Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

If ever a recording lends itself easily to facile journalistic text-bites--it's the Tomasz Stanko tango album! Pensive Polish trumpet player explores the music of his Eastern European roots! If there were such as thing as Argentine klezmer, surely Stanko would have the genre to himself!--and so on. Oddly enough, all of the foregoing appear to be at least half-right in purely musical terms. In addition to Stanko's trumpet and the crisp rhythm section of Anders Jormin and Jon Christensen, there are other ECM stalwarts here in the diverse shapes of Dino Saluzzi, whose contribution on bandoneon is partly responsible for all three of the above impressions, and John Surman, who tellingly augments his trademark baritone sax with some less-than-usual clarinet work. Michelle Makarsk's violin completes the overall flavour of what is, in effect, a very successful trans-generic album. With compositions by Stanko, Surman and Krysztof Komeda, the whole is a sprightly, angular take on jazz-as-not-jazz. The production is well-suited to the music, being slightly more in-your-face than is customary for both Stanko and ECM in general. --Roger Thomas

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Dramatic masterpiece, 30 May 2005
This is Tomasz Stanko's dark, brooding masterpiece. Excellently recorded, there is a cavernous feel to much of the music, no doubt accentuated by the gamut of doom-laden sounds coaxed from Tony Oxley's drum kit.
The disc opens with Oxley producing sounds that sound like clanking chains, shortly followed by Anders Jormin's arco bass evoking the feel of a howling wind whipping around the massive masonry of the "Monastery in the dark." Eventually, Stanko's dramatic trumpet enters, having the presence of a great Shakespearean character. It is no surprise that this music was inspired by a film. Elsewhere, Bobo Stenson demonstrates why he is considered one of the finest piano players in Europe.
As a whole, the record has a mournful feel to it, the only up-tempo track being "Maldoror's War Song" - this itself still being full of menace. At a time when ECM appear to be losing some of their best musicians and recent offerings lack appeal, this CD is a timely reminder of just how original European jazz can be. Listen to the beautiful, fragile ballad "Celina", for example, to see just why the music of Tomasz Stanko is so special.

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Dramatic masterpiece, 30 May 2005
This is Tomasz Stanko's dark, brooding masterpiece. Excellently recorded, there is a cavernous feel to much of the music, no doubt accentuated by the gamut of doom-laden sounds coaxed from Tony Oxley's drum kit.
The disc opens with Oxley producing sounds that sound like clanking chains, shortly followed by Anders Jormin's arco bass evoking the feel of a howling wind whipping around the massive masonry of the "Monastery in the dark." Eventually, Stanko's dramatic trumpet enters, having the presence of a great Shakespearean character. It is no surprise that this music was inspired by a film. Elsewhere, Bobo Stenson demonstrates why he is considered one of the finest piano players in Europe.
As a whole, the record has a mournful feel to it, the only up-tempo track being "Maldoror's War Song" - this itself still being full of menace. At a time when ECM appear to be losing some of their best musicians and recent offerings lack appeal, this CD is a timely reminder of just how original European jazz can be. Listen to the beautiful, fragile ballad "Celina", for example, to see just why the music of Tomasz Stanko is so special.

A very interesting manifestation of early Avant Garde, 20 Nov 2001
This is a very interesting album. Starting with Cherryco, the only original piece in this album, it gives the essence of developing free or, in the words of the title, Avant Garde jazz. The rest of the album consists of three songs by Ornette Coleman and one by Monk. The interpretation is fantastic and Coltrane's magic touch is evident. Cherry's solos are inspiring, more daring in a sense than those of Coltrane. With Charlie Haden on Bass and Ed Blackwell on drums this album is sheer pleasure. I was particularly impressed with Blackwell's cymbal and high hat work with an amazing livelihood blown in by the snare . For one interested mainly in free jazz however, this is the genre in its very early stages. Keep it in mind when you listen.

