Stephan Crump with Rosetta Trio, Reclamation

Five years after recording music in the wake of 9 11, New York bassist Stephan Crump’s Rosetta Trio offers a stirring encore, an intimately recorded collection of music that is more emotionally direct than the group’s 2006 debut. There’s an
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Stephan Crump with Rosetta Trio, Reclamation[Sunnyside]


Five years after recording music in the wake of 9/11, New York bassist Stephan Crump’s Rosetta Trio offers a stirring encore, an intimately recorded collection of music that is more emotionally direct than the group’s 2006 debut. There’s an airy spaciousness to much of the music created by Crump, acoustic guitarist Liberty Ellman, and electric guitarist Jamie Fox. Reclamation is hardly one-dimensional, though, as Crump hints at his musical influences on the sweetly laidback blues-tinged “Memphis,” turns to a hardedged indie rock approach on “Overreach,” and lays down a bossa-inspired groove on the bright, bouncy, aptly titled “Shoes, Jump.” “The Leaves, the Rain” is a decidedly pretty ballad built on phrases that leapfrog, overlap, and fade in and out of each other. And the ambitious “Pernambuco” begins with a symphony of knocking, tumbling, scraping, squeaking, hammering, and pounding before Crump’s deep, resonant bowing brings the melancholy piece to life.


Toward Tonal Transcendence: Gary Peacock On Flying Free

TWENTY-FIVE YEARS INTO HIS COLLABORATION with pianist Keith Jarrett and drummer Jack DeJohnette— digging deep into the American Songbook and finding dazzling musical insights in pop chestnuts and jazz standards— Gary Peacock still isn’t so sure the gig is permanent. “There are no guarantees in that group,” Peacock says from his home in Claryville, New York. “Every time we go to play, it feels like the first and last time. We make it so that we can be totally present with the music.”


William Parker and Giorgio Dini, Temporary

Two avant leaning upright jazz bassists veteran musical provocateur William Parker and classically trained Italian player Giorgio Dini meet for five open improvisations that are likely to strike listeners as either rarefied sonic nirvana or moderately difficult listening. With Parker

Linda Oh Trio-Entry [Linda Oh Music]

Linda Oh, born in Malaysia, raised in Australia, and currently living in New York, is a 25-year-old acoustic bassist with remarkable gifts. Entry, her debut, is a resounding statement of this fact, demonstrating conceptual maturity and prodigious instrumental strength. The trio setting suits her, as do her sidemen, trumpeter Ambrose Akinmusire and drummer Obed Calvaire. In this intimate ensemble, Oh reveals a conversational compositional voice and a finely tuned brand of collective improvisation that is spontaneous, but never muddled.

Rufus Reid, Out Front [Motema]

Beefy tone, impeccable technique, likeclockwork time and melodic, adventurous solos have defined Rufus Reid’s work on thousands of recordings, and it’s inspiring to hear the veteran upright player and educator lead a jazz power trio as potent as his new Out Front group.

Danton Boller : Enabling Excellence

 INDIANA NATIVE DANTON BOLLER played electric bass in teenage rock bands in Southern California, but a switch to upright under the tutelage of Dave Brubeck Quartet bassist Eugene Wright sent him in entirely new directions. Boller has since applied lessons from Wright and California State University Long Beach instructor Chris Kollgaard to high-profile gigs with Roy Hargrove, Seamus Blake, Robert Glasper, and Anthony Wilson. A New Yorker since 1997, Boller has focused lately on his own recordings, a forthcoming duo release with Wright, and a new piano trio project. He also works with drummer Ari Hoenig and singer Kat Edmondson.

Roland Guerin On Groove And Expression

NEW ORLEANS SCENE STALWART Roland Guerin was an undeclared MVP at Jazz Fest this year, variously laying down solid jazz walking and spiky funk grooves with keyboard men Allen Toussaint, Henry Butler, and Ellis Marsalis. When not playing with them, guitarist John Scofield, or pianist Marcus Roberts, Guerin is busy prepping his sixth solo album. He has also contributed music to the score of the documentary “Historically Black,” a forthcoming DVD from Nerjyzed Entertainment.

Ike Sturm, Jazz Mass []

Jazz musicians, many of whom started playing in church, are no strangers to spiritual works, whether overtly religious large-ensemble pieces by Duke Ellington and Dave Brubeck, or the likes of John Coltrane’s “A Love Supreme.” Christian worship clearly is at the heart of double- bassist Ike Sturm’s Jazz Mass, ten devotional pieces running from the prayerful “Kyrie” to the closing processional, “Hymn: Shine.” But the music, which sometimes hints at ECM-label spaciousness and Metheny-esque heartland Americana, isn’t strictly for believers. Sturm, jazz ministry directory at Saint Peter’s Church, the spiritual home of Manhattan’s jazz community, brings together a 14-member choir and 10- piece string section with classically trained singer Misty Ann Sturm and such standout soloists as tenor saxophonist Donny McCaslin and trumpeter Ingrid Jensen for music of extraordinary emotion and beauty. His improvised solo, “Interlude,” is a resonant