Lynne Arriale - A Long Road Home (TCB, 1997)

 

Lynne Arriale, piano
John Pattitucci, bass
Steve Davis, drums

Recorded April 1997

Steve Davis Studio

Engineer: Steve Davis

Lynne Arriale began her recording career in 1994 with a series of three CDs on the DMP label. The label was established in 1983 by engineer Tom Jung and was promoted as an audiophile digital experience. I sampled a few titles from DMP, judged the sound to be clean but somewhat clinical, and ended up keeping four albums for my collection. Two of the keepers are by Arriale: When You Listen (DMP, 1994) and With Words Unspoken (DMP, 1996). Both were recorded by Arriale's trio with Drew Gress on bass and Steve Davis on drums. 

Arriale's move to the TCB label led to four albums with Davis on drums. To my ears, the TCB albums sound more natural (less clinical) than the DMPs. More importantly, the performances and arrangements had evolved in a positive direction. Arriale's gentle keyboard style had toughened a bit, and her repertoire had expanded to include more of her own compositions alongside covers of Thelonious Monk, Dizzy Gillespie and others. A Long Road Home and her other TCB recordings capture these developments.

A Long Road Home begins with an unusual interpretation of Monk's "Bye-Ya." The composer's choppy rhythm is smoothed out to reveal unusual facets of the melody. "Will o' the Wisp" follows: a gorgeous, floating-time excursion over chord progressions that are similar to those on John Coltrane's "Expressions." The same chordal approach is taken on two of Arriale's originals: "The Dove" and "A Long Road Home."

"A Night in Tunisia" shows off the pianist's chops on a fast-paced solo following an unusual halting version of the melody. Arriale approaches the other jazz standards, including Dizzy Gillespie's "Con Alma," with similar rhythmic variations that add interest. Her version of "I Wished on the Moon" balances the program with a straight-ahead reading of the standard.

Steve Davis is not only Arriale's drummer of choice, but also a recording engineer with his own studio in Yonkers, NY. Sound engineers who are not themselves musicians, let alone drummers, may struggle when recording a percussive drum kit and making it sound natural as well as balanced with piano and bass. Davis's sound on A Long Road Home meets my personal criteria for a well-recorded piano trio. 

Arriale has continued a successful career as recording artist, performer, and educator. Her recordings on Motéma Music and Challenge Records are all worth exploring.

Charles McPherson - Manhattan Nocturne (Arabesque, 1997)

Charles McPherson, alto sax
Mulgrew Miller, piano
Ray Drummond, bass
Victor Lewis, drums

Bobby Sanabria, percussion

Recorded April 24 & 25, 1997

EastSide Sound, NYC

Engineer: Lou Holtzman

Jazz artists who matured in the mid 1960s quickly encountered one of the low points in the history of jazz recording. As jazz records struggled to compete in a marketplace filled with best-selling rock stars, jazz artists often chose to adjust their bebop tendencies and move into fusion. Some, such as Freddie Hubbard and George Benson, played what would evolve into "smooth jazz" while others, notably Miles Davis, steered toward electric jazz‑rock fusion.

Among those who stayed the course, Charles McPherson stands out. His 7 albums on Prestige between 1965 and 1970 reveal no attempt to compromise his style to sell more records. Of course, he probably did sell fewer records, but artistically his Prestige albums match or surpass many bebop albums of the 1960s. McPherson continued to record in the 1970s on labels such as Xanadu and Mainstream. The 1980s saw his releases drop off, but the 90s witnessed his resurgence.

Manhattan Nocturne is one of three outstanding McPherson albums released on the Arabesque label in the 1990s. The others are First Flight Out (1994) and Come Play with Me (1995). Manhattan Nocturne benefits from a superb band at the peak of its powers. The leader's liquid alto ranges from sultry to soaring. Pianist Mulgrew Miller is fully engaged, using his solo space to reinvent each tune. 

Manhattan Nocturne's program consists of four standards and four originals. "Evidence" and "Blue n' Boogie" recall McPherson's bebop roots. The other two standards are ballads. "You're My Thrill" is a sultry number featuring Bobby Sanabria's Latin percussion. Miller's solo tells a whole story on its own: a master class in improvisation. "How Deep Is the Ocean" finds McPherson luxuriating in a solo that stays close to the original melody. Miller's solo begins in the same way before it moves deep into improvised territory.

