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Liberation Blues Quartet RECORD REVIEWS JAZZ STEFANO BOI.IANI ORRIN EVANS FRANK KIMBROUGH loy in Spite of Everything Liberation Blues Quartet Sterano Bollani, piano; Mark Turner, tenor Orrin Evans, piano; Sean Jones, trumpet; JD Allen, Frank Kimbrough, piano; Steve Wilson, alto & saxophone; Bill Frisell, guitar; Jesper Bodilsen, tenor saxophone; Luques Curtis, bass; Bill Stewart, soprano saxophones; Jay Anderson, bass; Lewis bass; Morten Lund, drums drums; Joanna Pascale, vocals Nash, drums ECM 2360 (CD).2014. Manfred Eicher, prod.; James Smoke Sessions 55Ri409 (CD). 2014. Paul Stache, Palmetto PM2173 (CD).2014. Frank Kimbrough, A. Farber, eng. DDD. TT:75:55 prod., eng., mix; Roman Klun, mix, mastering. prod.; Jon Rosenberg, eng, DDD? TT: 5713 PERFORMANCE *** *.* DDD. TT:72:39 PERFoRMANcE ***** soiltcs ***** PERFoRMANCE ***** sonrcs ****Jr soxrcs ***** This is a very good album. It should Frank Kimbrough and Steve'Wilson have been a great album. Stefano Tireless and prolific, pianist Orrin are unknown to the mass media, but Bollani and Bill Frisell are in the top Evans is like many juz musicians: he tr,the jazz world they are studs. Kim- three or fow injazz on their respec- thrives on the spontaneiry ofthe band- brough plays in the major orchesffas of tive instruments. Mark Tirrner is an stand. Liberation Blues, recorded live at Maria Schneider and Rvan Truesdell. uncompromising, searching artist of Smoke in uptown Manhattan, benefits Wilson is one of the most in-demand the tenor saxophone. from all that energy while communi- saxophonists in New York. The other Two problematic tendencies in cur- cating something larger in scope than musicians here, bassistJay Anderson rentjazz are the scarcity ofstable work- a blowing session. The recording, re- and drummer Lewis Nash, are strong ing bands and the faa that nearly all leased on the club's new label, captures enough to generate high levels ofcom- jazz musicians want to be composers. an ideal blend ofrawness and clariry. plex rhlthmic energy, and tojoin Kim- Frisell had never played before with The first five tracks flow together brough and'Wilson in the foreground, Bollani's trio. They all met for the fust as "The Liberation Blues Suite," dedi- improvising primary content. time in Avatar Studios. Everyone had cated to bassist Dwayne Allen Burno, Quartet is exceptional for its creative minimal prior experience with Tirrner. recently lost to kidney disease at 43. audacity. Throughout, the four players Bollani is a great pianist and an average Two of Burno's pieces, "Devil Eyes" push themselves beyond the margins composer. All nine tunes are his. and'Juanita," begin the suite with of safety into free air. Kimbrough It is a testament to the musicianship ale6 flexible swing tempos. Evans's'A leaves every song to chisel irregular here rhatJoy in Spite of Everythingis co- Lil'D.A3. a Do Ya," titled forBurno, blocks of affiliated sound. Wilson hesive, highJevel 1tzz. Bu;t the ad hoc, floors the accelerator, showcasing drum- shrieks distantly related melodies with one-off nature of the project imposes mer Bill Stewart at a burning, virtuosic jagged edges. Kimbrough's tunes ("The a ceiling. Frisell becomes just another peak. Then Evans recites poetry over Call," "Blue Smoke," "Herbivore") are good guitarist taking solos. He never the hovering ballad'A Free Man?," by slingshots that launch intense group gets a chance to work his magic: There unsung piano great Donald Brown, action. He also writes ballads strung are none of Frisell's signature cryptic before finishing the suite with his own tight with tension. The liner notes state counte{proposals within the ensemble, boogaloo-based "Liberation Blues." that "November" is about "the stillness no bright notes flickering in unex- SaxophonistJD Allen, featured on that marks . falling leaves." But it is pected places. Bollani plays with casual the Trudy Pitts ballad "Anysha," pairs not impressionism. It is a suspenseful mastery. He is clearly having fun.'Easy brilliantly in the ftont line with mrm- hovering. Healing," a catchy calypso, is infec- peter SeanJones in Evans's "simply Kimbrough and Wilson are not into tious. "Ismene" is ethereal and pretty. Green" and "Meant to Shine," while charming and delicate. They display But this music lacks urgenry-it never Paul Motian's "MumboJumbo" pushes Lewis's melody in stark relief, then burns. The player who fares best is the quintet into a more turbulent, break it down and scatter it. One of the Turner. His entrances in "Las Horten- ft agmented improvisational space. great balladjazz vehicles is "It Never sias" and "Vale" introduce new, dark, Evans omits the horns for the final Entered My Mind," by Rodgers and pensive atmospheres. They are the three tracks, parrying with Stewart and Hart. Kimbrough and Wilson come most arresting moments on the album. bass marvel Luques Curtis on "How down hard on it. Their loose, brazen Perhaps if the band had played some the High Moon" and "The Theme." version contains gutJevel emotional gigs before recording, they would have A trio encore adds Philadelphia singer truth. In a rapt solo, Anderson sings unlocked some doors. Joanna Pascale in a moving rendition the lonely lynics on his bass. The recorded sound deserves all five of "The Night Has a Thousand Eyes" Quartetis a brilliant example of what stars. It is so right you don't hear it. thaCs full of elegance and understate- is truly happeningin jazz right now. You hear only music. -Thomconnd ment. -DavidR-Mle -ThomConnd stereophile.com . December 2014.
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