Ron Magril: Inspired (GleAM Records AM7030)
The organ trio, like big bands, probably never completely went away. It’s an observation worth making perhaps, given what appears to be a plethora of such line-ups on the worldwide scene at present. The heyday of this electrified option ran from the 50s into the 60s, mainly driven by the innovative work of Jimmy Smith and the frustration of piano players who would be constantly confronted by out-of-tune instruments – not a problem when addressing the classic Hammond B3.
This particular threesome is led by Israeli guitarist Ron Magril, who is supported by organist Yonatan Riklis and drummer Ofri Nehemya. They don’t break any new ground but will find favour amongst those with a liking for “organised” jazz. All eight tunes are leader originals; engaging enough to hold the listeners’ interest over the course of the CD.
Two of the titles indicate very clearly where Magril is coming from, namely Playing For Wes and Another One For Wes but he could not be accused of plagiarism. Organist Riklis does his best to say something new and Nehemya seems well versed in his role – never obtrusive, always correct with his accents and fills.
Quite the most exciting track is Africa, mixing straightahead swing with interludes in 12/8 time; the momentum is never arrested and represents a departure from the relative safety to be found elsewhere.
Alessandro Di Liberto: Punti Di Vista (GleAM Records AM7032)
Pianist Alessandro Di Liberto is a native of Sardinia, who sets out on this album to give us a 10-track aural picture of his beloved island. Often, as with so many such music projects, if the listener is aware of the delights offered by the location involved they may appreciate the subtleties the composer is attempting to convey but the most important concern is whether the music stands up on its own.
Di Liberto offers a mixed palette of mood changes, determined by varying tempos in a melodic manner delivered with care by his warm keyboard playing balanced beautifully against the support of Laura J Marras (alto saxophone), Sebastiano Dessanay (bass) and Roberto Migioni (drums).
One only has to look at the tune titles, all in Italian, to understand this is a great appreciation of a familiar location, interpreted in music that occasionally veers towards the lightweight but generally maintains a level we have come to expect from performers from this area of Europe.
Pasquale Grasso: Fervency (Sony Music Master Works G010005042610X)
New-York-based, Italian-born guitarist Pasquale Grasso leans towards the historic rather than the contemporary, citing pianist Bud Powell as one of his inspirations; his penchant for music from the 30s extending into the 60s has been well documented. Apart from his jazz leanings he is classically trained and this sometimes emerges in his lighter moments.
On Fervency he is joined by his long time associates Ari Roland (bass) and Keith Balla (drums), this longevity manifesting itself in the very tight nature of the trio’s approach to each song title, a mixture of the familiar and the less celebrated. The set kicks off, fittingly, with Powell’s Sub City, the guitarist more than at home in the semi-presence of his idol.
Grasso sounds more than at home on such tunes as Milestones (given a creative reworking), Cherokee, Lady Bird and Little Willie Leaps, all probably overworked by numerous musicians, clearly referencing his love for music from preceding decades. His lines are clean, whatever the pace, with a reliable bedrock in Roland and Baffa supplying just what is required.
If overall the session gives off a slightly old-fashioned feeling, then at a guess, this is exactly what Grasso set out to achieve.
Ella Fitzgerald: The Moment Of Truth – Ella At The Coliseum (Verve 7566419)
This newly unearthed live concert from 1967, recorded in Oakland, California, finds Ella in splendid form, backed by the Ellington Orchestra, with Jimmy Jones on the piano stool instead of Duke. This music represented only part of an extensive concert where Norman Granz also featured Oscar Peterson and Coleman Hawkins amongst others.
The programme of seven standards plus two popular songs of the day suits the singer perfectly, as do the arrangements which find the singer up front all the way, without solo incursions from members of the band. She swings mightily more or less throughout, with a break coming in the shape of You’ve Changed and Alfie, which elicit the kind of sensitive reading we associated with Ella during her decades of performance. The latter and Music To Watch Girls By (the other nod here to contemporary material) were far more suited to her than the less than appropriate Sunny and Sunshine Of Your Love, which nudged their way into her repertoire.
Such songs as Don’t Be That Way, Bye Bye Blackbird and Mack The Knife were part of a staple diet over a number of years and these versions stand up well against any others of the time. We also get the statutory Armstrong impression, plenty of scat and some amusing asides to audience and band, adding up to a CD all admirers of the singer will enjoy. A vinyl version is also available.
Blue Jitters: Blue Jitters (Swinguez Moustaches)
Formerly known as Swinguez Moustaches, Blue Jitters are a septet who choose to perform music of the 1930s, with the occasional nod in a backwards and forwards direction. On the evidence of this CD, the group takes its lead from well-known versions of these songs by such luminaries as Benny Goodman, John Kirby, Louis Armstrong and, surprisingly, Betty Carter.
This is at best comfortable listening music, as the musicians negotiate such pieces as Wrap Your Troubles In Dreams, China Boy, Nobody Else But Me, Sweet Georgia Brown and the relatively modern Splanky, a Basie staple. All eleven selections include the little girl vocals of Caloe, who doubles on violin and the accordion of Nicolas Almosni.
The line-up includes a trumpeter, saxophonist, guitarist, bass player and drummer, whom unerringly stick to the band’s ethic. It’s all relatively polite, although applause is in order when it comes to authenticity. The biggest problem is the lack of excitement those early performers brought to the table. This, despite the band’s best efforts to give these well-worn songs a slightly updated treatment.
