#larry grenadier

[tonyvwright]

Booker's Garden - Charles Lloyd

Charles Lloyd - Flute

Jason Moran - Piano

Larry Grenadier - Bass

Brian Blade - Drums

[caviarsonoro]

Song To An Old Friend · Jakob Bro · Joe Lovano · Larry Grenadier · Thomas Morgan · Anders Christensen · Joey Baron · Jorge Rossy

Song To An Old Friend, part of the ECM catalog (2022), transcends musical language to deliver a profoundly emotional and contemplative experience. Led by Danish guitarist Jakob Bro, the track gathers an outstanding ensemble of musicians, including Joe Lovano, Larry Grenadier, Thomas Morgan, Anders Christensen, Joey Baron, and Jorge Rossy, in a performance that feels both intimate and expansive.

The piece builds upon a minimalist framework, with Jakob Bro’s guitar crafting soundscapes full of space and resonance. Joe Lovano’s saxophone provides a warm and evocative melodic voice, while the rhythm section —featuring bassists Larry Grenadier and Thomas Morgan, along with the subtle percussion of Baron and Rossy— establishes a delicate foundation that suggests motion without rushing.

The melancholic tone of Song To An Old Friend seems to pay tribute to a memory, a place, or a lost relationship, allowing each musician to contribute a personal nuance. The melodic lines remain intentionally open-ended, leaving space for the listener's interpretation. This characteristic ECM approach ensures that the nuances of silence are as significant as the notes themselves.

The result is a deeply moving piece that blends lyricism and abstraction. Song To An Old Friend encapsulates the essence of what Jakob Bro and ECM have cultivated: music that breathes, reflects, and organically connects with human emotions. A work best enjoyed in solitude, to fully appreciate its beauty and subtlety.

[musicollage]

Jakob Bro + Joe Lovano — Once Around the Room. 2022 : ECM.

! enjoy the album ★ donate a coffee !

[donospl]

Charles Lloyd  "The Sky Will Still Be There Tomorrow"

Blue Note Records, 2024 „Charles Lloyd znów to zrobił!” „Wiemy co wydarzyło się na najnowszej płycie wirtuoza saksofonu!” „Odkrywamy kulisy najnowszych nagrań amerykańskiego gwiazdora!”. Gdyby jazz gościł na głównych stronach popularnych portali internetowych tak zapewne wyglądały by nagłówki doniesień o najnowszym albumie Charlesa Lloyda.  Niniejsza recenzja zagości wprawdzie tylko na niszowym…

[jazzdailyblog]

Exploring the Musical Odyssey of Brad Mehldau

Introduction: Brad Mehldau stands out as a great trailblazer in the field of modern jazz for pushing the genre’s boundaries while paying tribute to its rich heritage. Mehldau, who is renowned for his superb pianism, innovative compositions, and bold exploration of several musical genres, has irrevocably changed the face of modern jazz. This blog post delves into the fascinating career of Brad…

[nonesuchrecords]

It was 10 years ago today: Joshua Redman’s Walking Shadows was released on Nonesuch. The album, produced by Brad Mehldau, was Redman’s first recording to include an orchestral ensemble. You can hear it here.

The record's core ensemble is a quartet featuring Mehldau, Larry Grenadier, and Brian Blade. Walking Shadows includes original tunes from both Redman and Mehldau along with works by a wide range of composers, like John Mayer and Pino Palladino, Kern and Hammerstein, Lennon and McCartney, Billy Strayhorn, Wayne Shorter, and Hoagy Carmichael.

"An unmitigated triumph." —Buffalo News

[projazznet]

Brad Mehldau – Songs: The Art of the Trio Volume Three

Songs: The Art of the Trio Volume Three is an album by American pianist and composer Brad Mehldau released on the Warner Bros. label in 1998.

Brad Mehldau – piano Larry Grenadier – double bass Jorge Rossy – drums

[docgold13]

Then of course there was the time Destro got tired of the brewing civil war between Serpentor & "Cobra Commander" that he went off to form his own PMC the Iron Grenadiers.

