Showing posts with label Michael janisch. Show all posts
Showing posts with label Michael janisch. Show all posts

Friday, 26 February 2016

Patrick Cornelius - 606 AA Milne

Patrick Cornelius
Nick Vayenas
Patrick Cornelius - saxophone
Nick Vayenas - trombone
Alex Garnett - sax/clarinet
Andre Canniere - trumpet
Phil Robson - guitar
Steve Hamilton - piano
Andrew Bain - drums
Michael Janisch - bass.

Andre Canniere
Date - 8th February 2016
Venue - 606 Club, London
Current Album - While We're Still Young




 
The UK CD launch of Patrick  Cornelius' "While We're Still Young," his suite for octet with songs inspired by the children's poetry of A.A. Milne, performed by a Anglo-American 8 piece band.

Cornelius' latest project is inspired by the book “When We Were Very Young” a collection of poetry written by AA Milne, the English author best known for the beloved children’s book “Winnie the Pooh”. The title of the project is “While We’re Still Young”, a title that, while similar, evokes a  bittersweet flavour.

Michael Janisch
Patrick Cornelius originally thought that he was going to be writing this suite for his children. He regularly read to his daughter Isabella from "When We Were Very Young". He assumed perhaps with unrealistic altruism that this project would be a musical homage that Isabella and her brother would someday listen to with wonder and appreciation, but as he got into the actual writing, he realized that the idea of creating this music for his kids was a vain fantasy.
 
Phil Robson

Cornelius said, "I wrote for my own childhood; remembering the wonder and spectacle of exploring our big, scary, beautiful world through new eyes. I also wrote for my music influences. For Ellington, Debussy, Evans, and Shorter, yes, but also for my peers; the wealth of talent that exists in the creative music world today, many of which I actually hired to record the music with me." Patrick Cornelius

Andrew Bain
He revels in the bittersweet step between innocence and wisdom. Despite having left the magic and fury of youth in his wake, both personally and musically, Patrick Cornelius finds himself as a parent discovering AA Milne's work again and igniting that spark of that wonder. The message of "While We're Still Young" is that we should all search for that flame of innocent joy in our own lives, remember that feeling of wonder, and try to nurture it as best we can, no matter what our age or life circumstance. 

Alex Garnett





"While We're Still Young" swells the belly in a very English affair, epitomised by 'The Invaders' which is as ripe and dripping as a Vale Of Evesham orchard. It is the rich stain of a summer pudding, the cheap white bread on the outside is slowly discoloured by the rising pink of burgeoning fruit. As the seeping fruit paints its shades of chapped hands to rope burns it finally rests on the lurid bleed of unforgettable sunsets. Don't forget the cream, the double cream, so pure and rich that it can only be balanced by the smarting twang of sour currants, reminding us of the mercurial English summer.

AL.

Steve Hamilton



 

Monday, 11 January 2016

New York Standards Quartet - London Jazz Festival

Tim Armacost
New York Standards Quartet
Tim Armacost – saxophones
David Berkman – piano
Michael Janisch – double bass
Gene Jackson – drums

Date - 22nd November 2015
Venue - Pizza Express Soho, London
Current Album - Power of 10 (Whirlwind Recordings)

Michael Janisch
NYSQ's latest recording, Power of 10 is their second release for Whirlwind and a tribute to their ten years of performing together. The band came together when three of New York’s busiest jazz players noticed they had one thing in common: Japan. Tim Armacost is a grammy nominated tenor saxophonist who has performed with Kenny Barron, Bob Hurst and Ray Drummond among many others, and is the group’s founder. He had lived in Tokyo several times and performed there for years. Gene Jackson, a drumming powerhouse well-known from his nine years in the Herbie Hancock trio as well as his performances with Dave Holland, the Mingus Band and Wayne Shorter, had recently married a Japanese woman and was splitting his time between New York and Tokyo. David Berkman, a fiery pianist who is both rooted in the jazz tradition and a harmonically adventurous improviser and composer, is a 30+ year NYC veteran of many bands including Tom Harrell, The Vanguard Orchestra and countless others. Berkman, also married to a Japanese woman, was traveling to Japan with increasing frequency.