Four of McPherson's originals portray the nocturnal Manhattan ambience that the album's title promises: the title track, "Morning Dance," "Primal Urge," and "Fire Dance." Sanabria's percussion is integral to the album's theme, whether it's salsa dance steps or smoldering nocturnal urges. 

Anouar Brahem - Thimar (ECM, 1997)

Anouar Brahem, oud
John Surman, bass clarinet, soprano sax
Dave Holland, bass

Recorded March 13-15, 1997
Rainbow Studios, Oslo
Engineer: Jan Erik Kongshaug

Anour Brahem is a Tunisian oudist, known to jazz audiences mainly through a series of ECM albums commencing in 1991. His North African roots expanded over the years through study in Paris and later tours in North America. Thimar was recorded when he was 39 years old; it was his fifth CD for ECM.

I cannot compare Thimar to Brahem's other works because it's the only one of his albums I've heard. I was drawn to it by positive reviews plus my admiration for Dave Holland and John Surman, both ECM regulars. For Thimar, Surman leaves his baritone sax in its case and alternates between soprano sax and bass clarinet. 

The oud is an important ancestor of the European lute, which in turn preceded the modern guitar. It produces a warm, midrange‑rich tone and is traditionally played with a long, flexible pick called a risha. The oud's sound may be described as enchanting. In Brahem's hands, it affords subtle dynamics and evocative phrasing.

Both Brahem and Surman can be emotionally mournful, as on the brief "Waqi." Although the sonic textures are mostly dark, they are fascinating. On soprano, Surman sounds like a snake charmer; on bass clarinet, his woody sound augments Brahem's soft strings. I don't find many such textures in jazz recordings, and that helps to make Thimar exceptional. 

 

Brahem composed 10 of the 11 pieces, with Holland contributing one original, "Mazad," which also appears later on his Good Hope album (Edition, 2019). Brahem tends to write tunes with dark minor scales that contain few obvious chord changes. Most of the drama comes from rhythms and counterpoints rather from singable melodies over chord progressions. For me, "Mazad" enlivens the session with its novel changes and bouncy beat. Of the other tunes, only "Al Hizam Al Dhahbi" has noticeable chord shifts.  

"Qurb" features a delightful section that begins with a free bass solo. When Brahem joins in, he plays a countermelody instead of playing harmony or unison with Holland's line. I always find countermelodies to be fascinating. It is difficult for two musicians to play different melodic sequences at the same time, but it draws my attention whenever I hear it. "Qurb" also features a brief vocal by Brahem that adds to its mystical vibe.

Brahem honors his bandmates by laying out on the final cut; "Hulmu Rabia" is a mournfully poignant 2-minute bass clarinet figure played over arco bass.

Tomasz Stańko - Litania - Music of Krzysztof Komeda (ECM, 1997)

Tomasz Stańko, trumpet
Bernt Rosengren, tenor sax
Joakim Milder, tenor & soprano saxes
Bobo Stenson, piano

Palle Danielsson, bass
Jon Christensen, drums

Terje Rypdal, guitar

Recorded February 1997

Rainbow Studios, Oslo

Engineer: Jan Erik Kongshaug

I came to know Tomasz Stańko's work from his many ECM recordings, all of which received high accolades from The Penguin Guide to Jazz. Through Stańko, I also came to know about Krzysztof Komeda and his jazz soundtracks for film maker Roman Polanski. These Polish artists flourished in the 1960s during a post-Stalinist cultural renaissance that reached Western audiences through Polanski's American films. I remember seeing Rosemary's Baby when it came out in 1968 and several times since. 

Stańko's music also attracted the attention of the young Berliner Manfred Eicher, who founded ECM in 1970. Eventually, Stańko would appear as leader on 11 ECM albums and contribute to 4 others. Litania - Music of Krzysztof Komeda (1997) and From the Green Hill (1998) are my two favorites from the 1990s, and both receive blog entries.

A tribute to Komeda is apropos. He was celebrated for integrating Western jazz, especially avant-garde, with Slavic influences. Astigmatic (1967), his masterpiece, consists of 3 long tracks that still sound fresh today. Stańko played trumpet on Astigmatic and gigged regularly with Komeda until he died in 1969 at age 37. Komeda scored music for 60 films and was the center of not only Polish jazz but also European jazz overall.