Also there's his goofy cousin Darklon.

Cool. I don't know very much about the extended Joe lore. I recall very much enjoying the early Marvel comics written by Larry Hama (sp?). Those were great.

[protoslacker]

Jazz Trios

I was off work yesterday after a long week of heavy work. I think am too old, anyhow I'd planned to do nothing except rest. By good fortune early in the morning I stumbled upon Jazz Sabbath, a Jazz trio performing  music of Black Sabbath. After a bunch of their videos, I listened to Jazz trio music all day long.

I listened to the Julius Rodrigues Trio and the Joey Alexander Trio. Both are such brilliant musicians, who while very young have been playing for a long time. Here is Joey Alexander at age 11. He's 19 now and the Birdland concert linked to are all his original compositions.

He's been playing regularly in trio with Kris Funn. His collaborations with Joey Alexander and John Davis on drums are wonderful. On Funn's Google knowledge panel the genre is listed: Japanese Hip Hop/Rap. I was skeptical and clicked through to his Website. I was glad because there is so much there, so much that I might have missed the Japanese Hip Hop. He's got the coolest merch I've seen. There's a whole page of Art + Writing which moved me.  His Web site is worth the visit. 

I listened to a bunch of Jazz trios and will link to a few performances that taught my ear:

I Cover the Waterfront, Lester Young, Nat King Cole, Buddy Rich.

Money Jungle, Duke Ellington, Charles Mingus, Max Roach

River Man, Brad Mehldau, Larry Grenadier, Jorge Rossy

Everywhere You Turn, The Bad Plus, Reid Anderson, Dave King, Ethan Iverson

When the Sleeper Wakes, Michael Wollny Trio, Michael Wollny, Christian Weber, Eric Schaefer

I really know so little about music. I am sure I’ve just scratched the surface. And I surely hadn't appreciated Jazz trios as much before today!

[diceriadelluntore]