Dave Douglas excels at many, many things. On the small, intimate themes featured on the breathtakingly delicate Charms of the Night Sky, he plays as if his horn were made of crystal. Earlier efforts such as In Our Lifetime or his work in John Zorn's Masada prove that the trumpeter is comfortable facing both wide-open solo horizons and driving, blow-the-house-down horn stomps. On Wandering Souls, however, Douglas and his Tiny Bell Trio (with Brad Shepik on guitar and Jim Black on drums) appear to be caught in the middle of a record without an easily graspable theme. Some songs wander, some roar, some skirt the Eastern European themes of Night Sky, but taken as a whole, this is an album featuring Douglas but without the clearly defined "center" of a Dave Douglas album. --S. Duda

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Dramatic masterpiece, 30 May 2005
This is Tomasz Stanko's dark, brooding masterpiece. Excellently recorded, there is a cavernous feel to much of the music, no doubt accentuated by the gamut of doom-laden sounds coaxed from Tony Oxley's drum kit.
The disc opens with Oxley producing sounds that sound like clanking chains, shortly followed by Anders Jormin's arco bass evoking the feel of a howling wind whipping around the massive masonry of the "Monastery in the dark." Eventually, Stanko's dramatic trumpet enters, having the presence of a great Shakespearean character. It is no surprise that this music was inspired by a film. Elsewhere, Bobo Stenson demonstrates why he is considered one of the finest piano players in Europe.
As a whole, the record has a mournful feel to it, the only up-tempo track being "Maldoror's War Song" - this itself still being full of menace. At a time when ECM appear to be losing some of their best musicians and recent offerings lack appeal, this CD is a timely reminder of just how original European jazz can be. Listen to the beautiful, fragile ballad "Celina", for example, to see just why the music of Tomasz Stanko is so special.

A very interesting manifestation of early Avant Garde, 20 Nov 2001
This is a very interesting album. Starting with Cherryco, the only original piece in this album, it gives the essence of developing free or, in the words of the title, Avant Garde jazz. The rest of the album consists of three songs by Ornette Coleman and one by Monk. The interpretation is fantastic and Coltrane's magic touch is evident. Cherry's solos are inspiring, more daring in a sense than those of Coltrane. With Charlie Haden on Bass and Ed Blackwell on drums this album is sheer pleasure. I was particularly impressed with Blackwell's cymbal and high hat work with an amazing livelihood blown in by the snare . For one interested mainly in free jazz however, this is the genre in its very early stages. Keep it in mind when you listen.

Superb and Intricate Trio, 04 Nov 2001
Dave Douglas plays in many different settings but this trio is one of the most attractive for straight jazz fans. Each player plays a key role and although Douglas is undoubtedly the star, Shepik on guitar and the extraordinary Black on drums, make this date so special. Douglas has an extraordinary technique and seems to reach perfect notes effortlessly. Apart from jazz, there is a Balkan flavour to this album and a Schubert song even makes an appearance.

He may deny it, but trumpeter Dave Douglas is straight out of Miles Davis. Nothing aurally illustrates that influence more clearly than this small-combo recording with Uri Caine on Fender Rhodes piano, drummer Clarence Penn, bassist James Genus and bass clarinettist-saxophonist Chris Potter. Douglas has recorded a number of ambitious projects over the years--from Middle Eastern-inspired compositions to hip-hop-orientated works--but in this tried-and-true format, he extends and elaborates on the mid-60s sounds of Davis's Miles in the Sky and Filles de Kilimanjaro. Like that of the Prince of Darkness, Douglas's trumpet beams with the same bravura, backed by Caine's Herbie Hancock-style keyboard, Penn's moody and martial drumming and Genus's rock-steady bass on the up-tempo "Seventeen", the Wayne Shorter-like title track, and the bluesy "Rock of Billy". Throw the twilight-toned twang of Bill Frisell's guitar into this mix, and you've got a CD that shows how to deftly blend the electric with the acoustic, resulting in a fusion that declares it roots and points the way to the future. --Eugene Holley, Jr, Amazon.com

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Dramatic masterpiece, 30 May 2005
This is Tomasz Stanko's dark, brooding masterpiece. Excellently recorded, there is a cavernous feel to much of the music, no doubt accentuated by the gamut of doom-laden sounds coaxed from Tony Oxley's drum kit.
The disc opens with Oxley producing sounds that sound like clanking chains, shortly followed by Anders Jormin's arco bass evoking the feel of a howling wind whipping around the massive masonry of the "Monastery in the dark." Eventually, Stanko's dramatic trumpet enters, having the presence of a great Shakespearean character. It is no surprise that this music was inspired by a film. Elsewhere, Bobo Stenson demonstrates why he is considered one of the finest piano players in Europe.
As a whole, the record has a mournful feel to it, the only up-tempo track being "Maldoror's War Song" - this itself still being full of menace. At a time when ECM appear to be losing some of their best musicians and recent offerings lack appeal, this CD is a timely reminder of just how original European jazz can be. Listen to the beautiful, fragile ballad "Celina", for example, to see just why the music of Tomasz Stanko is so special.

A very interesting manifestation of early Avant Garde, 20 Nov 2001
This is a very interesting album. Starting with Cherryco, the only original piece in this album, it gives the essence of developing free or, in the words of the title, Avant Garde jazz. The rest of the album consists of three songs by Ornette Coleman and one by Monk. The interpretation is fantastic and Coltrane's magic touch is evident. Cherry's solos are inspiring, more daring in a sense than those of Coltrane. With Charlie Haden on Bass and Ed Blackwell on drums this album is sheer pleasure. I was particularly impressed with Blackwell's cymbal and high hat work with an amazing livelihood blown in by the snare . For one interested mainly in free jazz however, this is the genre in its very early stages. Keep it in mind when you listen.

Superb and Intricate Trio, 04 Nov 2001
Dave Douglas plays in many different settings but this trio is one of the most attractive for straight jazz fans. Each player plays a key role and although Douglas is undoubtedly the star, Shepik on guitar and the extraordinary Black on drums, make this date so special. Douglas has an extraordinary technique and seems to reach perfect notes effortlessly. Apart from jazz, there is a Balkan flavour to this album and a Schubert song even makes an appearance.

Brilliant, 31 Dec 2004
This can been seen as the follow up album to the excellent "The Infinite" in that it features the same quintet with Chris Potter, Uri Caine, James Genus and Clarence Penn. For my money, this is Dave Douglas' best group and whilst this does not quite reach the peaks of the previous album (one of the best jazz CD's of the last 10 years) it still remains a fantastic effort and is boosted by the presence of most of the trakcs by guitar giant Bill Frisell. Indeed, on "The Frisell Dream", Douglas has conjured up a piece that could have been written by his fellow musician.
The incorporation of Frisell into the group does nothing to spoil the balance of the standard quintet who inspire him to some of his best playing on record for years. It goes without saying that Douglas is his usual excellent self and the standard of his compositions yet again demonstrate that the trumpeter must now be considered one of the finest of today's jazz composers.
All in all, this is a superb record although fans of Douglas may wish to add the phenomenal "The Infinite" to their collection first. Another fine CD from a musician whose name is a kite mark for quality jazz.

........NNNNNNNNICE!, 22 Mar 2004
Having only recently expanded my musical interests (psyche,metal,rock/fusion,classical) to avant-garde/post-bop jazz I was pleasantly surprised to find some of it, through works such as this, much more approachable and listenable than I had anticipated (compared to other examples of Dave's work I have heard anyway!) Having heard "Catalyst" on a late night BBC show I made it my first "serious" jazz purchase, finding plenty of new things on each hearing. The sound quality on this album is fantastic, and the playing is faultless, spiced up with a bit of electric guitar, great percussion and a few keyboard effects. By the way, folks, there's a lot to be said for picking up an instrument (any) and learning the "nuts and bolts" of music - it sharpens your ear and broadens your mind. Definitely hooked now - glad to join the jazz club!

