5 Likes
(24bit/96kHz)
The Italian-born William Tatge, son of American parents, moved to New York in 2008, where he found his own musical voice. By listening to his new work, General Cargo, inspired by cultural and historical experiences, one may conclude that he applies some of the lyricism from his former teachers - Stefano Bollani and Enrico Pieranunzi - as a reference but expands them into new musical horizons, concurrently probing and intimate.
Summoning his NY-based trio mates, bassist Pablo Menares and drummer Nick Anderson, Tatge interprets seven original compositions whose durations range from seven to nine minutes, approximately. Obeying strict structural forms, the trio navigates the written material with ease, often creating ambiguous narratives and taking side routes in their improvisations to assure the music is never conservative but rather surprising.
Displaying an innate rhythmic feel, “Illegal Machines” emphasizes a sublime work by the pianist in a successful combination of hefty phrases on the medium register with resonant bass movements on the lower octaves. Menares lays down a funk-inflected groove that doesn’t sound too conventional while Anderson keeps everything under control with a poise, syncopated pulse, frequently spiked up by intelligent fills. More about the drummer’s technique is saved for a last-minute vamp especially designed for that purpose.
The pavement becomes velvetier on “The Lay of the Land” to serve the pianist’s pensive rumination forged with unobvious melodies. Bassist and drummer provide minimalistic support, contributing understated lines and low-key brushwork, respectively. The soothing waves persist on “Hidden Agenda”, even when the tension is confined in-between lines and the trio takes a slightly more grooving orientation.
Tatge’s anti-cliché methodology airs a fluidity of language that comes with narrative coherence. Deliberately changing mood and pace along the way, the trio also unveils a Corea-like swinging motion on “Civilization”, a piece that, by the end, flourishes an intense harmonic turnaround, restless bass impulses, and percolating interlocking drums. They switch things up for “Have You Seen Robert Boston?”, a searching exercise that becomes inflated with staggeringly compact rhythmic punches. However, besides rocking with glee, you’ll find transitory moments of contemplation, breeziness, and volatility.
While the constant energy fluctuations are part of their progressive post-bop ethos, the angular lines and fractured phrasing embrace metaphor and avoid expected scenarios. Regardless a few moments of ruminative impasse, the trio provides us with a mature outing filled with enough emotion and intensity to keep you wide-awake.
(Filipe Freitas for jazztrail.net)
9 Likes
I guess we are on the same mailing lists 
Just been enjoying that album, and also found jazztrail.net at the same time…
1 Like
Just found this is…couldn’t find it on usual streaming services. Discogs has links to several used ones.
Not led by a pianist, but great piano work here by Craig Taborn.
6 Likes
This stellar trio recording features the solid double-fisted jazz of pianist Larry Fuller, along with two legendary sidemen: Ray Brown on bass and Jeff Hamilton on drums - ‘An instant classic!’ says NPR’s Jim Wilke. Larry Fuller was the last pianist with Ray. Pony Boy Records.2005
4 Likes
Little Girl Blue, released in 1957, was Nina Simone’s first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert “Tootie” Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her uptempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington’s “Mood Indigo,” which finger-pops and swings while keeping the phrasing deep-blue
2 Likes
If you’d like, please do try Adrián Iaies of Argentina. A bit of a Mehldau, a bit of an Evans, a bit of Petrucciani in him love it.
4 Likes
Hi @Efe_Te,
thanks for bringing up Adrián Iaies. I’ve known and liked his music for many years. This is one of my favourite albums by him (and I could probably recommend half a dozen more).
7 Likes
Hi hwz1970,
Great choice -“Vals de la 81…” is one of Iaies’s most accomplished indeed.
I’ve got a few of his albums, attended some of his concerts, even met him in person once as he popped in during a lesson I was taking with piano educator, Marcelo Katz. Great guy too, down to earth to the extreme and hugely valuable to the music/jazz/fusion scene in Argie. He heads this famous annual festival in Buenos Aires and every time you get to enjoy some featuring international artists of great, great pedigree -a bit of our local Latin interpretation of Montreux if you like.
If anybody wants to further delve into jazz piano from this region (the Argentina, Uruguay River Plate region) then I’d also suggest they try the great Hugo Fattoruso. Fundamentally different from Iaies due to the influence of Brazilian music, Uruguayan candombe etc though super rich and engaging nonetheless. Hugo’s age with the Fatto-Maza-Fatto Trio was my favourite in terms of concept as well as interpretation. Also Daniel Camelo’s Inmigrantes big band deserves a mention.
1 Like
One that can play while smoking (where it’s legal of course)? 
His background is jazz.
Ouch! I feel pity for that piano…
1 Like
I think his studio piano/s has it much worse… Or better? Depends on perspective I guess
1 Like
One that isn’t as well known for their piano playing as their singing? But blows your mind when you see them playing (and singing of course)?
1 Like
The most recent Matthew Shipp record is sublime. What an amazing musician. 
4 Likes
A jazz piano quartet that I had not been aware of. Mellower than my usual recommendations, beautifully balanced, perfect for a Friday evening after a hard week’s work. Low price on Bandcamp, where more of your $$ go to the artists.
5 Likes
If you think Hiromi is just about speed—and I don’t really think you do—have a listen to this:
Her control and emotional depth are simply superb.
2 Likes
Maybe. I listen to a lot of live jazz, 20-30 gigs/year, and the only one from the last decade I remember negatively enough to stick in my memory was one by her, where her technical brightness felt totally fake emotionally. Give me (sadly departed) Geri Allen, Sylvie Courvoisier, Gonzalo Rubalcaba, Jason Moran, to pick a few, for great technique paired with emotional depth and breadth of musical understanding.
2 Likes