Storia Di Musica #255 - AA.VV., Dylan In Jazz. A Jazz Tribute To Bob Dylan, 2018

Wagram è un sobborgo austriaco, appena fuori Vienna, e fu teatro di una delle più grandiose battaglie napoleoniche: il Generale Bonaparte conseguì una delle sue più grandiose vittorie, in una sanguinosa battaglia contro l’esercito degli austriaci comandati dall'Arciduca Carlo. È anche il nome di una stazione della metropolitana parigina, ed è lì che nacque ai suoi fondatori l’idea di fare una etichetta discografica indipendente, nel 1999. Fautrice di numerosi progetti interessanti, nel 2018 quelli della Wagram hanno pescato nel mare magnum delle cover di canzoni di Bob Dylan (sebbene il calcolo è per forza di cosa approssimativo, si contano accreditate cover su 300 canzoni con autore o co-autore Dylan da parte di oltre 1500 artisti) delle riedizioni particolari dei classici del menestrello di Duluth. Ne è uscita fuori una compilation dal grande gusto e dalle scelte niente affatto scontate, che è il piccolo regalo di Natale di questa rubrica. Il titolo, Dylan In Jazz, spiega solo in parte le scelte e gli artisti, in una selezione che nasconde delle storie niente affatto male. Tutte le registrazioni erano presenti in dischi precedenti, ma insieme mostrano una amalgama sfiziosa e logica. Si parte con la riedizioni blues di Master Of Wars di Eric Bibb, grandissimo nome della chitarra acustica blues, che con la sua voce cavernosa e i tocchi “tristi” alla sei corde racconta dei signori della guerra, classico di Dylan sfortunatamente sempre di attualità. Il secondo brano è la prima perla: Jack DeJohnette, formidabile batterista jazz, con il bassista Larry Grenadier, John Medeski alle tastiere (il quale collaborerà spesso con lo stesso Dylan nella sua carriera) e la chitarra di John Scofield, pioniere del jazz rock con Miles Davis, nel 2017 scrivono un disco a nome Hudson, in omaggio al fiume che attraversa New York, bellissimo e in cui fanno una cover strumentale, e riuscitissima, di Lay Lady Lay, classico da Nashville Skyline (1969). Ben Sidran, tastierista, produttore, ingegnere del suono, dedicò un intero disco a cover di Dylan, Dylan Different del 2009, da cui sono tratte le sue interpretazioni smooth jazz di Knockin’ On Heaven’s Door e Gotta Serve Somebody, una delle gemme meno conosciute di Bob Dylan, dal suo album “gospel” Slow Train Coming del 1979, canzone tra l’altro che vinse il Grammy come migliore canzone rock maschile nel 1980. Abbey Lincoln, cantante e compositrice jazz, attivista dei diritti civili e femminili, moglie di Max Roach, rilegge con passione Mr. Tambourine Man, dall’ arrangiamento con spiccato groove della batteria. Joshua Redman, sensazionale sassofonista della ultima generazione, insieme all’altrettanto grandioso piano di Brad Meldhau, suona una deliziosa The Times They Are A-Changin’, uno dei pezzi più belli della carrellata. C’è una bella parentesi di black music: la versione R&B/soul/funk dei Neville Brothers di The Ballad Of Hollis Brown, due artisti dimenticati come Stanley Turrentine con una versione, piuttosto modificata, di Blowin’ In the Wind, Girl From The North Country del compianto Howard Tate, fenomenale cantante soul la cui carriere non decollò mai del tutto per i suoi problemi di alcool e eroina. Il jazz ritorna nella scelta della storica cover che Keith Jarrett fece di My Back Pages, dal suo album Somewhere Before del1968, il mandolino elettrico di Bill Frisell in una versione strumentale struggente di Just Like A Woman, la ripresa di Ballad Of Thin Man di Jef Lee Johnson con Charlie Patierno e Yohannes Tona. Molto belle le cover cantate di Like A Rolling Stone, dalla cantante jazz danese Cæcilie Norby con un arrangiamento dolcemente caraibico, e una cover sentita di Everything Is Broken, singolo di Oh Mercy! del 1989, un disco che rilanciò nel mondo musicale Dylan, della cantante francese Louisa Bey. Personalmente è bellissima la cover di Don’t Think Twice, It’s Alright (che è una delle canzoni con più cover in assoluto) del duo franco-italiano composto dalla band el pianista Olivier Hutman e dalla voce, meravigliosa, di Alice Ricciardi. L’ultimo verso di uno dei testi più belli e dolorosi del Dylan giovanile (il brano è da The Freewheelin’ Bob Dylan del 1963) dice:

Arrivederci, dolcezza Dove sono diretto non posso dirlo Ma ciao è una parola troppo bella, babe Così dirò solamente addio Non sto dicendo che mi hai trattato male Avresti potuto fare di meglio ma non mi interessa Hai solamente sprecato il mio tempo prezioso Ma non pensarci, va tutto bene.

[dasmuggler]

Larry Hama brings back the Original G. I. Joe (and the very fetching G. I. Jane as well) in Marvel’s G. I. Joe #86 to commemorate 25 Years of G. I. Joe, and he showed respect to both characters in the story when Cobra Command mounts a raid on a secret Strategic Defense Initiative set in the Chrysler Building, with the hoped for bonus of framing Destro’s Iron Grenadiers in the process as well.

Larry Hama definitely did not make General Joe Colton’s Jane’s appearances token cameos by any means. Instead he wrote it with having Joe be the one who both planned a way to retake the initiative as well as deduce Cobra’s real operation.

Its too bad Larry didn’t have Gen. Colton lead the 1980s Team from the start. As good as Hawk is, Joe was a Green Beret and used to unconventional warfare (a trait Joe Casey demonstrated as well in DDP’s G. I. Joe: America’s Elite’s Phoenix Guard arc).

And as always, Larry added real life elements to this story such as the US military transitioning to the Beretta from the M1911A1, as well as the SDI project- a controversial subject in the 1980s.