Gene Jackson
Of course, it turns out they had a lot more in common than a love of Japanese culture. They had an approach to playing standards honed by their years on the NY Jazz scene, leading their own bands of original music and playing with jazz legends. Berkman, who writes much of the band’s repertoire, has a distinctive flair for re-casting well-known jazz standards in new and unexpected settings. ​On Power of 10, ​ Songs like “Deep High Wide Sky” and “Hidden Fondness” are melodies based on the chord progressions of “How Deep is the Ocean” and a reharmonized, “Secret Love”. In the band’s hands, his arrangement of the well worn standard “All of Me” becomes a daring, harmonically tense vehicle for Armacost’s mighty soprano playing and Jackson’s powerful drumming. Armacost’s arrangement of “Lush Life” brings a new perspective to this classic Strayhorn ballad and his "Green Doll’s Phone” is a playful treatment of “On Green Dolphin Street” written to showcase the brilliant technical prowess of bassist Michael Janisch who joined them for this recording. Gene Jackson, the band’s rhythmic center who drives the music forward with fire and infectious good spirits, is much in evidence throughout the session and contributes his arrangement of Elvin Jones’ “Three Card Molly.”

David Berkman
What began as a happy coincidence of three friends in a foreign land has grown into a mature collective that is more than the sum of its impressive parts. The band has toured extensively in Japan, the U.K., around Europe and the United States for ​t​en​ years. These days, that is an extremely rare accomplishment in the jazz world, where economic pressures work against band longevity. The close connection between the members is evident throughout this recording: an idea starts with one player and is picked up and developed by another​ ​risk taking and improvisation abound, but there’s a sense of warmth, enjoyment and shared purpose that permeates all of these performances.
This has become the hallmark of this group’s playing: an easy rapport with one another developed through ten years of playing together and interpreting jazz classics in a highly engaging and personal way. The audience response has been phenomenal, in part because they give the listener something familiar to grab on to, before throwing in the bends and quirks that NYSQ has become known for, creating modern shapes and visions of these well-known ​songs​. Or to quote John Fordham ​from The Guardian ​in his rave review ​from a recent UK tour:

“Deep High Wide Sky sounds like the Lee Konitz classic Subconscious-Lee, and Doll’s Phone Cause is a similarly byzantine bopper, driven hard by Janisch’s bass-walk. All of Me has an inventively reworked harmony and fresh rhythmic edge, an ominous Lush Life finds Armacost and Berkman reacting smartly to each other, and Hidden Fondness remoulds Secret Love as a vehicle for the gleeful collective energies of all four.”

As a thank you Whirlwind are  offering 30% off everything on their site from today until January 28th 2016.  Simply add the code JANUARY2016 on the Checkout page (there's a space provided that says 'enter coupon code') and your purchase price will be reduced by 30%. This discount applies on all site products: CDs, digital albums and individual tracks.

Tuesday, 29 December 2015

Alex Garnett Bunch of Five

Alex Garnett
Alex Garnett Bunch of Five
Alex Garnett – tenor sax & compositions
Tim Armacost – tenor sax
Ross Stanley – piano
Michael Janisch – double bass
Andrew Bain – drums

Michael Janisch

Date - 22nd November 2015
Venue - Pizza Express Jazz Club, Dean St, Soho, London, UK.
Current Album - Andromeda (Whirlwind Recordings)

Ross Stanley
Hear him playing - Alex can be found in the depths of Soho at Ronnie Scott’s every Monday and Tuesday night for his weekly late-late show residency, when not on the road.

Raconteur Alex Garnett with his trim London/NYC five piece punch-in at the London Jazz Festival 2015.

Roundabouts and swings, never Fragonard nor My Fair Lady but those grubby shiny seats we love so dearly on this grimy isle. Wiping the dew, rain or damp off with a sleeve as the very British wind of Alex Garnett buffets us. There is a respect for our lead man, he is the big brother you always secretly yearned for with funny stories and an adoration that may well be unattainable.


