Dianne Reeves | In The Moment

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African American, Dianne Reeves, Female Jazz vocalist, Female Vocalist, Jazz

In The Moment, inhabits a symphony of enchanting, vibrant, lush, and spontaneous songs by the remarkable Dianne Reeves. Once you listen, you can’t help but marvel at the virtuous tapestry of tones and colorful phrasings of Ms. Reeves caught live. While in concert, Reeves reaffirms herself presence spiritually by lyrically expanding her unparalleled voice in an evening of astounding songs driven by her indelible vocal artistry. I usually, don’t like to recommend purchasing live recordings. In this case, “In The Moment” is the exception … if by chance you haven’t acquired any of her previous recordings this is without a doubt a wonderful place to begin a magnificent journey that encompasses her unmatched testimony of emotional, poetic, soulful, and complex songs unleashed by her amazing vocal symmetry. ~ The Urban Flux

Dianne Reeves | In The Moment – [Blue Note Records, 2000]

Dianne Reeves, In The Moment

Once again Dianne Reeves demonstrates with her music she’s one of a kind, one of the very few vocalist that really say something new and, no matter what the critics say about her not focusing on pure jazz, SHE IS the perfect incarnation of what the spirits of jazz is: challenging the boundaries of music, pursuing freedom,improvisation, cultivating an exquisite taste with a sensibility that goes deep down into gospel, soul, r&b, Afro, reggae to find a reveal new treasures. Above all this, naturally, stands her voice: warm, deep, rich in coulour and expression contralto,a voice guided by a sense of rhythm and technical mastership going from moaning, caressing, soaring, roaring, culminating with an ability to scat that leaves you speechless. This time Diane’s been caught in the rapture of a live performance, possibly her best dimension. She sing her heart out and kills you with a brilliant Brazilian trip: the acoustic reading of “Triste” is magnificent, matched by Nacimentos’ “Bridges” that is already “the definitive cover” of this beautiful song. Then, she and her extraordinary band sweep you away with a salsa-Latin flavoured “Love for sale” that will have even Cole Porter surely nodding with satisfaction from high above. What a voyage.. and then he comes George Duke playing the piano and dressing an old Dianne’s hit “Come in” new, soulful and smooth and caressing and… beautiful… Each of the the songs of this superb set are simply stunning: a perfect collection to appreciate the art of Dianne Reeves, indeed.

After her first, sensational “New Morning” live in Paris, this is the second chance to travel on the wings of real live jazz with one of the truest and best artists on the music scene today : when you’re done, you just want to stand up and cry: Bravissima Dianne! —Roberto Ballati

Source: Amazon.com

Jack DeJohnette | Music We Are

Tags

African American, Drums, Jack DeJohnette, Piano

Jack DeJohnette | Music We Are – [Golden Beams / Kindred Rhythm, 2009]

Jack DeJohnette, Music We Are

Jack Dejohnette’s new album, Music We Are on Golden Beams Productions, proves, for me once again, that Jack Dejohnette is truly both one of our great creative forces, and an explorer supreme. When I got the album I had certain expectations, having heard Jack Dejohnette play with piano greats such as Bill Evans, Herbie Hancock, Chick Corea, and of course, Keith Jarret. I have even heard him leading a trio playing the piano with somebody else on drums. Listening to this album, therefore, was a complete surprise, because it is nothing like any of the music made with any of the fore mentioned collaborations.

This music transcends musical genres and boundaries. It is extraordinary in its scope and expression, and left me with same excitement I have only experienced at a live performance. With pianist Danilo Perez and bassist John Patitucci, the trio exudes an incredible sense of both ensemble and individual musical expression and power. The interchange between the individuals is exciting, and recognizes no musical clichés. They explore the genre they have come from and push hard into the regions of the modern classical without ever seeming contrived or pretentious. These are great musicians who don’t believe in playing it safe. They truly have the courage of their musical and professional convictions, and have created, for me, a thing of great delight.

Jack Dejohnette has always been a master of time and space, and for everybody he has ever accompanied, he seems to create the space for them to fully explore their own musical ideas and clears a path for them and pushes them along it. In this album, he not only does this, but has co-created with them the very music they are taking down that path. The result is astonishing.

It would be very easy to imagine parts of this album being conceived as orchestral pieces, and perhaps, one day, have we might have the prospect of it being presented as such. —R. Herman

Source: Amazon.com

ObliqSound News: Michael Olatuja at CMJ Music Marathon

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African, African American, Bass, British, Michael Olatuja

Michael Olatuja Speaks

Ramsey Lewis Trio | Time Files

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African American, Piano, Ramsey Lewis

Music critics view Ramsey Lewis as the type of artists that most often straddles the fence, the kind of musician who has great talent but constantly plays it safe. From my perspective, sometimes it is what is I love his music regardless. Time Files captures the essence of Ramsey’s musical personality. ~ The Urban Flux

Ramsey Lewis Trio | Time Files – [Narada Jazz, 2004]

Ramsey Lewis Trio, Time Files

The fourth album on Narada Jazz from Ramsey Lewis, Time Flies is in effect a contemporary redo of his career. The themes that have been important in his music over the decades are each given some room (thus, there are classical, gospel, R&B, and straightforward jazz pieces here). At the same time, older songs are reworked with aspects of contemporary styles. Finally, the third dimension of changes here is the span of old Lewis classics, covers of other artists, and a few new items penned specifically for Time Flies. The album opens with a bit of Brahms, which subtly morphs along the way into some smooth jazz reminiscent of a Bobby McFerrin composition in some ways. Similarly, a bit of Bach makes its way into straight jazz piano and perhaps a bit of a bossa nova later in the album. “Second Thoughts” is a new number, taking cues (perhaps coincidentally) from Piazzolla’s tango aesthetic. The classic “Wade in the Water” is given a reworking in rhythm (courtesy of Ramsey’s son Frayne), as is “The In Crowd,” which gets a jumping round of percussion and clapping that could almost pass as “Got to Give It Up” to a casual bypasser. “Open My Heart” and “Hosanna” let Lewis go somewhat easier on the piano as he complements the gospel numbers with a grand dose of choir singers. Moving back to straightforward jazz piano, listeners get treats in the originals “Hide & Seek” and “Last Dance,” both of which showcase his still-present chops in fine light. There’s a little something for everyone on this album, making a fine stand at covering the multitude of styles and moods covered by Lewis over the past four decades or so. Fans of Lewis should pick it up as something other than a standard greatest-hits album, and newcomers to his sound may find it a worthwhile single-disc introduction to the variety encompassed by his catalog. —Adam Greenberg

Source: AllMusic.com