Jazz

Latest CD releases reviewed

directing 14 Jackson Pollocks Jazz Continuum ****

The title of this 2-CD release suggests a man pouring paint on canvas, a fair analogy for composer-director Graham Collier's approach to jazz. He provides a canvas – "scores" – within which he invites/directs the musicians in his large ensemble to contribute the personal colours of their instruments and individual responses. It's simultaneously controlled, collaborative and almost infinitely mutable, existing in the moment. The procedure is not risk-averse ( The Vonetta Factorhere seems too long) but, vindicating his methods, it yields some wonderful results with old and new material. Aberdeen Angus, Eggshell Summer, Third Simple Piece(all prefixed An Alternate), both performances of the blues Mackerel Sky,and the various Third Colourinterpretations are among the most exhilarating, sensual, beautiful and disturbing performances in this era's jazz. www.grahamcolliermusic.com

JAN GARBAREK

Dresden: In Concert ECM ***

This is the band, with Rainer Brüninghaus (piano/keys), Yuri Daniel (electric bass) and Manu Katché (drums) that Garbarek had in Dublin two years ago. At its core was the intense dialogue between Garbarek and Katché, with Brüninghaus filling in the background and emerging for the more interesting solos, and Daniel a functional fulcrum. For all the band’s close-knit ensembles, excitement and improvisatory heat, it wasn’t particularly interesting. This rapturously received, 2-CD German concert recording is similarly full of attractive melodic hooks, infectious rhythms and inviting accessibility, with Garbarek, his soprano and tenor saturated in that unmistakeable cry, having a ball. Marking, as it does, a change in some aspects of his approach and, perhaps, a new phase in the career of a great musician, it clearly connects with audiences. I just wish I liked it as much as they do. www.naxosdirect.ie

LEE KONITZ-MARTIAL SOLAL

Star Eyes 1983 hatOLOGY ****

Listening to this marvellous duo deconstruct the standard repertoire, it's hard not to feel that Solal's piano is a near-perfect partner for Konitz's alto. Solal's abrupt modulations and unexpected about- faces of line and tempo are manna for Konitz's quick wits and liberated intelligence, while the altoist's mere presence may have reined in the gifted pianist's sometimes indulgent whimsy. On mutually familiar ground it's a licence to go wherever the humour takes them, and they make full use of it. Early, on the opening Just Friendsand Star Eyes, it's perhaps Solal who makes the pace, with Konitz easing himself into things. Thereafter the altoist really finds his range in a succession of inspired colloquies, which reach their peaks in memorably focused inventions on Body & Souland What's New. Rarely are standards approached with such a sense of freedom. www.hathut.com