#Thomas Fonnesbaek

[donospl]

JAZZOWE ZAPOWIEDZI: 60 Jazz nad Odrą

Wrocław, 23-28.04.2024 Sześć dni i trzy lokalizacjae – tak w kwietniu Wrocław będzie celebrować 60 lat legendarnego festiwalu Jazz nad Odrą. Historia festiwalu Jazz nad Odrą zaczęła się w 1964 roku i była budowana przez 60 lat. Impreza przez sześć dekad gościła rzesze wybitnych artystów jazzowych, od początku też wspierała młodych muzyków, organizując dla nich konkurs, w którym obecnie…

[ulrichgebert]

Meister Pieranunzi und Thomas Foennesbaek sind schon wieder (aber ist ja immer schön) dagewesen, diesmal als Trio mit Mauro Beggio am Schlagzeug, der sich eigentlich wunderbar dazu fügte, aber bei bei der Zugabe unerwartet vom Hocker kippte, was dem Konzert ein etwas abruptes Ende bescherte. Der Schlussapplaus wäre sonst wahrscheinlich überschwänglicher ausgefallen (ist aber gut ausgegangen).

[the-entangler]

semiosis

[riffsstrides]

New Visions - Enrico Pieranunzi Trio (2019)

With New Visions, Enrico Pieranunzi demonstrates that at the age of 69 he is at the peak of his career. This recording bears witness to his greatness as a musician, and also how open he is in his musical approach. Chances are taken. It is a delight to hear this trio as it sets the standard for how jazz can be played, here and now.

ENRICO PIERANUNZI, piano

THOMAS FONNESBAEK, bass

ULYSSES OWENS Jr, drums

[theloniousbach]

CHRISTIAN SANDS'S HIGH WIRE TRIO, THE SHELDON, 8 FEBRUARY 2020

It is fitting that I first became aware of this prodigious pianist through a Jazz Night in America show on Errol Garner's legacy.  Host Christian McBride had Christian Sands (they really ought to do a spirituals album a la Charlie Haden and Hank Jones called "Two Christians") in his band and he was key to the episode.

Sands is now the Creative Ambassador for the Errol Garner Project on behalf of the estate.  He's performed with this High Wire Trio (Luques Curtis on bass with drummer Rodney Green) as early as 2018.  

After the JNIA, I went to Sands's first solid enough first album of standards, only belatedly finding out he was 12 when he recorded it.  He's 7 months older than Taylor Swift and has been recording for about 2 years longer.  In preparation for this concert, I found more seasoned fare in his trio albums with McBride and the brilliant "Take One" with Thomas Fonnesbaek and Alex Riel).   I expected great fluidity and invention, a cascade of ideas.  We got that to be sure, but I was not prepared for such a torrent (not just a cascade) of technique and energy in the service of the unlocking the richness of the tunes.  

Of course, this befits a Garner tribute whom I last listened to with specific attention as I thought about the piano trio in the 1950s in relation to Bud Powell, Oscar Peterson, and Ahmad Jamal.  I heard a lot of Art Tatum in these players with Jamal as the outlier for his use of space so valued by Miles Davis among others including me.  But they all saw the melodic possibilities in the chords and the harmonic possibilities in the melodies.  I confess that Garner was a bit of a stand alone, brilliant to be sure but not associated with other players.  

So I welcome Sands's insistence in keeping this approach to the fore.  This ensemble/tour/creative ambassadorship also calls attention to Garner as a composer.  I'm not deep enough into the catalog to know them but hear hear as they added so much to the recital.  Like Garner, he did not announce the tunes systematically.  But the opening set was "Chase Me"," "High Wire," "Dream Street," and an almost ragtime-y blues with a Oscar Petersonish swing. "Catch Me" opened with Sands alone before the band entered sleekly.  I particularly liked how intently he listened to Curtis's bass solo commenting effectively while giving his sideman his due.  Curtis was strong all night holding his own with Sands's power.  He has played with folks like Orrin Evans, Sean Jones, and Christian Scott, so I wonder if I've seen him at Jazz at the Bistro.  "High Wire" was where the sheer fluidity and swagger really hit me.  It quieted down--and "Dream Street" was a ballad that built to power rather than the opposite dynamics--and much as I like the roar, it is in the quiet that the subtlety lives.