Andrew Bain
Self depreciation is one of Alex Garnett's arts and that of Camp comic, not the effeminate kind but that of Hi-De-Hi, even the moustache would at first make you think of Clark Gable but it is Paul Shane that lingers in the mind.

Holmes - Happy chickens and steel-plated cats, Fritz get my coat! The happiness in not being superhuman but just a glorious fallible human, the happiness of the everyday, the happiness of you and me. Andrew Bain and Ross Stanley get you out of bed in the morning more quickly than a short circuiting Breville Teasmade. Tim Armacost is curiosity itself, evoking the spirit of playing in the street (whether imagined or real), fingers in dirty holes, young boy zeal and grubby knees.

Tim Armacost
Wipe away the silly string that Alex Garnett squirts in our eyes with his introductory patter and we see that here is a man of depth and poignancy. Dracula's Lullaby is a good example, it smears the actor's greasepaint to reveal a laid back Christopher Lee, a soporific villain relaxing with whiskey in hand.

You feel part of the bunch, the five swell to include the wider audience and we are all conspirators in the tune Delusions of Grandma. The gangs all here, hear, here she is legs swinging, bingeing, laughing, crying, meowing, one hand, no hands, hand me downs, pass the hammer Jack, on your back Jack. We are the gang to entertain you.

AL.

Wednesday, 30 October 2013

Michael Janisch & Aruan Ortiz - Whirlwind Maestros

Michael Janisch - Bass
It was the final throws of a heavy few days but every hour had been worth my undivided attention. Not every Whirlwind Festival gig had been sketched but still 13 in three days is worthy of a little fanfare. Its incomprehensible what organiser and record boss Michael Janisch must have endured but if you gamble big then I suppose the rewards are significant. This was the end and the beginning. The Saturday night 10pm (12/10/2013) slot brought it to a close while audiences and musicians alike left King's Place dreaming of what to expect in 2014.

Aruan Oritz - Piano
There was a serious no talking, no shit attitude to the last curtain finale. Seriously no anecdotes, very unlike a normal jazz concert. I believe there wasn't even one reference to a CD being on sale, which as you might know is de rigueur for journeymen and bright jazz sparks alike.

Greg Osby - Saxophone
Here there was an energy between the players as if they were held together by Nature's bond. Not too close though, mutual respect helped keep a healthy distance but you could feel the invisible force. Co-leader, Aruan Oritz  of course could survey from his poop deck, ducking the right shoulder when the storm wave from the quintet hit his piano.

Mark Ayza - Drums
Greg Osby by comparison barely flinched in the face of the night's peak and troughs. Gabardined in a tight Burberry and matching trilby he rivalled a stylish Shaft in style and power. Sparse doesn't do his performance justice but there was a streamlined directness and penetration that achieved its goal with the minimum of fuss.

Raynald Colom - Trumpet
Insert a section that describes the texture of the tunes and their themes it says on the label before me. That rule book went out the window when I started this Whirlwind odyssey, and this last gig was one that just washed over this storm battered man. Now two and half weeks later my gig notes are surprisingly absent but I remember the entertaining figure of Mark Ayza. He is becoming one of my favourites to draw. Never a muppet on drums but it seems one in my sketches. If his hair was a shock of orange then he would have unmistakably transformed into Beaker, the shy laboratory assistant.

Stephen Jay - Photographer
It was a night of hats and Raynald Colom's had an air of Shemp Howard with its comic air. These lips were not made for smiling though and Colom took his shift as the figurehead of this fighting ship frequently. A mature and inspiring set that propelled Colom to the fore early on with "Precisely Now", followed by "Please Stand By" and Osby with his directness.

Dan Redding
As if in harmony with the third tune "Orbiting" I quickly took a final sweep around the auditorium as I perched in its upper tier. Amongst the off-duty musicians there was Stephen Jay, Dan Redding and Steve Pringle, still photographing and filming. I imagine their films are still uncurling in editing suites throughout south London, slowly being sifted and honed.

This isn't a festival that talks solely of promise, it is ready for consumption now! Virtually all the musicians were at the top of their games, in the prime of their young lives and full of ideas for the year to come. Yes the future is significant, with a 12 month gestation period before us it is going to be some 2014 for the Whirlwind Record label and its flagship Festival.

