#David Kikoski

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 32]

premierowa emisja 11 września 2024 – 18:00 Graliśmy: Norma Winstone, Kit Downes “Black Is the Colour” z albumu “Outpost of Dreams” -– ECM Records Enrico Rava “Bell Flower” z albumu “Fearless Five” – Parco Della Musica Records Claudio Scolari Project “Celestial Revelation” z albumu “Opera 8” Natsuki Tamura & Satoko Fuji “Traveling Bird” z albumu “Aloft” – Libra Recirds Ivo Perelman / Aruan…

[diyeipetea]

The Wayne Escoffery Quartet (19è Mas i Mas Festival / Jamboree, Barcelona. 2022-08-04) [III/V] Por Joan Cortès [INSTANTZZ]

The Wayne Escoffery Quartet (19è Mas i Mas Festival / Jamboree, Barcelona. 2022-08-04) [III/V] Por Joan Cortès [INSTANTZZ]

Fecha: Viernes, 05 de agosto de 2022 Lugar: Jamboree (Barcelona) Grupo: The Wayne Escoffery Quartet Wayne Escoffery, saxo tenor David Kikoski, piano Josh Ginsburg, contrabajo Sebastian de Krom, batería Tomajazz: © Joan Cortès, 2022   19è Mas i Mas Festival en Tomajazz Cyrus Chestnut & Piero Odorici Quartet (19è Mas i Mas Festival / Jamboree, Barcelona. 2022-08-04) [II/V] Por Joan Cortès…

[projazznet]

David Kikoski – Presage

David Kikoski – piano Eddie Gomez – double bass Al Foster – drums

[theloniousbach]

FROM THE SMALL’S ARCHIVE: CARMEN STAAF with Ugonna Okegwo and Adam Cruz, MEZZROW’S, 15 NOVEMBER 2023, 7:30 pm set

Once again, the livestreams from Small’s/Mezzrow’s were flawed, this time (for David Kikoski with Joe Martin and especially Johnathan Blake) not even loading. But it was easy to go to my list from the archive for this set from Allison Miller’s collaborator CARMEN STAAF. I wanted to see her in a club setting because my impression of her work was that it skewed to the concert/recital hall. We did get cleverly intricate compositions but also a couple of well chosen covers. Above all, Ugonna Okegwo and Adam Cruz contributed to the rhythmic drive.

The opener was so new that it didn’t have a title, but it had enough rhythmic lurch and intentional discordance to suggest Monk without ticking off those boxes. The one box that it did tick off is that it ultimately had a strong pulse and Staaf’s playing has plenty of adventure in it. She also has range with a gentle yet austere Waltz for Julian, Snap Out of It which was bright and brisk, Evergreen properly fresh and open, and Verge which led into Geri Allen’s Skin. Ah, Allen, properly honored and a nice clue to her role models.

But the other cover was the stunner, Billy Strayhorn’s Homage for the Very Tired and Very Sad Lotus Eaters. It had the structure of a standard and a winsome appeal, but it also had rich opportunities for all to explore, Staaf in underscoring her melodic sense and Okegwo creating grand harmonic spaces. Here Cruz used mallets to give it some gravity at the end, but he was tasteful throughout.

With those estimable covers, Staaf illuminated her own fine work and properly put it in a jazz club, a very classy jazz club.

[tempi-dispari]

New Post has been published on https://www.tempi-dispari.it/2022/11/08/imaginary-place-nuovo-album-di-paolo-recchia/

“Imaginary place” nuovo album di Paolo Recchia

Il 4 novembre esce “Imaginary place” il nuovo album di Paolo Recchia, sassofonista jazz (alto e soprano) di grande sensibilità, dal timbro caldo e in grado di emozionare già al primo ascolto. La continua ricerca del suono, di una propria voce timbrica quale segno distintivo, ha raggiunto in questo nuovo prodotto discografico ancora più spessore e maturità artistica.

Paolo Recchia, per la quinta uscita discografica a suo nome, firmata dalla neonata etichetta Birdbox Records, si presenta con un quartetto composto da musicisti superlativi ormai riconosciuti dalla stampa e dal pubblico del jazz: il pianista Luca Mannutza, il contrabbassista Giuseppe Romagnoli e il batterista Nicola Angelucci. Registrato a Città della Pieve, nel teatro degli Avvalloranti, grazie alla collaborazione con Nightingale Studios di Lorenzo Vella e Città della Pieve Promotion.

“Imaginary place” accoglie l’ascoltatore in un luogo immaginario, uno spazio fantasioso dove le idee musicali dei membri della band, si intrecciano e creano un nuovo terreno comune, unendo la tradizione jazz con elementi contemporanei in una sintesi personale. Album generoso realizzato da musicisti legati da una sincera amicizia e uniti da una profonda intesa musicale, maturata nel tempo, concerto dopo concerto. Registrato in presa diretta, in teatro sfruttando il riverbero naturale, con microfoni “vintage” per ottenere un suono di insieme il più possibile naturale e rotondo.  

