Terence Blanchard is a magnificent trumpet player with a huge reputation. Even if you’re not into jazz you may have heard his music on the soundtrack of films, including most of those directed by Spike Lee – including, memorably When the Levees Broke: A Requiem in Four Acts, Lee’s 2006 powerful film about Katrina and its aftermath.
So it was quite something to be able to hear Blanchard perform live at Parr Hall in Warrington recently as part of a new project – piloted by The Band on the Wall – in which he had worked with some of the UK’s most remarkable emerging musicians, as a mentor offering a bunch of thirteen musicians an apprenticeship culminating in live performances around the northwest.
What resulted was an evening of sensational jazz in which Blanchard treated us to stellar moments of trumpet virtuosity, while the young musicians of the Inner City Ensemble, left to their own devices by Blanchard for a major part of the gig, proved an equal match in both their collective playing and in individual exchanges between instruments. Continue reading “Terence Blanchard and the Inner City Ensemble”
Among the galaxy of boundary-probing musicians recorded by Manfred Eicher’s ECM label, the name of Markus Stockhausen has a particular resonance. He’s the son of composer and pioneer of the avant-garde Karlheinz Stockhausen, regarded as one of the great visionaries of 20th-century music, with whom Markus collaborated on several compositions.
The flugelhorn player has got a new album out on ECM, Alba, on which he appears with pianist Florian Weber, and he was at the RNCM in Manchester last night to promote it, at the same time leading sessions teaching students the rudiments of what he calls ‘intuitive music’. During the concert – in which the duo – a.k.a. Inside Out – played several compositions from the new CD, we were treated to two exhilarating examples of intuitive music, performed with a band of the brilliant students with whom he had been working. Continue reading “Markus Stockhausen and Florian Weber at RNCM: exhilarating, intuitive music”
I’ve been listening to what will surely be the finest jazz record of the year – and one that I reckon will come to be regarded as one of the classic releases on the ECM label. It’s In Movement, the first release from Jack DeJohnette’s new trio who have been playing together for a couple of years. Now they have produced a very fine album of contemporary jazz, full of historical resonances, on which all three musicians deliver stellar performances. Continue reading “In Movement from Jack DeJohnette’s Trio: history, yet very much of the present”
Arild Andersen’s name has run like a thread through almost the entire history of ECM records, all the way back to the double-bass player’s collaboration with Jan Garbarek on Afric Pepperbird back in 1971. His most recent project has been the trio formed a decade ago with Paolo Vinaccia on drums and Tommy Smith on saxophone. I saw them play a spell-bindingly energetic set at Manchester’s Band on the Wall. Continue reading “Arild Anderson Trio at the Band on the Wall: fiery, intense, soulful”
The Norwegian pianist Tord Gustavsen is renowned for the hypnotically hushed tones of the half-dozen albums he has recorded for ECM during the last 15 years. So we were not entirely surprised on Saturday evening, in the stripped-back surroundings of the CBSO Centre in Birmingham, to experience jazz at its quietest and most minimal. Continue reading “Hymns and visions: the quiet fire of Tord Gustavsen and Simin Tander”
This year’s Liverpool International Jazz Festival concluded with two superb sell-out concerts. On Saturday evening Courtney Pine and Zoe Rahman showcased songs from their duet album, Song: The Ballad Book, and on Sunday Andy Sheppard brought Bristol Hotel, his quartet of Bristol-based musicians to close the Festival. Continue reading “Two fine concerts wrap up the 2016 Liverpool Jazz Festival”
This is the third post in which I recall some of the music I’ve enjoyed in 2015 but never got round to writing about. This one is dedicated (with two exceptions) to music recorded on the record label that is, for me, indispensable – ECM. There’s a lot of jazz, examples of the gift of ECM’s guiding spirit Manfred Eicher for bringing together musicians from different contexts to create wonderful sounds, and some of the contemporary music released on the ECM New Series label. Continue reading “The music in my head (part 3): jazz and beyond”