Viva "The Maestro", their final tune.

AL.




Friday, 25 October 2013

Cloudmakers Trio - Anybody Hurt?

Jim Hart - Vibes
The Cloudmakers trio created the buzz of the festival on Day 3 (12/10/2013) of the Whirlwind Festival with a combative and ambitious set of just five tunes. Variety and verve were the themes in a numerically challenged set, raining down on the audience until they clapped in jazz soaked revelry.

Jamie Skey - The Quietus
Jim Hart on vibraphone leads from the front, a pathfinder, opening doors of perception in the fearless pursuit of cerebral gymnastics. These contortions aren't just contained between his ears but physically too. On more than one occasion sticks were replaced with bows and he attacked the vibraphone from both sides. Hart, like a Sunday-lunching patriarch carved his roast simultaneously from North and South, jettisoning our emotive stuffing to all four corners of his melodic table.

Michael Janisch - Bass
To my left I spotted an equally animated scribbler, a man with a heroic profile and a beard of Norse proportions. He too seemed energised by the Cloudmakers repertoire, in fact here's the proof. This was Jamie Skey, recent appointee to The Quietus stable as their jazz tip reporter. Check out his review here.

Dave Smith - Drums
The second tune, "Conversation Killer", was anything but. Engaging and upbeat with an ease that ultimately started a germ of an idea, when would the social faux pas be revealed amongst the funk and swing. Although a favourite of mine it was the third, "Post-Stone" that brought the house down, while Hart carved his vibraphone chicken, Michael Janisch's chin worked overtime, proudly thrust in the air, his bass was a rumbling tummy and he eagerly sniffed the vibes' wafting delights. Spikey, aggressive and unforgiving, it swept the audience in a powerful collective moment. The spell was broken by Jim Hart as he reached the microphone and enquired "Anybody Hurt?".


Steve Marchant  - @yorks111
One man with no broken bones was the jazz and cricket 'face', Steve Marchant.  I had seen him at every Whirlwind gig I had attended over the past 3 days, he complimented Jim Hart's development since his Gemini days of the noughties, so I know he had survived a few Hart skirmishes already.

Dave Smith swept us into the "Early Hours" and with Janisch in tow they allowed our minds to wander once more. Creating spaces for playful thoughts after the previous tune had repressed our imaginations by kidnapping them in its high speed chase. They both had time to throw us down a metaphorical escalator in the rhythmical cascade of "Angular Momentum".

Once again no one was hurt but a few swapped tales of jazz bruises as they congregated outside, galvanising constitutions before the final triple bill of the festival.

AL.

Thursday, 24 October 2013

Patrick Cornelius - Infinite Whirlwind

Patrick Cornelius - Alto saxophone
Patrick Cornelius got the last day (12/10/2013) of the Whirlwind Festival underway for me at King's Place. Arriving in a state of disarray after being pressed into action for one of London's Big Draw events, his quintet had an immediate calming effect. In fact I felt at home, here was a concert revolving around Cornelius' second album, Infinite Blue, and taking its title from a crayon no less.

Jason Rebello - Piano
Patrick Cornelius has a disarmingly unassuming demeanour yet he must possess a cohesive personality that builds a group around himself rather than play the despot. Looking every inch an old fashioned bank manager, bespectacled and tidy he brought his fellow players together with performance and composition.

Jason Rebello challenges preconceptions too, I had been banned from looking at his publicity photos for years by my mother. With a wild intense stare that reached beyond poster and flyer, I would have nightmares that Rebello had the power of ESP and telekinesis.
Michael Janisch - bass
Upon reading in John Chilton's "who's who" that he had entered a Buddhist Temple to hone his intense meditation skills I feared he might explode my head from 50 paces if our eyes ever locked. Of course totally unfounded, he looked absolutely approachable and yes there was an intensity to his playing but a buoyancy too.