Il lavoro è composto da materiale originale, da standard della tradizione jazzistica e brani di autori contemporanei. Alcune di queste composizioni appartengono a musicisti che hanno avuto un’influenza diretta sul modo di suonare di Paolo Recchia e sono fonte di ispirazione sotto il profilo armonico, melodico e ritmico.   

Il contraltista Paolo Recchia è uno degli artisti jazz più apprezzati della scena italiana. Negli anni ha dimostrato una crescita professionale costante che gli ha portato riconoscimenti nazionali ed internazionali. La ricerca del suo “suono”, di una propria voce timbrica quale segno distintivo, è ad oggi riconoscibile. Lirismo, swing e timbro caldo, sono le caratteristiche fondamentali di questo artista dalla grande sensibilità musicale.

Paolo Recchia si è esibito come leader, guest e sideman in Festival e Jazz Club della scena italiana e negli Stati Uniti d’America, Cina, Francia, Romania, Germania, Inghilterra, Olanda, Serbia, Svizzera, Turchia, Russia insieme a Dado Moroni, Joel Frahm, Alex Sipiagin, Luca Mannutza, Andy Gravish, Roy Hargrove, Jeremy Pelt, Rick Margitza, Stephane Belmondo, Flavio Boltro, Fabrizio Bosso, Peter Bernstein, David Kikoski, Mark Sherman, Sam Yahel, Johannes Weidenmueller, Marco Panascia, Andrea Pozza, Claudio Filippini, Pat Bianchi, Frank Avitabile, Michel Rosciglione, Alain Jean-Marie, Aldo Bassi, Roberto Gatto,  Pietro Tonolo, Giovanni Tommaso, Lorenzo Tucci, Sam Yahel, Johannes Weidenmueller, Kengo Nakamura e molti altri.

Track List

Work (Thelonious Monk) 7:27

Fear of Roaming (Seamus Blake) 08:08

Too Marvelous for Words (Richard Whiting) 05:58

Wee (Denzil Best) 07:26

Emmanina (Paolo Recchia) 07:25

Zhivago (Kurt Rosenwinkel) 08:22

All Rise (Ben Van Gelder) 06:39

Esc (Luca Mannutza) 08:59

Line Up Paolo Recchia: sax alto Luca Mannutza: pianoforte Giuseppe Romagnoli: contrabbasso Nicola Angelucci: batteria Credits:

Recorded at Teatro degli Avvaloranti, Città della Pieve (PG)

September 7-8th 2020

Recording Engineer: Matteo Spinazzè Savaris

Mixing Engineer: Lorenzo Vella

Mastering Engineer: Bob Katz Artwork: Nerina Fernandez Backstage photography: Nightingale Studios, Palombara Sabina (RM) Discografia:

“Introducing Paolo Recchia featuring Dado Moroni” (Via Veneto Jazz distribuzione EMI MUSIC, 2008);

“Ari’s Desire” (2011);

“Three for Getz” (Albòre Jazz, 2013);

“Peace Hotel” (Albòre Jazz, 2015);

“Imaginary place (Birdbox Records, 2022)

Contatti: Info per radio, stampa e TV: segreteria@top1communication.eu

Stefania Schintu: +39 347 0082416

Album acquistabile direttamente dallo shop della label

Sito web Label: Birdbox Records Pagina artista/Label: Paolo Recchia – Birdbox Records Shop cd  Imaginary place: Imaginary place – cd Shop Master Tape Imaginary place: Imaginary place – Master Tape Shop Video concerto Imaginary place: Imaginary place – video recording Youtube Birdbox Records

[arfonoja]

David Kikoski

Phoenix Rising  - 2019

[mostlymonk]

Rhythm A Ning

Roy Haynes Trio   with special guest Chick Corea

Chick Corea – piano David Kikoski – piano John Patitucci – bass Roy Haynes – drums

[ulrichgebert]

Einmal mehr Jazz mit Wayne Escoffery und seinem Quartett, mit jungem Vertretungsbassisten, der noch kein Solo darf, und David Kikowski am Klavier, einem der wenigen Leute, denen es gelingt, sogar Wayne ein bisschen die Show zu stehlen.

[riffsstrides]

Wayne Escoffery Quartet Live in Nisville 

Wayne Escoffery Quartet Summer Tour 2015 Live at  Nisville. Nis, Serbia with Wayne Escoffery, David Kikoski, Darryl Hall and Ralph Peterson

[avanneman]

Roy Haynes, David Kikoski, & John Patitucci—“Trinkle Tinkle”

Okay, let’s do “Trinkle Tinkle” for a while. Haynes on drums, Kikoski on piano, and Patitucci on bass. Posted by emmadetten

[diyeipetea]

Diez de... septiembre de 2022 (II). Por Pachi Tapiz [Grabaciones de jazz]

Diez de… septiembre de 2022 (II). Por Pachi Tapiz [Grabaciones de jazz]

