lovely and powerful "I'm A Fool To Want You" and the one of the best versions of "Don't Explain" you'll hear (next to the original from Billie Holiday). I don't think many people could go wrong with this one.

Dexter Gordon would continue recording some very consistant and always amazing records for the next 3 decades. He made stellar comback in the late '70s with true document of jazz Homecoming: Live At The Village Vanguard (Columbia) which would send his career to yet another level of success. He would later go on to star as a jazz musician in the movie 'Round Midnight which also garnered an Academy Award nomination. A musician who has performed and influenced generations of future legends, Dexter Gordon's career is one of beauty and distinction that is almost unpararlleled. The Classic Blue Note Recordings is the perfect place for you to start to hear a legend in his prime.

Gerald Clayton: Two-Shade

Gerald Clayton (piano; b. 1984)

Two-Shade (EmArcy)

Gerald Clayton is a well experienced pianist with an excellent grasp of tradition. He has worked under and with some of the best musicians of recent years including Kenny Barron, Benny Green, Mulgrew Miller and his father and uncle John and Jeff Clayton (bass and sax respectfully). For me Clayton's style is more reminiscent of Benny Green in that he can be exciting and playful but with the agility to create a passionate and highly emotional atmosphere with his ballad work.

Gerald Clayton served in Roy Hargrove's band for the trumpeters most recent recordings (Earford and Emergence). This is were I first heard him and was struck at how mature his playing sounded. On Two-Shade (EmArcy), his debut as leader, he shows no signs of fear. One of the earliest tracks on disc, "Trapped In A Dream," demonstrates his musicianship and writing with rich reward. He can play it big as well; with his trio stretching out on the slightly funky groove of "Two Heads One Pillow." My favourite track, "Peace Of The Moment," is a ballad that exhibits a melodic beauty and inventiveness that many of his contemporaries cannot even construct.

The majority of the album are Clayton originals excluding two tracks (Cole Porter and Dizzy Gillespie standards) and they are truly noteworthy. His trio consisting of Joe Sanders (bass) and Justin Brown (drums) also show great command and fellowship within Clayton writings. Clayton develops a voice quickly with Two-Shade and its a wonderful journey to travel on with him and his band.

Two-Shade is a marvelous debut that is not only enjoyable and memorable, it has made a statement that Gerald Clayton is a dynamic performer and composer and may reach the next level faster than we might think. Highly recommended.