(Jane’s explanation of the basics on how the system works with the laser bounced off a series of satellites was one option (also discussed in Payne Harrison’s novel Storming Intrepid). Granted its reminiscent of both the Gamilon Reflex Cannon in Starblazers and the base principle for the Robotech Defense Force Grand Cannon based in Alaska over at Macross, but sound nonetheless). Again Larry shows the importance of doing research for his G. I. Joe tales.

SDI of course was also the subject for Tom Clancy’s The Cardinal of the Kremlin and was a variation of it was presented in Dale Brown’s Silver Tower via Lt. Gen. St. Michael’s Armstrong Space Station.

Of course, G. I. Joe #86 wouldn’t be a oneshot return for General Colton & G. I. Jane; both would return in G. I. Joe #s 127, and 151, as well as in G. I. Joe Frontline #s 1, 2, & 4. And General Colton would later be assigned to head the team for DDP’s G. I. Joe: America’s Elite by Joe Casey, with Jane close by as he commands the unit especially DDP’s World War III arc (America’s Elite #35 has one of that series’ best covers IMHO).

And of course Larry has both on hand during IDW’s G. I. Joe series as well.

If they get around to do a proper animated Joe series (Renegades was the best thus far), Peter Cullen & Jennifer Hale would be my picks to voice them; for a properly presented Live Action film, either Jonathan Frakes or Robert Downey Jr. and Laura Dern would be my choice.

[twoblackcats-com-blog]

the gleaners by Dave Binyon Via Flickr: www.youtube.com/watch?v=p0xA8O-0sms the gleaners - larry grenadier

[theloniousbach]

SEARCHING FOR A NEW FAVORITE PIANIST AT MEZZROW’S

ANTONIO CIACCA with Paul Gill and Aaron Seeber, 21 MAY 2024, 7:30 pm set

YANIV TAUBENHOUSE with Rick Rosato and Jerad Lippi, 22 MAY 2024, 7:30 pm set

SAM YAHEL with Larry Grenadier and Kresten Osgood, 20 MAY 2024, 9 pm set

PETER ZAK with David Wong and Billy Drummond, 24 MAY 2024, 7:30 pm set

I didn’t find a new favorite pianist, though PETER ZAK deserves the weekend run and the elite rhythm section. But I did want to explore some new players using who was in the band with them as the criterion.

It started with SAM YAHEL snagging Larry Grenadier. The first set was wonderfully highjacked by Joe Lovano who played a set of standards in an adventurous way. The band stretched, but were diverted from taking on Yahel’s edgier compositions. Grenadier was right at home and Kresten Osgood in shorts and Teen Age Mutant Ninja Turtles t-shirt was also well prepared as his website indicated he had avant-garde bona fides. Yahel wasn’t that spiky, but I thought I heard some Paul Bley and the most swinging tune, the finale, had some Jarrett vamping. A fine enough set, but I’m not haring off at once for more of Yahel’s music.

After the Lovano set, I planned to hear Yahel on his own terms and saw the other players (and their bands!) and thought it would make for an interesting exercise. Since it was a week culminating in seeing Christian McBride, it is appropriate that bass players would be key to my enjoyment of these sets. Indeed Rick Rosato provided the structure and drive to YANIV TAUBENHOUSE’s unassertive set. Again his tunes left impressions of moods but were quiet and unobtrusive. They closed with My Foolish Heart and so maybe Bill Evans is an influence, but he missed the fire that was always present in Evans. The tune before that was Bud Powell’s Oblivion which had a light swing which Rosato kindled as best he could. Jerad Lippi’s solo was interesting for how he found the melody on the kit.

ANTONIO CIACCA played lots of Bud Powell and quite well. He did took effective advantage of Paul Gill and Aaron Seeber who were their solid selves making for an appealing set. Besides Sylvia, John’s Abbey, and the rare Glass Enclosure, there was a brisk, Bud like version of Just One of Those Things. Gill played arco on a brooding Satin Doll. Ciacca had three originals and all the material swung nicely. I liked this set very much.

