Enrico Rava: Italian Style

Enrico Rava (trumpet; b. 1939)

Enrico Rava's career spans over four decades and almost ever continent. Highly influenced by Miles Davis and Chet Baker, Rava has played with a long list of luminaries including, Don Cherry, Carla Bley, Roswell Rudd, Steve Lacy, Archie Shepp among others. His thick tones are both lush and bold, allowing the listener to become fully engaged in the melody.

For me he is one of the few trumpeters who has consistently has recorded excellent material throughout his career. I'm not saying there isn't a bad record in his over 40 album discography but you will be had pressed to be disappointed by even his weakest album (which ever one that my be). Rava toured with Steve Lacy during the late sixties which began to shape his style and performance.

Rava's earlier recordings are more in the European Free Jazz mode. But these are not necessarily "Free Jazz" in the Ornette Coleman or Don Cherry sense. Rava's style is rhythmic, emotional and leveled, that even the newest person to jazz would find it inviting. He has unique way of balance space and structure in his recordings that has always been something I've gravitated to time and time again. Rava's work in the 80s become much more structured and he gave more freedom to his follow band members which is still true today although his recent albums are also much more intimate.

Most of Enrico Rava's albums are surprisingly readily available either online or your local record store. I would say that his most recent quintet recording New York Days (ECM; 2009) is definitely the best place to start for anyone just getting into Enrico Rava. New York Days is both an adventurous impressionist journey as well as a relaxed midtempo excursion into a highly gifted set of musicians.

The quintet included seasoned and future legends; Paul Motian (drums), Mark Turner (sax) Larry Grenadier (bass) and Stefano Bollani (piano), each in their own right have become enormously respected musicians around the globe. Bollani and Motian have worked with Rava on numerous occasions and their performances here demonstrate a deep understanding the men must have as apparent on the lengthy "Certi Angoli Sergerti" which has some rich beautiful lyricism throughout.

Mark Turner and Larry Grenadier show their versatility and emotional depth on "Lulu" and "Outsider" respectfully. Both musicians develop a dialog with Rava is delicate and highly functional for this to be the first meeting in a studio setting. New York Days is a composed yet free flowing work that illustrates a whole range of talent among the musicians. It is also the lyrical piece of genius that Rava has conjured into existence that I believe in enjoyable amongst his most devoted fans like me as well anyone hearing him for the first time.

Some other essential Enrico Rava:

Il giro del giorno in 80 Mondi (Black Saint)
The Pilgrim And The Stars (ECM)
Rava String Band (Soul Note)
Plays Miles Davis (Label Bleu)
Easy Living (ECM)

Lee Konitz: Live At The Village Vanguard

Lee Konitz & Minsarah (sax; b. 1937)
Live At The Village Vanguard (Enja Records)
Jeff Denson (bass)
Florian Weber (piano)
Ziv Ravitz (drums)

Lee Konitz has been one of the most prolific saxophonists of the last two decades. He has performed with fellow luminaries as Miles Davis (on the legendary Birth Of The Cool album), Gerry Mulligan, Jimmy Giuffre, Lenny Tristano and widely known for his partnership with fellow sax great, Wayne Marsh. He has also worked a wide range of new jazz greats such as Brad Mehldau and Mark Turner. The Chicago native was originally influenced by Benny Goodman (clarinet) before turning his sights on playing saxophone.

Lee Konitz is one those few musicians who can play flawlessly in any setting (ensemble, orchestra, small group, solo). His style has always been describe by the often overused moniker " the Cool" referring to the smooth style that Miles Davis is associated with on the aforementioned album. But Konitz was more than that. He can play it "Cool" but he can also distribute blistering attacks on the horn is very subtle ways. His ability to improvise The essential Konitz album is Motion (Verve; 1961) with Elvin Jones and Sonny Dallas. Motion is a killer set of originals and improvising mastery.

More recently his has recorded with some new up and coming European artists such as guitarist, Jakob Bro and Konitz's new quartet consisting of the trio Minsarah.

Konitz recorded a 2008 debut with Minsarah entitled Deep-Lee (Enja) which is a truly sublime and another must. The quartets most recent set is Live At The Village Vanguard (Enja) as it also doesn't disappoint. In Minsarah, Konitz has found a European trio and complements and integrate smoothly with his ability shifting tempos. Live At The Village Vanguard is definitely a group is prime form. Konitz allows the group to really stretch out on Johnny Mercer standard "I Remember You" which Denson and Weber are smokin' to high appreciation of the audience.

Lee show is subtle bebop touch on the self-penned "Subconscious-Lee" with expert interplay from he rhythm section. Konitz again allows the group free reign on Florian Weber's piece "Color" which is a mid-tempo number that builds to joyous conclusion. Konitz rejoins the groups on "Kary's Trance" an original which builds slowly into some fierce phrasing from Konitz and Weber that really tells you this group gets along so well.

