All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Denmark’s JAZZPAR project, nearing the end of its first decade, not only bestows one of Europe’s most prestigious awards each year to an outstanding Jazz musician (past winners have included Gary Burton, David Murray, Hank Jones, Lee Konitz, Tommy Flanagan, Roy Haynes, Bob Brookmeyer, Geri Allen and Jim Hall), it gives a prominent Danish musician the opportunity to perform with one or more guest artists from abroad. In ’98, the honored recipient was trombonist Erling Kroner who chose as his guests two Argentinean virtuosos, guitarist Quique Sinesi and bandoneónist Dino Saluzzi. Their concert performance was recorded for Storyville Records last April in Copenhagen. The guests are front and center on most numbers (all of which were written and arranged by Kroner), with the trombonist’s core quintet playing a generally secondary yet always supportive role. The music is buoyant and colorful, the rhythms (including tango, candombe and milonga) remindful of Latin America in general and Argentina in particular. An exception is “Little Miss Gravity Center,” a blues–inflected piece with Ellingtonian voicings in a Mingus–like vessel on which the quintet takes the lead with Bévort (on tenor) and Kroner soloing nicely alongside their guests. The title selection, which closes the concert, is a flashy tour de force for bandoneón wizard Saluzzi, as is “Maestro Mágico,” which also includes a nimble soprano solo by Bévort. The more subdued works (“Siluetas,” “Corrido de Doña Luz”) are enchanting and evocative. If you’re an admirer (as Kroner is) of Argentina’s legendary Astor Piazzola, you’ll have a fair idea of what to expect from this concert — and chances are you’ll surrender without a struggle, as I did, to its hypnotic charms.
Track listing: Timoteo and the Pearl; Siluetas; Milas; Little Miss Gravity Center; Maestro Mágico; Corrido de Doña Luz; Candombe Domingus; Ahí va el Negro (56:58).
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...