Naxos Jazz
July 2000

By C. Michael Bailey

In Three Short Years.... It is approaching three years since I stirred the electrons in this ether regarding the genesis of Naxos Jazz. That article documented the initial six releases by the then fledgling label, music of a certain mainstream fare. Since that time, the Naxos Jazz Catalog has increased to almost eight times the six original releases, representing all corners of the jazz palette. The upcoming months hold many more releases, including several second releases by exclusive Naxos Jazz artists. By all accounts, this is a success that approaches, if not matches, the success of the classical arm of the company.

Classical Gas. Like its classical cousin, Naxos Jazz has specialized in finding and shining a light on lesser-exposed talent, producing excellent music in the bargain. But, also like the classical cousin, they have also been accumulating major artists names in their rosters. Naxos Classical charged noted Austrian conductor, the late Georg Tintner, with recording the Anton Bruckner Nine (now completed to critically acclaim). Also recognized is period performance conductor Arnold Östman with the Drottningholm Court Theatre Orchestra and Chorus. Östman and his group have just completed a recording of Gluck's Alceste (8.660066/8) released in August 1999. In the case of Naxos Jazz, this profound talent includes Joe Temperley, Wycliffe Gordon, Alan Broadbent, Fred Hersch, Red Holloway, Gary Foster, Tim Hagans, Chris Potter, and David Liebman, to name only a few.

The first six releases for the label focused on small ensemble, instrumental, acoustic jazz. Since that time, Naxos Jazz has opened its umbrella to cover all genres, including vocal, big band, fusion, avant-garde, modal, and nearly free. The label has made it their mission to challenge the listening public with daring and different music that is currently not being provided by the major labels. All of the releases have been, at the very least, interesting and provocative.

What's New?. One could say that Naxos Jazz has been specializing, specializing in everything, all aspects of jazz. Trumpeter James Zollar's Soaring With Bird (86008) was the first Naxos Jazz release to be comprised of solely standards and the first tribute disc (to Charlie Parker). This trend continued with Bill Cunliffe's tribute to Bud Powell Bill Plays Bud (86024). The big bands hit the label with the Umo Jazz Orchestra's self-titled disc (86010), The Tolvan Big Band (86025), and the Ken Schaphorst Big Band's Purple (86030). Vocalists debuted on the label with Gail Wynter's My Shining Hour (86027), followed by Jackie Allen's Which (86042) and Barbara Sfraga's Oh What a thrill (86047).

Other notable trends emerged in the Fusion realm. Fusion's place in the Naxos Jazz vault was carved out by Sonic Fiction's Sign of the Times (86034), the Lenni-Kalle Taipale Trio's Nothing to Hide (86035), and Jöel Paalson's Prím (86049). And, Second recordings for the label have been showing up from Ron McClure (Double Triangle, 86044), Florian Ross (Suite for Soprano Saxophone and String Orchestra, 86037 and Lilacs and Laughter, 86053), and Mike Nock (The Waiting Game, 86048), with more in the wings.

A Baker's Dozen. With all of the activity of the past three years, it would be hard to know where to begin when checking out the current Naxos Jazz catalog. This exegesis offered me the pleasant task of re-reviewing what has been released and provide a list of the best of the best from Naxos Jazz.

The New York Jazz Collective-- I don't Know this world without Don Cherry (86003). Mike Nock and Marty Ehrlich direct this romping collection of Hard Bop, Post Bop, and Avant-garde music.

The UMO Jazz Orchestra-- The Umo Jazz Orchestra (86010). Scandinavia is the place for Big Band Jazz. Coltrane's "Equinox" gets a nuclear treatment here.

Niko SchÀuble-- On The Other Hand (86011). Angular and prickly, On The Other Hand is an Avant-garde lovefest. German Niko SchÀuble assembles an international crew for this outing.

Lars MÃƒÂƒÃ…Åşller-- Kaleidoscope (86022). Firm in the saddle Tenor playing. More very fine Scandinavian Jazz cruising straight down the middle.

Bill Cunliffe-- Bill Plays Bud (86024). Bebop classics as interpreted by Naxos regular Bill Cunliffe. Better than Chick Corea's tribute to the same pianist,

Larry Karush-- The Art of the Improviser (86026). Perhaps my favorite disc. Karush plays a 20th century Louis Moreau Gottschalk, weaving all of American music into his vision.

The Ken Schaphorst Big Band-- Purple (86030). Dense and difficult, Schaphorst's charts have been nothing if not controversial. Dig the guitar-organ Liebestod on "Blues Almighty".

Joe Temperley-- Double Duke (86032). Ellington's last baritone player. Currently in Wynton Marsalis' Lincoln Center Jazz Orchestra, Temperley here provides a loving tribute to the Duke on his 100th birthday.

The Acoustic Jazz Quartet-- The Acoustic Jazz Quartet (86033). This is seamless mainstream jazz with a guitar rather than a piano. Perhaps the best of the lot.

The Lenni-Kalle Taipale Trio-- Nothing to Hide (86035). Taipale is a prodigious talent who with his trio absolutely rocked on this collection of original compositions. Redefining the art of the jazz trio.

Mike Nock/Marty Ehrlich-- The Waiting Game (86048). In the tradition of reed-piano duets, long-time friends Nock and Ehrlich provide each other (and the listener) the gift of perfect improvisation.

Jöel Paalson-- Prím (86049). Taut and masculine, Jöel Paalson's tenor and compositon raise this recording (and the Naxos catalog) to a new level.

Sarah Jane Cion-- Moon Song (86054). Sarah Jane Cion is the new thing in jazz. Like Lynn Arriale, she is conservatoire trained and multi-influenced. The result is rarified world music.