That said, the final "Yesterday" gave full expression to the familiar power of McCartney's chords with no expected prettiness.  Knowing what to expect, it was stunning to hear in the rumble and roar the selfsame harmonic force.  It was a great way to end--and we didn't have to hear "Misty" which I would have welcomed but would have seen as a nod to the punters.

The second set ("we normally play straight through but we were told to take a break so you could go to the bar") used archival recordings of Garner associates to talk about tunes.  Still no introductions.  They backed into "My Funny Valentine" as the second tune and again the familiarity bred realization of what Sands was discovering in the tunes.  This too was quiet and balladic with Curtis's opening and commentary through out key.

The set opener had a remarkable two handed swagger and was it here that Sands played two independent lines?  Maybe this is the one where the two intricate, distinct lines needed the hands to be on top of them.  No matter throughout he used the entire keyboard and all the possibilities of the instrument.

Rodney Green was a powerhouse, well capable of standing up to the rest of this power trio.  Perhaps this was not a place for "melodic drumming" so he kept moving the rhythm around the kit and using the kit to move the pulse.  On the next to last tune, he moved his right stick in a circle to get both cymbals and moved expressively throughout.

But most of my attention was on Sands and from the second row center of the balcony, we had a clear view of the amazing things he was doing.  As good as his recordings are, he is spectacular in a literal sense in that he must be seen.  

Like Garner himself perhaps, he is not necessarily my go to pianist.  But I want to put them in my mix more and not lose sight of what they add to the music.

[herrokkinblog]

Herrokkinが聴いたアルバム・リリースした楽曲 (2017年01月後半)

2017年01月後半にHerrokkinが聴いたアルバムやリリースした楽曲をシェアします。隔週で更新予定。

聴いたアルバム

中田ヤスタカ - Crazy Crazy (feat. Charli XCX & Kyary Pamyu Pamyu) [2017]

「中田ヤスタカ」が英国のシンガーソングライター「Charli XCX」と「きゃりーぱみゅぱみゅ」をフィーチャリングしたシングル。 トラックの圧倒的Popsセンス、それに乗るCharli XCXのリズミカルな英語歌詞、きゃりーぱみゅぱみゅのチョイ役コーラスのスパイス...恐ろしい作品です。 DTM的な所で言うと、中田ヤスタカは、サビ(Chorus)部分の主��律を、ボーカルの後ろで、複数の音色を用いて鳴らしているのですが、その塩梅がめちゃくちゃ良い。 また、細々したテクニックももちろんですが、本楽曲はやはりイントロのピアノリフが全てだと思います。

土岐麻子 - PINK [2017]

「土岐麻子」による2017年1月リリースのアルバム。 ストリーミングサービスのおかげで初めて土岐麻子を聴きましたが、打ち込みと生楽器のバランスが絶妙で、これがシティ・ポップかと納得しました。 ピアノ以外楽器を弾けない孤独なDTMerな私としては、「エレピ x エレキギター x Sqare系シンセベース x 打ち込みドラム」等の構成には憧れを感じます。 M-01「City Lights」、M-02「PINK」、M-04「Fancy Time」などが好み。

KID FRESINO - Salve [2017]

「KID FRESINO」による2017年リリースのEP。 J-waveで流れていて気になったのですぐさまチェック。 昨今和音という概念がなくなりつつあるHip-Hopのトラックですが、本EPはこの風潮にNOを突きつけるが如く生音構成。 どことなくSuchmos感のあるお洒落トラックと、あまりワルな感じのしないRapといった印象です。

Aaron Parks / Thomas Fonnesbaek / Karsten Bagge - Groovements [2016]

米国シアトル出身のジャズピアニスト「Aaron Parks」による2016年リリースのアルバム。 私は特にJazzに明るい訳ではないのですが、大学の研究室でたまたま知った彼の音源をチェックしてみました。 ピアノ、ウッドベース、ドラムスによるトリオ演奏が収録されていますが、それぞれ一流のプレーヤーが弾けば楽器3つでもこんなにカッコいいんだなというのが感想。 不協和音な装飾音など、打ち込み音楽のヒントは生楽器にこそ含まれているものですね... 私の好みは、M-01「Winter」、M-03「Bolivia」、M-09「Shapes 'N' Colors」の3曲。

リリースした楽曲

水曜日のカンパネラ - 桃太郎 (Herrokkin Remix)

2月にアルバム「SUPERMAN」がリリースということで、水曜日のカンパネラから「桃太郎」をリミックスしました。 Houseにアレンジした本リミックスのポイントは、2回目のドロップ前の「どいつもこいつもリア充ばっかり 正直いけ好かない」のループです。

[jazzismus]

“ Evil Man Blues ”...