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Dramatic masterpiece, 30 May 2005
This is Tomasz Stanko's dark, brooding masterpiece. Excellently recorded, there is a cavernous feel to much of the music, no doubt accentuated by the gamut of doom-laden sounds coaxed from Tony Oxley's drum kit.
The disc opens with Oxley producing sounds that sound like clanking chains, shortly followed by Anders Jormin's arco bass evoking the feel of a howling wind whipping around the massive masonry of the "Monastery in the dark." Eventually, Stanko's dramatic trumpet enters, having the presence of a great Shakespearean character. It is no surprise that this music was inspired by a film. Elsewhere, Bobo Stenson demonstrates why he is considered one of the finest piano players in Europe.
As a whole, the record has a mournful feel to it, the only up-tempo track being "Maldoror's War Song" - this itself still being full of menace. At a time when ECM appear to be losing some of their best musicians and recent offerings lack appeal, this CD is a timely reminder of just how original European jazz can be. Listen to the beautiful, fragile ballad "Celina", for example, to see just why the music of Tomasz Stanko is so special.

A very interesting manifestation of early Avant Garde, 20 Nov 2001
This is a very interesting album. Starting with Cherryco, the only original piece in this album, it gives the essence of developing free or, in the words of the title, Avant Garde jazz. The rest of the album consists of three songs by Ornette Coleman and one by Monk. The interpretation is fantastic and Coltrane's magic touch is evident. Cherry's solos are inspiring, more daring in a sense than those of Coltrane. With Charlie Haden on Bass and Ed Blackwell on drums this album is sheer pleasure. I was particularly impressed with Blackwell's cymbal and high hat work with an amazing livelihood blown in by the snare . For one interested mainly in free jazz however, this is the genre in its very early stages. Keep it in mind when you listen.

Superb and Intricate Trio, 04 Nov 2001
Dave Douglas plays in many different settings but this trio is one of the most attractive for straight jazz fans. Each player plays a key role and although Douglas is undoubtedly the star, Shepik on guitar and the extraordinary Black on drums, make this date so special. Douglas has an extraordinary technique and seems to reach perfect notes effortlessly. Apart from jazz, there is a Balkan flavour to this album and a Schubert song even makes an appearance.

Brilliant, 31 Dec 2004
This can been seen as the follow up album to the excellent "The Infinite" in that it features the same quintet with Chris Potter, Uri Caine, James Genus and Clarence Penn. For my money, this is Dave Douglas' best group and whilst this does not quite reach the peaks of the previous album (one of the best jazz CD's of the last 10 years) it still remains a fantastic effort and is boosted by the presence of most of the trakcs by guitar giant Bill Frisell. Indeed, on "The Frisell Dream", Douglas has conjured up a piece that could have been written by his fellow musician.
The incorporation of Frisell into the group does nothing to spoil the balance of the standard quintet who inspire him to some of his best playing on record for years. It goes without saying that Douglas is his usual excellent self and the standard of his compositions yet again demonstrate that the trumpeter must now be considered one of the finest of today's jazz composers.
All in all, this is a superb record although fans of Douglas may wish to add the phenomenal "The Infinite" to their collection first. Another fine CD from a musician whose name is a kite mark for quality jazz.

........NNNNNNNNICE!, 22 Mar 2004
Having only recently expanded my musical interests (psyche,metal,rock/fusion,classical) to avant-garde/post-bop jazz I was pleasantly surprised to find some of it, through works such as this, much more approachable and listenable than I had anticipated (compared to other examples of Dave's work I have heard anyway!) Having heard "Catalyst" on a late night BBC show I made it my first "serious" jazz purchase, finding plenty of new things on each hearing. The sound quality on this album is fantastic, and the playing is faultless, spiced up with a bit of electric guitar, great percussion and a few keyboard effects. By the way, folks, there's a lot to be said for picking up an instrument (any) and learning the "nuts and bolts" of music - it sharpens your ear and broadens your mind. Definitely hooked now - glad to join the jazz club!

Eclectic greatness, 05 Mar 2000
This was a transitional jazz recording for me, it took me from more mainstream be-bop outwards on a wonderful journey. It is not over-poweringly avante garde, but is definitely difficult ... rewarding intent listening. A wonderful vibrant colourful record, usually with a rhythmic pulse, sometimes a little wailing & wild, but still with a lot of swing. It is exactly the kind of album I thought would never be released onto CD ... left forgotten in an analogue world. It is wonderful that it has been remembered. If you like your music a little more complex & demanding than most, try this one. It is fantastic.

