It is a stroke of luck for the German jazz scene that New Yorker Tim Collins came to Munich twelve years ago. The 45-year-old belongs to the small group of the world’s best vibraphone players. American critics already attested to this when he was still playing in his home country with musicians like Ingrid Jensen or Aaron Parks: Collins “is nothing less than exemplary,” wrote Downbeat Magazine, for example. Across the pond, he has proven it in collaborations with a wide variety of greats from John Hollenbeck to Danny Grissett to Henning Sieverts or Shinya Fukumori to the world musicians Quadro Nuevo or the young whiz kid Shuteen Erdenebataar. Now he underlines it with his fifth album “For Good People”.
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The combination of flute and organ trio is refreshingly unconsumed and appealing, especially when it comes along with as much ingenuity as it does with Isabelle Bodenseh, Thomas Bauser, Lorenzo Petrocca and Lars Binder, who already attracted attention in 2018 with the album “Mrs. Bo’s Cookbook”.
Not only do the four of them swing incessantly and challenge each other with crafty and inspiring original compositions, they even form a grooving organic unity that is downright exemplary for this combination of instruments.
Rarely have flute-organ pairings achieved such amazing homogeneity and fine-tuned playing as we can admire on this album.
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Originally released in 1994 on the ENJA label, this recording is the first of many by pianist and composer Cornelius Claudio Kreusch realized in New York.
Joined by longtime trio partners Nate McBride on bass and Marvin “Smitty” Smith on drums and percussion, the pianist, then in his early twenties, manifested his genre-bending concepts between jazz, Africa, and poetry, showcasing his musical thinking inspired by the M-Base collective.
The Philadelphia Business Journal at the time named the album one of the five best jazz albums of the year. Downbeat Magazine praised it highly and Jazztimes said of it “The righteous rap of the 90ies.”
The specially invented term “rap’oetry” by the great African-American lyricist, poet and playwright Thomas Grimes crowns the recording of this brilliant piano trio of three Young Lions of the day.
Digitally remastered, with a new title and in an even more coherent order for the artist, the recording is now released in a high-quality DigiSleeve, as well as for download and streaming.
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His current, new piano trio with drummer Donald Edwards and bassist Darryl Hall is a complete New York affair.
With these musicians, Jermaine Landsberger has now recorded an album of largely original compositions. He also brought in Marcel Löffler on accordion, Tony Lakatos on saxophone and Axel Schlosser on trumpet. As a reminiscence of the great representative of Manouche Jazz, he also chose two titles by Django Reinhardt for the recordings.
“With this album I have fulfilled my heart’s desire. In recent years I have always had the desire to record an album with my own songs and my own handwriting, to make music that is close to my heart, music that reflects my thoughts, my inspirations, and my inner self. Donald Edwards and Darryl Hall played an important part in this endeavor.” So Landsberger after completion of the recordings.
As a CD, the album will be released on 11.11.2022 in stores (EC 615).
Digitally and on all streaming platforms, the tracks will be released song by song.
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The unexpected always seems logical with him, wrote one critic. On “Live in Ottobrunn” Martial Solal proves this from the very first note: Only a D is heard at first, which keeps you on tenterhooks until a pianistic whirlwind follows: expressionistic disharmonies dissolve into blue notes, glissandi runs lead into long sustained chords, classical motifs merge with echoes of half of jazz history. Everything is rhythmically varied in a highly complex way, without ever falling out of time.
And only slowly does the standard emerge that provides the melodic basis: “My Funny Valentine”. As if under a burning glass, the first piece of the performance now documented as a double album at the Ottobrunn concerts in December 2018 thus already shows the entire high art of the “leading French jazz pianist,” as it understatedly says in the encyclopedia: Martial Solal, who has just turned 95, is after all a solitaire of jazz, indeed of music history.
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