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Sam Yahel, Mike Moreno, Ari Hoenig, Seamu Blake – Jazz Side of the Moon: Music of Pink Floyd (2008)
FLAC (tracks) 24 bit/192 kHz | Time – 55:29 minutes | 2,29 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Chesky Records
Returning anew to the original record it’s fascinating to re-discover how provocative Pink Floyd’s classic remains, and to hear how well this quartet’s collective interplay served that music. And how beautifully Sam Yahel’s organ-while not the dominant voice, surely a prominent presence-sets the aesthetic tone for these proceedings: nothing rushed or forced or extravagant…elegant and swinging and exploratory, never stepping on anyone’s toes-deceptively laid back and responsive, always listening intently, with plenty of rhythmic vitality…a sensibility he shares with collaborators Mike Moreno, Ari Hoenig and Seamus Blake, which goes a long ways towards explaining why their take on Pink Floyd’s music is so engaging and stands up so well to repeated listenings.
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Ari Hoenig – Punkbop: Live At Smalls (2010)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:12:54 minutes | 1,40 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © SmallsLIVE
Smalls Jazz Club in New York was founded in 1994, and co-owner Spike Wilner has been documenting every note blown in the place since he got involved four years ago. Stars including the Bad Plus’s Ethan Iverson, saxophonists Chris Potter, Mark Turner and Jon Irabagon, and pianist Fred Hersch, are among those who have given Wilner permission to record, archive, and live-stream their performances at smallsjazzclub.com. Ari Hoenig’s Punk Bop session is one of the picks of the bunch, even if its name suggests rawness more than it reflects its subtle character. Hoenig is famous for tuning his drums to play melodies, but his punchy band (including UK-born saxophonist Will Vinson and the fluent, somewhat Methenyish guitarist Jonathan Kreisberg) doesn’t dwell on that, instead concentrating on being a musical and swinging contemporary ensemble. Vinson is a nimble bebop player, and the opening Birdless is a subtle, mixed-tempo update of the style, while Green Spleen is an exploration of growling long notes, crunching guitar chords and throbbing bass-drum hits that gets obliquely funky, and Ska has something of a Bobby Previte busyness. The Smalls output will be worth keeping an ear open to. –John Fordham, Guardian
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