The glam sound of simplicity…Sinne Eeg & Thomas Fonnesbæk --- "EEG - FONNESBÆK" (2015): Dry martini time in magic style and enchanting sounds by an accomplished duet...Highly recommended...

[donospl]

Thomas Fonnesbæk & Justin Kauflin „Standards”

Thomas Fonnesbæk & Justin Kauflin „Standards”

Storyville Records, 2020

Thomas Fonnesbæk & Justin Kauflin pierwszy wspólny album zaprezentowali w roku 2017. Były to nagrania w duecie. Po płycie tria firmowanej przez kontrabasistę, obaj powracają do muzyki w kameralnej formule.

O albumach z udziałem obu artystów pisaliśmy tutaj: * Thomas Fonnesbæk & Justin Kauflin „Synesthesia”

[donospl]

MUZYCZNE REKOMENDACJE: Ole Theill “Transparent”

MUZYCZNE REKOMENDACJE: Ole Theill “Transparent”

Music For Dreams, 2020

Ole Theill duński perkusjonista i kompozytor od lat zasafcytnowany jest muzyką hinduską. Studiował w Benares w Indiach, uczył się gry na tabli pod okiem mistrza Ishwara Lal Mishry.  Jako sideman wystąpił na ponad stu różnorodnych albumach. “Transparent” jest jego czwartą autorską płytą.

Tegoroczne wydawnictwo firmowane przez Theilla jest w pierwszej kolejności…

[donospl]

Enrico Pieranunzi Trio „New Visions”

Enrico Pieranunzi Trio „New Visions”

Storyville Records, 2019

Enrico Pieranunzi od niemal trzech dekad współpracuje z duńskimi muzykami, regularnie koncertując w tym kraju. W ostatnich latach często występował w duecie z kontrabasistą Thomasem Fonnesbaekiem [o albumach z udziałem tego artysty pisaliśmy tutaj: http://bit.ly/2L2BJqs  i tutaj: http://bit.ly/2L2BH1O].

W ubiegłym roku udało się namówić włoskiego pianistę na…

[riffsstrides]

Sands, Fonnesbaek, Riel

Take One

Live at Jazzhus Montmartre Copenhagen 2014

Storyville, 2015

Christian Sands: piano;

Thomas Fonnesbæk: bass;

Alex Riel: drums.

In October 2014 pianist Christian Sands, a protégé of Billy Taylor, known mainly for with his work with bassist Christian McBride's trio, played two nights to remember at Copenhagen's legendary jazz club Montmartre. The highlights are captured on this Storyville double album. Sands plays with (rather than is accompanied by) phenomenal local bassist Thomas Fonnesbæk, nowadays often compared to the legendary Niels-Henning Ørsted Pedersen. On drums and not getting too much of a look-in, solowise: Alex Riel. Fonnesbæk elevates the role of the bass here to that of front-line instrument. On Bobby Timmons' "Moanin,'" which opens Disk Two, he boldly and rhythmically shouts (rather than states) the theme before Sands comes in with a pianistic tour de force as virtuoso as it is soulful. Christian Brorsen, Jazzhus Montmartre's musical director, said of Sands & Co.'s improvisations: "Time and again you find yourself holding your breath until the trio—like a cat in free fall—twists and turns in the air and lands safely on its feet." Sands plays only one of his own compositions, the busily lilting "Sand Dune." His primary concern here is an examination of his roots. He pays tribute to mentor Billy Taylor by dusting off the good doctor's deceptively simple ballad "Lonesome Lover." It's not to be confused with the Max Roach/Abbey Lincoln number of the same name from 1962 with its catchy "Take Me Back Where I Belong" vocal refrain. There's a version of Miles Davis's "So What" from the classic 1959 album Kind of Blue and a quite superb take on Duke Ellington's "In A Sentimental Mood" which contrives to sound both brand new and, at the same time, faithful to the original, which Ellington penned way back in 1935. An interesting inclusion is Mary Lou Williams' "Syl-O-Gism," a composition she based on the Greek word syllogism, meaning a logical argument that applies deductive reasoning to arrive at a conclusion based on two or more propositions that are asserted or assumed to be true. All clear? Easier to understand perhaps: hard bopper Cedar Walton's discreetly subversive "Bolivia."

CHRIS MOSEY in All About Jazz