According to Stańko, Litania differs from his typically bleak mode of playing*. The pairing of Swedish saxophonists, veteran Bernt Rosengren and the younger Joakim Milder, gives the session a warm glow while preserving the serious purpose of the session. Pianist Bobo Stenson also contributes to the warmer vibe. His lyrical solos add charm, and he manages to be heard in even the noisier passages. All of the band have close connections with the Polish jazz movement, and all are European superstars familiar to ECM fans.

Komeda's practice of partitioning long compositions with recurring motifs applies both to the structure of the album and to the longer pieces within it. The CD begins with an 11-minute version of "Svantetic," which is divided into sections separated by the ensemble's replaying the slowly rising opening theme. Track 2, "Sleep Safe and Warm (Version 1)," from Rosemary's Baby, is a short interlude before the epic "Night-time, Daytime Requiem," which clocks in at 21:47 minutes. Two other versions of "Sleep Safe and Warm" appear as interludes later in the program and as the closing number. 

"Requiem" is Komeda's dedication to John Coltrane. He recorded it in 1967, four months following Coltrane's death. Stańko played trumpet in the 1967 session. Although lengthy, the composition is punctuated by 6 short fanfares separating movements with different moods. The first movement, featuring Stenson and Stańko, is ominous and mournful. Later, Rosengren's tenor solo convincingly recalls Coltrane's style. A later movement features Stańko's plaintive trumpet and Palle Danielsson's bass, which serve as foundation for the rising intensity of the horns. The fifth motif is followed by Joakim Milder's piercing alto, Jon Christensen's busy drum work, and Stańko's soaring flights. The last motif draws the requiem to a peaceful end.

Despite its monumental stature, "Requiem" is upstaged by "Litania," a gorgeous theme with a powerfully emotive arrangement performed to perfection. It's one of the most profound listening experiences I've ever had.

Terje Rypdal's first appearance on the album is on the second version of "Sleep Safe and Warm," where he provides soft background shade for Stańko's solo trumpet. Rypdal is more forceful on his other two appearances: "The Witch" and the third and final version of "Sleep Safe and Warm," which ends the album on a confidently assured note. 

*Note: Stańko considers his album Leosia to be a personal favorite as well as his bleakest (The Penguin Guide to Jazz, 2011, p. 599).

Jerry Granelli - Broken Circle (Intuition, 1996)

Jerry Granelli, drums
Christian Kögel, guitars
Kai Brückner, guitars
Andreas Walter, bass

Recorded 1996
Möbius Music, San Francisco

Engineer: Christian Jones

I learned all I ever wanted to know about Jerry Granelli by reading Thom Jurek's discographic essay on Qobuz: Jerry Granelli Discography - Download Albums in Hi-Res - Qobuz. There I found many surprises, such as his performing with The Kingston Trio, Sly & The Family Stone, and Vince Guaraldi. He was born in San Francisco in 1940 and died at age 80 in Nova Scotia, in his adopted home of Canada. Jurek reports, "He was treasured by other musicians as a timeless and chameleon-like artist, capable of transcending era, genre, and even his own style to serve the music at hand."

Granelli's use of guitars in his jazz groups begins with his debut, Visions (Excalibur, 1978). Two later bands, UFB and V16, feature electric guitars, electric bass, and drums. That configuration might not excite jazz purists, but the music of these bands is endlessly expressive and full of sonic details. My favorites albums are Broken Circle, News on the Street (Intuition, 1995), and The Sonic Temple - Monday and Tuesday (Songlines, 2007).

On Broken Circle, Granelli is joined by three young German musicians. Kai Brückner (pictured 1st) and Christian Kögel (pictured 2nd) both play electric guitars on most tracks, occasionally doubling on steel string or nylon string acoustic guitars, and in several cases "solo, slide, fretless, and atmospheric guitars." I would have loved to have seen a photo of their arsenal in the recording studio. Both guitarists exploit the full ranges of their respective axes. However, the music is less about virtuosic soloing or shredding, and more about sustaining mood. 

Typical passages use pleasantly distorted sustained notes as the guitars and bass converse. Like many drummer-leaders, Granelli leads from behind, allowing the amplified strings to dominate the sonic palette. 