Segunda entrega de Diez de… variada como siempre. Entre otras grabaciones, incluye varios homenajes: Ethan Philion a MIngus, Lluís Vidal y David Xiru a Carla Bley, Ray Paz a Sean Levitt, Pat Thomas a Anthony Braxton. Dos directos de Eddie Harris y las bandas de los hermanos Brecker. Y también un bonito disco de Duke Ellington junto a Billy Strayhorn. Diez de… 1: Ethan Philion: Meditations on…

[projazznet]

There are some excellent moments on this outing from the Red Rodney Quintet, but the overall results are a bit of a mixed bag. The band (trumpeter Rodney, Chris Potter on tenor, alto and soprano, pianist David Kikoski, bassist Chip Jackson and drummer Jimmy Madison) is excellent, swinging on some pieces, but several numbers utilize the synthesizers of Bob Belden, and there is a rap on “Moose the Mooche.” It is a bit of a schizophrenic session, with the music attempting to cover all bases but probably not completely satisfying anyone. (Scott Yanow/AllMusic).

[theloniousbach]

HANGING OUT AT SMALL’S LIVE #15, 28 JUNE-13 JULY 2022

DAVID KIKOSKI/FRANK LACY, MEZZROW’S, 11 JUNE 2022, aired 28 JUNE 2022

BENNY GREEN SOLO, MEZZROW’S, 8 JULY 2022, 2nd Set

ALAN BROADBENT with Harvie S and Billy Mintz, MEZZROW’S, 11 JULY 22, both sets!

AARON GOLDBERG with Omer Avital and Kenny Washington, MEZZROW’S, 2 JULY 2022, 2nd set, aired 13 JULY 2022

It’s been a moment since I’ve framed one of these essays under the “Hanging Out” banner. I have listened purposefully, sometimes after the fact, to cast essays on the entire 9-10 June Pilc/Moutin/Hoenig run or two different John Ellis gigs to reflect on the role of rhythm sections or, most recently, comparing Alan Broadbent’s and Ari Hoenig’s trios both on 20 June.

I had put off writing about the Kikoski/Lacy and Green sets out of some disappointment and then Alan Broadbent’s gig was welcome and wonderful but also they had been the subject of my last essay. I had opted for John Ellis rather than Goldberg that same night. I’m left with a hodge podge, but I learn as always about the music and myself as a listener.

DAVID KIKOSKI’s duo gigs are interesting enough but uneven. He’s earnest, enthusiastic, and generous as he brings in colleagues, often, like FRANC LACY from the Mingus Organization, for interesting sets. I’d seen Lacy in a quartet and liked it well enough for his playing horn and fluegelhorn as well as trombone as well as singing. He brought that same eclecticism to this gig as well as a shared commitment to Charles Mingus, but this time around it wore thin and I gave up as the second vocal came around. Lacy may be one of those singular, almost primitive voices that Mingus could shape, even though I don’t think Lacy player with the master. It was a ragged set as perhaps his just are. I hoped Kikoski might have enough common language of Mingus to temper him. But he did not.

BENNY GREEN is a singular talent on the piano, lots of power but taste and invention. I got a quite moment in the midst of a busy weekend to catch a set I didn’t think I would/could. I was looking forward to some of that swing, but here he didn’t have a rhythm section to shape him and he was, if anything too introspective, matching his rather odd affect. Again, a bit of a let down.

I needed music when old reliable favorites The ALAN BROADBENT TRIO came around; I put them on resolving that instead of treating them as a focused meditation as I’d written about them last, I would put them on and watch both sets as if I was hanging out at the club socially. Indeed, I knew they wouldn’t entail a big expenditure of domestic social capital. But as always their taste, in execution and tune selection comes through. They opened with a Charlie Haden tune from his Quartet West days and did jazz compositions by Hank Mobley (This I Dig of You), John Coltrane (LIke Sonny), Lee Morgan (Ceora), a Charlie Parker blues, Blue in Green, and, a high point Tadd Dameron’s On a Misty Night. So they make a point of honoring those masters, but also going deep into the Great American Songbook—With The Wind and Rain in Her Hair and East of the Sun as well as familiars like Body and Soul and a very nice You Don’t Know What Love Is.

They are just comfortable and therefore are often what I need.

I’ve seen AARON GOLDBERG with Omer Avital where they’ve gotten a bit edgy, but here with Kenny Washington (who certainly is far from old fashioned) they, as with Broadbent’s steady band, they took some familiars out for good rides. I thought Sweet and Lovely was a Monk to open but the closer Green Chimneys is not that common Monk. I found Avital’s Homeland sinuous and North African to give them all but particulary Washington lots to work with. Avital has impish energy but I think he knew he had things to learn from Washington, so he listened extra hard. Equally good was a Wayne Shorter tune I didn’t know but will now, This Is For Albert. They also did Lonnie’s Lament. So a strong set, one of four. So there are three in the archive to check on.

And a reason to remember that, whatever disappointments, there is new stuff to revel in.