" This collaboration between Beirach, violinist Gregor Huebner and bassist George Mraz not only explores seven Monteverdi themes but a variety of baroque interconnections, including JS Bach, Palestrina, and pieces from Pergolesi's Stabat Mater. For the most part this is a very refined and meticulous series of chamber-music delicacies. The opener, Monteverdi's poignant Lamento d'Arianna is played absolutely straight off the dots; but the first Stabat Mater piece edges into swing halfway in, Beirach's sprightly chordal improvising style gambolling over the majestic Mraz's walking bass, and the excellent violinist Huebner taking off in muscular manner. It is over 20 minutes in before anything approaching the raw or abstract happens, and in general there is a plangent tone to the disc - but the playing itself is beautiful." (John Fordham)
"Een van de hoogtepunten in het oeuvre van de zondag 16 mei 2010 op 91-jarige leeftijd overleden pianist, die het eeuwige leven leek te hebben en zijn jongere broers Thad en Elvin ruim overleefde. In de ongeveer 70 jaar dat hij actief was, heeft hij als solist geopereerd, in duo's met pianisten als Tommy Flanagan en john Lewis of rietblazers als Ken Peplowski en Joe Lovano en met zijn eigen trio's. Een van de hoogtepunten ui zijn platenoeuvre is dit "Upon Reflection" uit 1993, met muziek geschreven door zijn broer Thad, die trompettist was, en begeleid door bassist George Mraz en zijn andere broer, drummer Elvin. Altijd was het resultaat lyrische bebop van een grote harmonische verfijning, gespeeld met warmte en liefdevolle aandacht voor de melodie." (Frank van Herk, Volkskrant)
En 'joyous' it is indeed! Na allerlei geforceerde projecten voor Blue Note krijgt Lovano van Blue Note eindelijk weer 's de mogelijkheid een 'gewone' echte jazzplaat te maken. Hij vroeg de eigenzinnige drummer Motian, in wiens basloze trio hij speelt, pianolegende Jones en de van oorsprong Tjechische basveteraan George Mraz.
"Recorded live in Norway in 1983 but not released commercially until 2000, Quintessence, Vol. 2 offers a rare chance to hear them co-leading a quintet. One wishes that Getz and Baker (who are joined by pianist Jim McNeely, bassist George Mraz and drummer Victor Lewis) had been able to put their personal differences aside and play together more often, for the two are a highly appealing combination on standards that range from "It's You or No One" and "I'll Remember April" to Billy Strayhorn's "Blood Count," Gerry Mulligan's "Line for Lyons," and Sonny Rollins' "Airegin." Getz and Baker are both swinging, yet they swing in a consistently melodic fashion and remind us that while they had impressive chops, they didn't feel the need to beat listeners over the head with them. Like Getz, Baker used his instrument to tell meaningful stories instead of trying to dazzle you with his technique. This CD is rewarding as well as historically important". (Allmusic).
Met gelouterde veteraan-begeleiders Hank Jones (p), George Mraz (b) en Paul Motian (d) speelt de tenorsaxofonist romantische stukken als 'Like Someone In Love'. Het is een studio-opname maar 't geheel heeft een prettig-losse live-sfeer.
"Altoist Phil Woods took a rare vacation from playing with his regular group to collaborate with pianist Tommy Flanagan, bassist George Mraz and drummer Kenny Washington on this fine straight-ahead quartet date. The 13 selections are fairly concise (clocking in between 3-7 minutes apiece) and most of the material (other than "Canadian Sunset," "Yours Is My Heart Alone," "Blue and Sentimental" and Bill Evans' classic "Waltz for Debby") consists of either obscurities or recent originals. A special bonus is that Woods plays his appealing clarinet on three numbers. Highlights include "Charles Christopher" (a tribute to Charlie Parker), "Butter" and Hal Galper's "Just Us."" (Scott Yanow, Allmusic)
"This CD features a logical combination of two talented Frenchmen, violinist Stéphane Grappelli and pianist Michel Petrucciani, who had never recorded together before. With the assistance of bassist George Mraz and drummer Roy Haynes, the co-leaders romp on a variety of standards. Petrucciani was 32 at the time of this June 1995 set, a mere child compared to the 87-year-old Grappelli. Despite his age, Grappelli's violin playing sounds as youthful and enthusiastic as it had been in the 1930s; the 60 years of practice had not hurt. While Petrucciani's music is usually in the Bill Evans post-bop vein, he was happy to visit Grappelli's turf on this occasion, mostly playing veteran standards. On such songs as "Sweet Georgia Brown," "How About You" (here mistitled "I Love New York in June"), "I Remember April," and "There Will Never Be Another You," Stephane Grappelli is both joyful and masterful. Highly recommended." (Scott Yanow, Allmusic)
Gitarist Hall, al jaren meester van de subtiel geplaatste, prachtig rond klinkende noten, overtrof zichzelf die avond in januari 2000, omringd door topkrachten die ook op de toppen van hun kunnen spelen. Loepzuiver samen gespeelde melodieën en gevoelvolle soli (vooral die van Lovano komen uit de tenen) wisselen elkaar af in spannende, fris en modern klinkende postbop naast traditionelere bop en cooljazz. Topalbum dat terecht vele juichende kritieken kreeg.
Kamerjazz: bewerkingen van pianostukken van de klassieke componist Mompou voor bezetting piano/viool/bas. 't jazzy karakter zit vooral in de frasering van de jazzmuzikanten: een klassiek geschoold trio had de stukken 'klassiek' laten klinken.
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