The program on Broken Circle is intriguing. The first 6 tracks include one original composition from each guitarist, jazz classics from Charles Mingus ("Boogie Stop Shuffle") and John Coltrane ("Lonnie's Lament"), and songs by Peter Gabriel and Prince. I am most moved by "Lonnie's Lament," which Coltrane introduced on his Crescent LP (Impulse, 1964). I don't know who Trane's inspiration for this masterpiece was, but it fits perfectly with Broken Circle's theme of lament.

The remaining 6 tracks comprise a suite composed by Granelli, titled Song of a Good Name. Sandwiched between two versions of "Crazy Horse's Dream," the other tunes in the suite explore the plight of Native North American people. The story of the annihilation of these people's populations and cultures is tragic and sorrowful, and the music dignifies and honors Native North American lore. 

The CD booklet has three folds, allowing the expanded inside to include 12 quotations from authors who have written about Native North Americans. These are poignant memorials that add solemnity to the listening experience. The cover art of the slipcase is shown above; the CD booklet artwork is shown below. I have seen few CD packages with text and artwork that so closely match the musical message. Broken Circle is first-rate sonically as well. It is unfortunate that the digital download version excludes most of the artwork.

Johan Leijonhufvud, Happy Farm (Sittel, 1996)

Johan Leijonhufvud, guitar

Jacob Karlzon, piano

Mattias Hjorth, bass

Kristofer Johansson, drums

Recorded April 16-19,1996

Bojus Studio, Kungälv, Sweden

Engineer: Äke Linton

It might seem unusual for a man born in Gothenburg, Sweden to be one of the world's finest jazz guitarists, without most of the world even noticing. Born in 1971, Johan Leijonhufvud began recording in 1995 with Swedish bands alongside trumpeter Anders Bergcrantz. Leijonhufvud's album, Speaks the Local Bebop (Sittel, 1995), includes Bergcrantz and vocalist Sofia Pettersson. 

I first encountered Leijonhufvud in the Penguin Guide, which gave Happy Farm four stars. Finding a copy of the CD was a years-long effort, but eventually I found an online merchant with a used copy for sale. 

Leijonhufvud's regular trio is expanded for Happy Farm, which includes pianist Jacob Karlzon. He is a splendid addition to the trio, working seamlessly with Leijonhufvud on the front line, soloing vigorously, and contributing one tune to the program - the modal "Backwoods." 

On "Backwoods," Karlzon's vamp sets the foundation for Leijonhufvud's solo, which begins hesitantly but then creates a sequence of powerful chords that build to a climax. Karlzon constructs his own solo the same way: beginning carefully before letting it all hang out. Add Kristofer Johansson's drum solo and you have the thoughtfully energetic highlight of the album.

Karlzon and the leader avoid the crowding of harmonic space common in bands using guitar and piano as lead instruments. In some cases, as on "Deuce," Karlzon plays block chords behind Leijonhufvud's fleet guitar work. The guitarist returns the favor when Karlzon solos. 

On the lovely "Kattis," the band introduces the stately ballad together before the solos progress. The leader's solo is gently romantic; Mattias Hjorth's bass solo is poignant; and Karlzon's swells are packed with emotion. Leijonhufvud's soft guitar returns to affirm the tribute to Kattis (short for Katarina), whom I imagine to be an object of the composer's affection.

There are three interesting covers on Happy Farm. Eddie Harris's "Boogie Woogie Bossa Nova" introduces a bit of soul jazz into the proceedings. I hear more boogie than bossa, but the hybrid works well overall. I first heard "Sno Peas," written by Phil Markowitz, on Bill Evans' Affinity album (Warner, 1979). Here, it becomes a vehicle for exquisite guitar, piano, and bass solos. I also love the theme played in unison by Leijonhufvud and Karlzon. Finally, Joe Henderson's "The Kicker" is a short post-bop romp highlighted by Johansson's drum solo.

Recently, Leijonhufvud's trio has recorded as JLT. Harlem Nocturne (Heartcore, 2021) and Nifty Fifty (Heartcore, 2023), along with the earlier Strange Man (Lovestreet, 2006) are all worth investigating. With the Internet, there are no longer the former barriers preventing American jazz guitar fans from hearing music released on European labels. Qobuz is currently my primary source for obtaining such music, replacing the need to ship physical CDs overseas. 