Live At The Village Vanguard is definitely a new chapter for Konitz. I personally hope this quartet stays together for awhile because I think they can reach some new heights and really stamp a significant mark on today's scene. Highly Recommended.

Kevin Hays: Live At Smoke, NYC 24.4.2010

Kevin Hays (piano; b. 1968)

It was a brisk evening as I entered New York's Smoke Jazz Club. I wanted to check out someone new at my favourite jazz club in the city. I arrived and enjoyed a nice glass wine while waiting for the show to begin.

Sitting next to me were a quartet of individuals that were obviously only here because a friend told them it was a great play to hear some music. They really had no intention of listening to the music as the talked through the first two songs. After some deep thought I asked the hostess to tell them quiet down. They did but just barely.

Okay back to our originally scheduled program. Tonight's performance was from pianist, Kevin Hays. I had only heard Kevin Hays' name around the jazz circles but hadn't really investigated his music until this evening. Kevin Hays has recorded over a dozen albums in addition to recording and performing with an impressive list of artists including Bob Belden (composer, sax), John Scofield (guitar), Roy Haynes (drums) and Benny Golson (sax) among others. His quartet for tonight's performance featured three musicians with whom I was very familiar, either from their own work or other recording dates (Mark Turner (sax), Rodney Green (drums) and Doug Weiss (bass)).

Well, let's just say--Kevin Hays can really swing! His depth, range and improvisation were impressive and his arrangements for songs by Charlie Parker and Benny Golson during the set were fantastic. While displaying some clever improv-chops his subtle playfulness hinted to a bit of a Keith Jarrett influence but more recent comparisons (not influence) might be Brad Meldhau and Benny Green.

Hays' exchanges with Rodney Green and Mark Turner were outstanding. As the night went on, especially during the final two pieces, the three really took the reins off and were smokin' rhythmically. Mark Turner--a big adventurous player in the vein of John Coltrane and Wayne Marsh--was a bit subdued on this night but it fit Hays' style and didn't dominate the proceedings. Hays and Turner showed phenomenal artistry during Hays' reworking of the Benny Golson standard "Stablemates" (Hays remarked he was changing it to "Unstablemates"). Anyone who knows this midtempo classic, take a listen and then imagine it just a little tiny bit more upbeat. A nice crafty melody change by Hays.

Kevin Hays' most recent record is a collection of pop/jazz standards entitled You've Got A Friend (Jazz Eyes), which actually is a really good introduction to his work if you haven't heard him before. Don't be hesitant, these covers are expansive, different and well worth the listen (especially The Beatles "Fool On The Hill" and Thelonious Monk "Think Of One").

Overall, not a stellar "I'm blown away" evening but definitely a welcomed and enjoyable night of music. Also a nice discovery of a musician I should have listened to a long time ago despite the knuckleheads next to me. (Next time: Five Things Not To Do At A Jazz Club)

San Francisco Jazz Collective: History & Beyond

SF Jazz Collective (group; 2004)

Founded in 2004, SF Jazz Collective is a non-profit collective (usually an octet) of rotating musicians (young and old guard). It's main members have been founder Joshua Redman, vibe legend, Bobby Hutcherson along with pianist, Rene Rosnes, Matt Penman (bass), Miguel Zenon (sax), Eric Harland (drums) and new members each season.

Some (including myself) have called it the West Coast version of Jazz At Lincoln Center, but that all-too simplifies it, and does not do this incredible ensemble justice. Unlike JALC's over-reliance on Wynton Marsalis and the New Orleans heritage, SF Jazz Collective has dedicated each year's performances to different legendary composers (Coltrane, Coleman, Hancock, Shorter among others).

In addition, SFJC members also perform their own original material commissioned specifically for the ensemble. The collectives first two releases are widely available (SF Jazz Collective and SF Jazz Collective 2) and include music of Ornette Coleman and John Coltrane, respectfully. The ensemble has since recorded seven albums (double and triple CD length) of material that is available exclusively through the SF Jazz Collective website. SFJC perform an annual residency that each of the aforementioned CDs is culled from. They also tour (mostly California and selected European dates) annually. The current lineup includes Joe Lovano (tenor saxophone), Dave Douglas (trumpet), Renee Rosnes (piano), Miguel Zenon (alto saxophone and flute), Matt Penman (bass), Robin Eubanks (trombone) and Eric Harland (drums).

Each album is truly fantastic and a real joy to hear how they reinterpret some classic material. I have yet to get the chance to see the group live (although I do own a DVD featuring Thelonious Monk material) but that is not the same as being there. If you are in the San Francisco area you should definitely take the opportunity to check them out - and drop us a line when you do. The group's CDs are a little on pricey side but some of them are either two or three CDs and the material you get makes it well worth the purchase.

It's an undeniably skilled and unique ensemble forging a new direction while maintaining the history of the elders. SF Jazz Collective is a group you should all experience.