Nick Vayenas - Trombone
"The Incident" wound every one up, audience and musicians alike. The hatless Michael Janisch giving way to Whirlwind Festival favourite Nick Vayenas, playing as crisply as his starched white shirt. Andrew Bain's nostrils flared wider than an asthmatic maori as he got involved too. It was the next tune "My Green Tara" that brought the performance of the set, the aforementioned Rebello producing a breath-taking turn. Delicate and balanced it described a shifting light that alternated between the opaque and transparent. Between these two planes I was caught like a fly in amber.


Andrew Bain - drums
The stillness of "In the Quiet Moments" was timely before the final "Regents Street" but I was still trapped in the resinous aspic of Jason Rebello's performance and his stare as the band took a bow in response to the audience's applause. My head didn't explode of course, well not through any Jedi mind tricks anyway, just good old fashioned music.

AL.

Wednesday, 23 October 2013

Phil Robson - Whirlwind Slap

Phil Robson - Guitar
With a gauntleted slap we were challenged by Phil Robson on the final session of Day 2 (11/10/2013) at the Whirlwind Festival. To engage with the music we did not need to discover all the hidden secrets of his album 'The Immeasurable Code' but the brain had to be in its most alert and functioning state. This was not a concert that revealed all its delights in the short 50 minutes format, in fact the music has lived with me longer than any other. Armed with the recorded music and a fast broadband speed I am only now appreciating its full depth.


Ernesto Simpson - Drums
Phil Robson's music has a burning intensity that is written all over his face, his trilby was the kettle lid perched upon a furrowed brow and his red head looked as though it was touching boiling point throughout the performance. Hot and fierce on the outside, I suspect his cerebral cooling system is exemplary because his playing was measured, assured and direct.


Gareth Lockrane - Flute
Gareth Lockrane and his flute had certainly regained some of his pep from the previous day and Robson squeezed every conceivable facet of this man's talent out of him. 'Nassarius Beads' with its short cascades had the audience swaying with shoulders and heads before Lockrane's misty funk worked down to their hips.

Stan Sulzmann - saxophone
Second tune "Telepathy and Transmission" with its fractious beat/sound gave Ernesto Simpson the chance to dig deep and Robson showed that he is willing to dirty his hands to provide us with a gritty challenge. We were asked to roll up our sleeves too.

Michael Janisch - Drums
In contrast "Telegram" gave it to us on a plate, its title and introduction from Robson served its themes like an Edwardian calling card. Stan Sulzmann provided the shiny train tracks on which the rest of the group steamed along, whilst we in contrast, had time to stare out the window and let our imaginations blossom from the safety of our chairs.

Michael Janisch was resident on the bass, supporting his long time friend Robson and stepping into the latter's new tune "Berlin". After several attempts to sketch him, this is one of my favourites, capturing his strong angular features and that often slack mouth with bouncing lower jaw which is an indicator that  he's really in the groove.

Stephen Jay
Gareth Lockrane brought us to a sleepy conclusion with "A Serenade" and for the first time I watched Whirlwind photographer Stephen Jay put down his camera and just take it all in, probably partly in exhaustion. Lockrane drew out the subtlety of the composition as if transforming his flute into a slender rolling pin and slowly flattening our soft pastry edges. I was cooked too after sketching for 6 hours and was happy to retire and contemplate Phil Robson's music at my leisure.

AL.

Tuesday, 22 October 2013

New Focus - Whirlwind Uplift


Konrad Wiszniewski - saxophone
Fresh and bright the New Focus project heralded the halfway point (11/10/2013) of the Whirlwind Festival at King's Place. After the audience had already devoured a plump meal of rich Jazz, they were in dire need of a cleansing breeze to reawaken their musical taste buds. Amongst the traditional quartet of sax, bass, piano and drums were the green shoots of violins, viola, cello and harp to give the crowd the chance of revival.

Euan Stevenson - piano
Playing from the their self titled debut album, we were immediately cast into a different landscape from the one we had trodden so far. The strings widened our blinkered perspectives to enable us see the horizon line rather than that which had previously been thrust in our laps. In poetic terms a chance to close the eyes and dream a little.