I could play my copy of Happy Farm to everyone I know, and I bet that no one could guess the artist. Discovering Johan Leijonhufvud's work is guaranteed to be a revelation to guitar lovers who never heard of him. 

Notes:

According to my Swedish friend Jonny, Leijonhufvud's name is pronounced LAY‑yon‑hoov‑vood. 

The photo of Johan Leijonhufvud is from 2006. 

The photo of Kristofer Johansson is from 2026.

The photo of Mattias Hjorth is from 2024, taken from the website of Lund University's Malmö Academy of Music where he serves as Lecturer in Jazz Ensemble & Double Bass. 

Cæcilie Norby, My Corner of the Sky (Blue Note, 1996)

Cæcilie Norby, vocals
Louise Norby, backing vocals
Randy Brecker, flugelhorn
Scott Robinson, flute
Michael Brecker, tenor sax
Joey Calderazzo, piano
Lars Jansson, piano, organ
David Kikoski, piano, organ
Lars Danielsson, bass
Lennart Ginman, bass
Terri Lynne Carrington, percussion
Jacob Andersen, percussion
Alex Riel, drums
Jeff Boudreaux, drums

Recorded 1996

Sound on Sound, NYC & Focus Recording, Copenhagen
Engineers: Malcolm Pollack (USA) & Hans Nielsen (Denmark)

I must have read a convincing review of Cæcilie Norby's My Corner of the Sky because, on the surface, this is not the kind of music I seek out. Its construction is more like a pop album: a mix of popular songs and jazz standards, recorded in studios in different hemispheres, with different musicians from track to track. Although the Blue Note imprint reassured me that this was, indeed, a jazz album, I approached skeptically. 

In hindsight, I now consider My Corner of the Sky as one of the best jazz vocal albums of the 1990s. However, it's difficult for me to write about My Corner because it coincided with an upheaval in my professional life and a move to a new city and employer at the age of 50. The album came to me at a time when I needed reassurance, and it's difficult to put the emotional attachments aside and critique the album in a way that would interest readers. Music just does that sometimes. 

Fortunately, as I searched for a better approach, I encountered a review that closely matched my own thinking. The following is an abridgement of a review by The Loud Bassoon, published online approximately six years ago with no cautions about copyrights or reuse. I thank The Loud Bassoon for the insights and hope that I might return the favor someday. Bassoon's full review can be found at the loud bassoon guide to records: cæcilie norby - my corner of the sky

Cæcilie Norby is a Danish chanteuse with a funky voice and a remarkable ability for investing lesser songs with a lot of passion. Several of the cuts on My Corner of the Sky are covers that beat the original versions, and she even lays down one standard that has never been done better ("Suppertime").

Few singers could open an album with "The Look of Love" nowadays and have it be fresh; it actually is fresh here. Several of the songs (particularly the more recent pop covers) have a slightly Holiday Inn-lounge jazz feel, but the precision of the band and Norby's voice keep things from getting cheesy.

"The Right to Love" (a Lalo Schifrin/Gene Lees tune) better reflects Norby's taste and talent. Her voice (backed by a trio) is full and soulful, emoting without becoming overbearing. Track 3 is an organ-driven cover of Sting's "Set Them Free," which does work well in this context. ... "Suppertime," not one of my favorite standards, is given a magnificent reading here; the song is perfectly suited to Norby's voice, and she performs it with great emotion. 

This is followed by the stupefying "African Fairytale," a version of Wayne Shorter's "Footprints" to which Norby has written some great lyrics. This is one of the best jazz vocal performances ever, truly a tour-de-force. Wayne Shorter has never been so accessible. 

The winning streak continues with a cover of David Bowie's "Life on Mars," which I think actually bests the rock version by taking the song into a more introspective place, augmented greatly by Randy Brecker's aching flugelhorn.

The majesty of these three consecutive gems is offset a bit by an ill-chosen attempt at "Spinning Wheel," which sticks out like a broken nose. ...The rest of the album slows down a bit, settling into something of a late-night feel with "What Do You See in Her," a brisk "Just One of Those Things" ..., and the haunting "Snow" (one of the album's many highlights).

The CD ends with a wonderful take on Leon Russell's "A Song for You" ...and another ballad, "Calling You." 

Review courtesy of: