Aaron Parks/Hania Rani

Aaron Parks ~ Little Big III 

Aaron Parks’ latest album, ‘Little Big III’, is the third in a series titled Little Big and his fourth album featuring a guitarist. The album (and series) also expands the soundscapes and ideas explored on his successful first Blue Note release, Invisible Cinema (2008). It is an album with a big heart which embraces the listener with rich textures and a tapestry of gorgeous melodic lines. Parks is highly regarded as a pianist and composer and never appears to rest on his laurels, reaching further with each new recording. 

The band is in perfect sync, and each player is given the space they deserve. Parks’ compositions are always compelling, but they reach for the heartstrings here. There is considerable technical mastery, but a sense of humanity strikes you most. The tune titles tell you this, ‘ Locked Down’, or ‘Heart Stories’, inviting you into an expansive and unfolding narrative. It feels like a story of our times, but one reminding us of the beauty we may have overlooked amidst the turmoil.

Parks is a distinctive pianist who has never had trouble finding the best musicians to accompany him. Jazz lovers in Aotearoa New Zealand can rightly feel proud in this regard. ‘Invisible Cinema’ and ‘James Farm’, featured bassist Matt Penman. On Little Big 111 and the two earlier iterations, we hear guitarist Greg Tuohey (who first recorded with fellow Kiwi Penman over twenty-five years ago). Tuohey’s playing is magnificent and, along with his bandmates, he contributes tunes too. 

The sharing of the compositional duties has yielded riches. Parks has a distinct style; his tunes are as compelling as they are memorable. I particularly like ‘Flyways’; a pulsating ostinato chant that frees the drums and bass, while the breathtaking melodic lines soar. There are four Parks compositions, all interestingly different. Oriental references are evident in ‘Delusions’ while the lovely ballad ‘Ashé’ has a wistful, folkish vibe. 

Three tunes are Tuoheys, expanding the palette to include funk and Americana. His tune ‘Willamina’ is a joy, it is here in particular that you hear what a great guitarist and composer he is. It evokes tumbleweed towns and gentler times; memories we hold onto lest they slip from our grasp. Bass player David Ginyard Jr’s ’Little Beginnings’ has a beguiling loping pulse and uses a larger palette, to great effect. The drummer, Jongkuk Kim, is new to me, crisp, imaginative and impressive.  I hope there is a Little Big IV in the wings. ‘Blue Note Records ~ available in stores and by streaming.

Hania Rani (Hanna Raniszewska)  

I subscribe to jazz author Ted Gioia’s Substack posts, as all improvised music lovers should. In a recent issue, Gioia highlighted a handful of modern Polish improvisers he suspected would be unknown to audiences outside of Northern Europe. He particularly liked Hania Rani, who he described as his new favourite pianist. 

There is something ethereal and achingly beautiful about her music and everyone who stumbles across it, feels like they’ve uncovered a secret. What initially strikes you as a few simple fragments of melody on repeat, is music for deep listening. Underlying the ostinato phrases are endless changes, finely wrought. She layers and loops while catching her listeners in a silken web of sound; sometimes reaching inside a grand piano, using an upright piano for percussion and adding small digital effects. It is an ever-expanding pedal point over a pulsing drone which may be the key to its appeal. She magics up something complex and deeply satisfying, crafted out of simplicity.  As if that were not enough, she also sings beautifully.

Although not a household name, she gets 7 million views for her YouTube clips, performs at the Louvre and has appeared in an NPR Tiny Desk concert. I have included a clip from a recording she made in Studio 2 in Warsaw, a favourite venue due to its acoustic properties. Sometimes the best things are hiding in plain sight. This is improvised music, but genreless, touching on classical, Jazz and house, but somehow free of those confines.

Rani mainly records for Gondwana Records with seven albums released. It is worth checking her out on YouTube.

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association, a Judge in the 7VJC International Jazz Competition, and a poet & writer. Some of these posts appear on other sites with the author’s permission. 

Artemis ~ Blue Note Records

In 2017, seven leading Jazz performers came together as a group and toured Europe. The group was so successful that they embarked on a bigger project. They chose the name Artemis, which is appropriate for an ensemble of musically formidable women. Artemis (or Diana to the Romans) was the Goddess of the hunt & of nature; the goddess with nothing to prove. In an ancient universe crowded with ubiquitous male gods, Artemis was universally popular. 

When you bring a group of band leaders together in the Rock world, the term Supergroup is often applied; in the jazz world, it is applied sparingly.  It is commonplace for Jazz greats to move between groups and when the term is applied, it is seldom as a marketing formula.  Artemis is a supergroup by any definition, but it is the musicianship that makes it so. Anyone of these musicians is a drawcard on a bill and while a group of leaders in itself, offers no guarantee of success, this project proved the pudding. The lineup of Rosnes, Aldana, Jenson, Cohen, Ueda, Miller and Mclorin Salvant was a winner. 

The nominal leader is Renee Rosnes, pianist and arranger.  Five of the band have penned tunes and there are several well-chosen modern standards (Fool on the Hill – Lennon/McCartney) (If it’s Magic – Stevie Wonder). The first track, Alison Miller’s ‘Goddess of the Hunt’ comes closest to a title track and it is a marvellous vehicle for improvisation. It begins with an arresting ostinato pulse, and as other voices enter, the intensity increases. The tune has lush harmonies which flesh out the sound to make it sound a larger unit.  Miller is a great Jazz drummer, but her compositional skills should not be overlooked either. Check out her ‘Glitter Wolf’ Album on Bandcamp, is a favourite of mine.

The second tune ‘Frida’ is by Aldana. A ballad evoking wistfulness and inviting reflection (was it Frida Kahlo)? Fool on the Hill (Lennon/McCartney) is cleverly reharmonised and has a similar mood. The contrasts are delicious; sweet and tart tastefully juxtaposed. Here, trumpeter Jenson reminds me of fellow Canadian, the much-lamented Kenny Wheeler; a nice arrangement. ‘Big Top’ (Rosnes) uses stop-time and surprise to great effect; the tasty solos by Rosnes and Aldana having more edge than a blindfolded knife-thrower. 

There are two tracks featuring Mclorin Salvant and they are as breathtaking as you’d expect from this world acclaimed Jazz vocalist. ‘If it’s Magic’ (Wonder) will surely turn up in her repertoire as will Cry, Butterfly, Cry (Rocco Accetta).  Nocturno (Cohen) is a moody slow burner with an ancient to modern feel. Cohen’s origins are evident here, a sound painting of a sultry sunset. Her clarinet is sublime. Step Forward (Ueda) is a fast-paced tune which opens with bass and clarinet dancing around each other in a joyous abandon, while Miller and Rosnes urge them on to greater heights. 

 If there was one track that had me gasping from the first phrase it was Lee Morgan’s composition Sidewinder’ – in truth, it made more impact than the famous original. This snake, unlike his forbear, has slowed its slither and is luxuriating happily as it grooves across a sunlit clearing. The voicings are reminiscent of an Oliver Nelson arrangement and the interplay between the musicians is quite extraordinary. Muted trumpet, clarinet and that unhurried, luscious, undulating groove. 

Artemis may be a multi-national and multi-ethnic line up but in the end, the thing that counts most is the universality of their music; Renee Rosnes (piano), Melissa Aldana (saxophone), Ingrid Jenson (trumpet), Anat Cohen (clarinet), Norika Ueda (upright bass), Alison Miller (drums), Cecile Mclorin Salvant (vocals). 

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.