The latest releases reviewed.
JOHN TAYLOR
Phases CamJazz*****
If the overall mood of this lovely solo piano recital is impressionistic, there is constant delight in the wealth of harmonic invention with which Taylor clothes his originals here. The quartet of Spring, Summer, Autumnand Winterare not so much tone poems as emotional responses to the passing seasons, striking not only for the imaginative ease with which Taylor changes colours, but also for his poet's ability to evoke corresponding emotions in the listener. Both the elegant simplicity of For Caroland the ceremony of questing chords, Messaien-like, that build the impressionism of Ritualhave an elegaic feel, while Taylor's Prelude No 3, full of the unexpected yet logical, is a superb little Hindemith- like vignette. Taylor also brings a delicate buoyancy to Kenny Wheeler's gorgeous Fedora, and Eulogyis a reminder that he is a marvellous straightahead player.
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CLAYTON BROTHERS
Brother to Brother ArtistShare***
With this hard bop session, the Claytons - Jeff (alto) and John (bass) - recall some famous brothers in jazz history (the Heaths, Breckers, Montgomerys and the Jones's). But the main influence is Julian and Nat Adderley's late 1950s/early 1960s quintet/sextet. This programme of mostly originals is delivered with more than enough fire and flair to evoke that soulful unit, and a neat reworking of Nat's Jive Sambaintroduces a more contemporary perspective. Rounded out by the splendid Terell Stafford (trumpet/ flugelhorn), John's son, Gerald (piano) and Obed Calvaire (drums), the Clayton group captures some of the mix of down-home soul, with a touch of Horace Silver's sunny optimism, that was among the Adderley's trademarks. A piano in the mould of Bobby Timmons and Red Garland completes the picture. Hard bop fans should love it.
ANTONIO FARAO
Woman's Perfume CamJazz ***
Faraò is a stellar pianist whose track record includes such luminaries as Lee Konitz, Franco Ambrosetti, John Abercrombie and Miroslav Vitous. As this list suggests, he’s adaptable, whether it’s mainstrem, swinging post-bop or more adventurous challenges. Here it’s a straightahead trio context with Dominique di Piazza (electric bass), André Ceccarelli (drums) and the 1950s film music of Italian composer Armando Trovajoli, plus four Faraò originals. The approach is not the contemporary, interactive trio model, but Faraò plays with such enveloping warmth and sheer swinging authority that he simply sweeps all before him. Arguably, a pianist this talented treats the buoyant, romantic material with too much respect for its character, but the project is, after all, a celebration of Trovajoli’s music. And the results are enjoyable.
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