But PETER ZAK, whom I may have seen before during a previous iteration of this exploratory exercise, was the winner. He has a two night run and David Wong and Billy Drummond as collaborators which raised expectations that were justified. He opened with what turned out to be Ornette Coleman’s The Blessing. It had an easy groove and some intricacies, but I wouldn’t have guessed Coleman. But that merely speaks to the fact that he is an underrated composer, that the tunes are not simply reliant on their composer’s playing. Zak also found Ellington’s wonderful Warm Valley and Woody Shaw’s The Organ Grinder which had a Cedar Walton-ish bass figure in the left hand. The played a brisk bebop number too which featured a Billy Drummond solo that was arrestingly minimalist rather like Billy Mintz.

I don’t feel compelled to catch any of the other three sets this weekend, but I do have Zak and Ciacca too on my radar. They showed me something.

[pistakkiomusic]

Song To An Old Friend By Jakob Bro, Joe Lovano, Larry Grenadier, Thomas Morgan, Anders Christensen, Joey Baron, Jorge Rossy From the album Song To An Old Friend Added to Discover Weekly playlist by Unknown User on May 6, 2024 at 12:00AM Listen on Spotify https://ift.tt/7Ewi3np

[twistedsoulmusic]

Legendary octogenarian saxophonist Charles Lloyd shows no signs of slowing down and released ‘The Sky Will Still Be There Tomorrow’, exhibiting his enduring creativity and the power of a well-honed quartet of pianist Jason Moran, bassist Larry Grenadier, and drummer Brian Blade. 

[decibelico]

Pat Metheny & Brad Mehldau – Metheny Mehldau.

2006. Nonesuch Records. Jazz

Por: Chel

Pat Metheny (guitarra) y Brad Mehldau (piano) son dos extraordinarios músicos que deciden este año reunirse para hacer un disco. Ambos son reconocidos personajes en el jazz y cuentan con propuestas que se han convertido en una referencia. Por citar algunas, Metheny tiene en su haber “Bright Size Life” (1976), que hizo en conjunto con Jaco Pastorius y Bob Moses, y “First Circle” (1984), uno de los mejores álbumes de jazz en su año. Mehldau, por su parte,  tiene la aclamada serie de cinco discos “The Art of Trio”, que tuvo excelentes críticas desde que salió en 1996.

Metheny Mehldau es un disco que combina con mucho cuidado los estilos de ambos músicos. Antes de escucharlo por primera vez, no se puede evitar un escepticismo debido a la particularidad de los protagonistas. Sin embargo, una vez iniciado, poco a poco cada tema te involucra dejando un sabor de sutileza por la precisión de las intervenciones.

Los temas tranquilos son mayoría en el álbum, así como las participaciones solitarias de Metheny y Mehldau. Únicamente incluyen dos temas que aceleran el ritmo del disco: “Ring of Life”, que considero el tema más representativo por la marcada combinación de estilos (con los tradicionales acentos de Mehldau), y “Say The Brother’s Name”, tema reconocido por una versión que anteriormente hizo Metheny con John Scofield en el disco “I Can See Your House From Here” (1993). Para la ejecución de ambos temas se apoyan en la banda actual de Brad Mehldau, formada por Larry Grenadier en el bajo y Jeff Ballard en la batería.

Más que conceptual, este es un disco de auténtica colaboración. Los arreglos están realizados de tal manera que nadie sobresale en exceso. Lo anterior se puede apreciar en “Make Peace”, donde Metheny mantiene toda la pieza y Mehldau interviene en los puentes con breves acordes. El tema se acelera poco a poco con los rasgueos de Metheny hasta llegar a un punto donde Mehldau anuncia suavemente el cierre.

A diferencia de lo acostumbrado, Metheny y Mehldau se mueven con cautela en este disco. Concretan un producto atractivo y enriquecedor, dejando argumentos para esperar una segunda sesión. Ojalá llegue pronto.

Para más información sobre Pat Metheny y Brad Mehldau:

www.bradmehldau.com

www.myspace.com/bradmehldau

www.patmetheny.com

www.myspace.com/patmetheny

Publicado el 23 de noviembre de 2023 en Milenio Blogs.