There was no chance of flying blind of course with a busy stage full of personalities and a short sandwiched set to negotiate. Front man Konrad Wiszniewski took the eye at centre stage but it was his writing and composition that left its mark rather than his stage prowess, except on their fourth tune "Music for a Northern Mining Town" when on soprano saxophone he was memorable. With more than just an echo in title with Basil Kirchin's "Abstractions of the Industrial North", there was a pastoral sound to this gritty theme, opening with Harp and then transporting us into expansive worlds.
New Focus' music helped us wander their set like a punter lost in the corridors of an arts cinema, opening doors onto imaginary letterboxed views.

Michael Janisch - Bass
None more cinematic than "El Paraiso" which started with a throaty jungle call from Michael Janisch on bass, rich and thick until the cello raised us into its lush canopy before the violins and viola dropped their threads of silk down with spidery dexterity.

Andrew Bain - Drums
Unfortunately I was stuck in my seat with only a view of Euan Stevenson's back, the hall was clearly filling up and spaces were more at a premium. I did however find myself attracted to the characterful Andrew Bain on drums in compensation. Difficult to capture but worth persevering with, he is a chomper, his mouth continually air biting as if he was a rabbit with a vitamin A deficiency.

It was an epic Finale with the penultimate "Dziadzio" juxtaposing a smiling Janisch, who was clearly enjoying himself, with a song that was a pinball of sadness and want.
The last tune "Parson's Green" with its chugging arrival like a underground train of ancient rolling stock, gave Stevenson's piano and Bains' drums the chance to shine after the introduction from the Harp's sweet levity.

Uplifting.

AL.

Friday, 18 October 2013

Alex Garnett & Nick Vayenas - Whirlwind Festival


The two worlds of the Whirlwind record label collided last week (10/10/2013) with a terrific collaboration between
Alex Garnett - saxophone
the UK's very own Alex Garnett and the NYC invader Nick Vayenas. A night of contrasts with Garnett drawing from the well of his debut solo release 'Serpent', which is a Whirlwind 'oldie' and Vayenas launching his album 'Some other time' that is so new that the musical ink is still drying on the page.

Femi Temowo -guitar
After experiencing the previous two concerts of the festival where the nice lads of Partikel and Ollie Howell Quintet conversed in polite tones it was like getting one stuck on your jaw when Alex Garnett came to the stage. Here is a man with charisma of the saloon type. Dapper in attire with a handle of witty banter he reminds one of a handsome Peter Lorre or a chancer, straight from the set of the 1947 film 'Brighton Rock'. You couldn't help but warm to his 'del boy' charm but there was nothing Robin Reliant about his playing and the opener "Serpent" was suitably sleek. Hard blowing and aggressive in his pin striper the only thing I was disappointed in was that he didn't possess a hoard of watches when his jacket swung open.

Nick Vayenas - Trombone
Nick Vayenas smoothed the pace with the full and rich "City of Notions", switching from trombone to trumpet and later casting off all his accoutrements for the only vocals I experienced over the 3 days with a Bakeresque "Blame it on my youth". Unlike Chet, singing the tune with all your own teeth improves diction and sound but maybe doesn't add the backstory of the troubled early years. Although I'm sure Vayenas had time enough to misbehave at the after-show Whirlwind parties. I underestimated his throbbing vocals at the time but in retrospect they do have more than enough pathos to carry his sentiments.



Femi Temowo played second fiddle to the main duo but was radiant in his sheer exuberance and heart, making both his smile and talent sparkle on Garnett's "Three for a Moor". Due to the brief hour slots that each group was assigned I couldn't devote much time to Marc Ayza, just a quick sketch of his coquettish 'Barnet fair'.


Marc Ayza - drums
Let us not forget this was our first glimpse of Michael Janisch, throughout the Festival he stayed in the shadows, deep behind microphones and music stands. Janisch gave us plenty to mull over with bass in hand and was magnificent on the final tune, a latin firebrand called "The Pimp". He brought us three bass lines in one with total commitment to the cause and more than our money's worth.

Michael Janisch - bass
I met plenty of students in the audience who had taken up his generous offers to be there for a minimal outlay. Including young guitarist Giorgos Pafitis who I had drawn just a few weeks earlier with Melissa James. As we congregated in the foyer afterwards his beaming grin said it all.

AL.