New music from Paul Bley, Gary Peacock, Paul Motian: When will the blues leave. Kjetil Mulelid Trio: What You Thought was Home. Gabriel Latchin Trio: The Moon and I. Petter Bergander Trio: Kierkegaard’s Waltz: Videos, CD covers

- in New CD's Review, VIDEOS

Then it’s time for a quadruple update on the trio jazz; USA, Norway, Great Britain and Sweden.

In a 20-year-old recording, we meet three of jazz’s great style creators. Individually and together, they have formed an area of ​​jazz that is still of great importance. Paul Bley, Gary Peacock and Paul Motian are caught in a well-intentioned and successful moment in a concert hall in Lugano. It’s trio jazz in the same class as Bill Evans and Keith Jarrett. Paul Bley can play so the stars twinkle.

Norwegian Kjetil Mulelid Trio is up to date with their second album. Pianist Kjetil Mulelid has just moved from Copenhagen and back to Oslo. The trio’s sound is unmistakably Norwegian, with temperament and fullness. There are notes from Norwegian folk music and American jazz. It meets very heartfelt and understandable on a beautiful album with heaviness.

In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley’s highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic.

When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley’s “Mazatlan”, brimming over with energy, Gary Peacock’s evergreen “Moor”, Gershwin’s tender “I Loves You Porgy” and much more. All played with the subtlety of master improvisers, recasting the music in every moment.

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Paul Bley Piano
Gary Peacock Double Bass
Paul Motian Drums

When you’re 28 and you’re being compared to jazz piano greats like Keith Jarrett and Bill Evans, you must be doing something right.

Kjetil Mulelid Trio have been earning all sorts of impressive compliments from publications such as All That Jazz and The Wire following their 2017 debut, ‘Not Nearly Enough To Buy a House’. Second album, ‘What You Thought Was Home’, sees the Norwegian backed by his reliable rhythm section, beguile once again with a set of complex and rich new compositions.

By the time the first four bars of the opening number had elapsed, I knew I was going to enjoy this. A bright, perky little tune, it’s actually pure bebop, but played here with so light a touch that I barely noticed.

As one track succeeded another, I had plenty more chances to appreciate the precision and clarity of Gabriel Latchin’s piano technique. I have heard him playing in various bands, but he’s at his best with his own trio – Dario Di Lecce (bass) and Josh Morrison (drums).

Four of these 11 pieces are his compositions, including that first tune, Arthur Go. The rest are mostly standards, which he clearly loves. Jazz musicians who have a genuine affection for these songs never quite abandon the original melody in their improvisations. There are some beauties here, including Poor Butterfly, a true evergreen, composed in 1916. Latchin’s tender version is one of the best I can remember, complete with the little-known introductory verse. By contrast, Baubles, Bangles and Beads (from the 1953 musical, Kismet), takes off like a rocket, and features an invigorating drum solo. A delight from start to finish.

Over four years ago, the much-noticed debut “The Grand Dance” by the Petter Bergander Trio was released.

So it was time for new jazz by Petter Bergander. And so the album “Kierkegaard’s Waltz” on 20 September just in time to recall as the innovative and lively and well-known musician in memory. It must be remembered that since the highly acclaimed first record, the group has been present in Sweden as well as on international stages and festivals.

For the new record, composer and bandleader Petter Bergander wrote music to give the playful sound of the trio more space. You want to reach even more listeners of different genres of music. Also in terms of personnel there is something new to report on the double bass with Eva Kruse.

Title and title track “Kierkegaard’s Waltz” refer to the 19th century Danish philosopher. Bergander was inspired by him: “He has lingered with me since I read a new book about him, a reinterpretation of his work. The composer and jazz musician says “Living earnestly and being true and brave in my choices in life and music has become much more important”.

For example, the track “The Return of the Afghan Boy”, in which questions about humanity are asked from the perspective of a young refugee in Europe: “What does happen to my own human value? react and act when it is devalued and taken from other people around me?”,- Petter Bergander.

The result was modern jazz music with melodies that appeal directly to the music. Even if the artist devotes himself to philosophically more serious topics, there is no anxiety – quite the contrary. The piano is lively and light-footed, accompanied only by double bass and percussion, virtuoso arranged sages. It is the soft tones that impress Kierkegaard’s Waltz. All the more impressive is the catchiness with which the Scandinavian trio will certainly convert even uninitiated listeners.

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