Wonderful, 28 Dec 2007
This is a wonderful album.

Stanko's '90's trumpet sound is a little brassier than the current sound with his young Polish Quartet ('Lontano' is the best offering from this group). His long floating lines, punctuated by short stabs of sound is matched brilliantly by the other musicians here - Stenson's lines are elegant but with a harmonic complexity that weaves around the trumpet lines. Jormin's bass lines are taut and similarly elegant, often leading the music in unexpected directions. Oxley's drumming is abstract and creates a metallic soundworld which fits the whole perfectly. This is a real grower of a record - challenging but it reveals new pleasures with each listen.

If you like this, try and find 'Bluish' - a great early '90's trio with Arild Andersen and Jon Christiensen on the Polish label Power Bros records.

Perfect elegy for Stanko's late mother, 09 Feb 2004
The previous reviewer misses the point I think. This album is an elegy to Stanko's late mother & so the sombre mood is entirely appropriate. The openning funeral dirge is heart-rendingly beautiful, & the following tracks investigate different aspects of the composers loss. The group plays with a restrained intensity which at times is almost unbearable. Despite this there is plenty of variety (brought about by Oxley's virtuoso performance mainly) - the quartet has Stanko's grief-stricken trumpet & Oxley's abstract doodlings as two polar extreme with piano & bass drifting between - the effect is mesmerising & very successful. This album is generally considered to be Stanko's best as leader & certainly one of the best jazz albums of the 90's - as close to perfection as you'll get. (And Stanko sounds nothing like Miles - in fact I can't think of a modern trumpeter who sounds less like Miles).

A very unique album with a unique place in music!, 27 Mar 2006
I have owned this album for nearly 6 years now and it still holds the same appeal it did when I bought it. Unlike most other albums that I love, I didn't listen to it to death in the first week and forgot about it. It has just constantly come out often when I am in a particular mood and hits the spot time after time for 6 years.

The blend of the musicians is special. Anders Jormin is a special bassist whose sound is unmistakable and who is as brave as he is constant. Jon Christensen is exactly the drummer you need for this kind of music without clear definition. Then John Surman (on Baritone, a great choice for this blend), the almighty Dino Saluzzi on bandoneon and Tomasz with his special trumpet sound form an unlikely but extremely successful combination that is so unique that it deserves a genre of its own. This music also swings. Argentyna and Farewell to Maria swings hardest to me and everyone's solo is powerful. The introductory melodies are also great. I own more than 600 jazz CDs, this is one of the top 4.

Dramatic masterpiece, 30 May 2005
This is Tomasz Stanko's dark, brooding masterpiece. Excellently recorded, there is a cavernous feel to much of the music, no doubt accentuated by the gamut of doom-laden sounds coaxed from Tony Oxley's drum kit.
The disc opens with Oxley producing sounds that sound like clanking chains, shortly followed by Anders Jormin's arco bass evoking the feel of a howling wind whipping around the massive masonry of the "Monastery in the dark." Eventually, Stanko's dramatic trumpet enters, having the presence of a great Shakespearean character. It is no surprise that this music was inspired by a film. Elsewhere, Bobo Stenson demonstrates why he is considered one of the finest piano players in Europe.
As a whole, the record has a mournful feel to it, the only up-tempo track being "Maldoror's War Song" - this itself still being full of menace. At a time when ECM appear to be losing some of their best musicians and recent offerings lack appeal, this CD is a timely reminder of just how original European jazz can be. Listen to the beautiful, fragile ballad "Celina", for example, to see just why the music of Tomasz Stanko is so special.

A very interesting manifestation of early Avant Garde, 20 Nov 2001
This is a very interesting album. Starting with Cherryco, the only original piece in this album, it gives the essence of developing free or, in the words of the title, Avant Garde jazz. The rest of the album consists of three songs by Ornette Coleman and one by Monk. The interpretation is fantastic and Coltrane's magic touch is evident. Cherry's solos are inspiring, more daring in a sense than those of Coltrane. With Charlie Haden on Bass and Ed Blackwell on drums this album is sheer pleasure. I was particularly impressed with Blackwell's cymbal and high hat work with an amazing livelihood blown in by the snare . For one interested mainly in free jazz however, this is the genre in its very early stages. Keep it in mind when you listen.

Superb and Intricate Trio, 04 Nov 2001
Dave Douglas plays in many different settings but this trio is one of the most attractive for straight jazz fans. Each player plays a key role and although Douglas is undoubtedly the star, Shepik on guitar and the extraordinary Black on drums, make this date so special. Douglas has an extraordinary technique and seems to reach perfect notes effortlessly. Apart from jazz, there is a Balkan flavour to this album and a Schubert song even makes an appearance.

Brilliant, 31 Dec 2004
This can been seen as the follow up album to the excellent "The Infinite" in that it features the same quintet with Chris Potter, Uri Caine, James Genus and Clarence Penn. For my money, this is Dave Douglas' best group and whilst this does not quite reach the peaks of the previous album (one of the best jazz CD's of the last 10 years) it still remains a fantastic effort and is boosted by the presence of most of the trakcs by guitar giant Bill Frisell. Indeed, on "The Frisell Dream", Douglas has conjured up a piece that could have been written by his fellow musician.
The incorporation of Frisell into the group does nothing to spoil the balance of the standard quintet who inspire him to some of his best playing on record for years. It goes without saying that Douglas is his usual excellent self and the standard of his compositions yet again demonstrate that the trumpeter must now be considered one of the finest of today's jazz composers.
All in all, this is a superb record although fans of Douglas may wish to add the phenomenal "The Infinite" to their collection first. Another fine CD from a musician whose name is a kite mark for quality jazz.

........NNNNNNNNICE!, 22 Mar 2004
Having only recently expanded my musical interests (psyche,metal,rock/fusion,classical) to avant-garde/post-bop jazz I was pleasantly surprised to find some of it, through works such as this, much more approachable and listenable than I had anticipated (compared to other examples of Dave's work I have heard anyway!) Having heard "Catalyst" on a late night BBC show I made it my first "serious" jazz purchase, finding plenty of new things on each hearing. The sound quality on this album is fantastic, and the playing is faultless, spiced up with a bit of electric guitar, great percussion and a few keyboard effects. By the way, folks, there's a lot to be said for picking up an instrument (any) and learning the "nuts and bolts" of music - it sharpens your ear and broadens your mind. Definitely hooked now - glad to join the jazz club!

Eclectic greatness, 05 Mar 2000
This was a transitional jazz recording for me, it took me from more mainstream be-bop outwards on a wonderful journey. It is not over-poweringly avante garde, but is definitely difficult ... rewarding intent listening. A wonderful vibrant colourful record, usually with a rhythmic pulse, sometimes a little wailing & wild, but still with a lot of swing. It is exactly the kind of album I thought would never be released onto CD ... left forgotten in an analogue world. It is wonderful that it has been remembered. If you like your music a little more complex & demanding than most, try this one. It is fantastic.

Keep on flowing, keep on living, 08 Dec 2001
Dave Douglas' Charms of the Night Sky' is a wonderful blend of soulful slow jazz describing the waves of the sea, livened up by an energising virtuose solo trumpet. Influences of chipsey tunes brighten up the moody and melodic.
This is a 'feel good in the morning' tape that takes you into its flow and keeps you going for the whole day.
Ideal for lengthy continental breakfasts and brunchs with friends, especially reunions!

This 1988 album has never received the recognition that it deserves. Maybe that is because with Don Cherry re-uniting of Charlie Haden and Billy Higgins from the legendary Ornette Coleman Quartet and James Clay from his early days it was expected that the result would either be cutting edge free jazz or equally biting world music. Instead, Art Deco is a very accessible bebop album, which everybody would recognise as a jazz record with clearly defined tunes. Throughout it Cherry's plaintive trumpet pierces the emotions whilst Clays muscular saxophone beefs up the proceedings. Haden and Higgins are as good as they always are. The quartet play a variety of Don Cherry originals, some standards such "Body And Soul" and a few from the Coleman glory days. Not a typical Cherry album, but one which still shows what a great jazzman he was. And one who never stopped producing fine records. --Phil Brett