As we approach the end of a quarter of the 21st century, music trends are changing rapidly, and of course, new talents are emerging one after another in jazz. It is as if, in response to the advancement of informatization, unknown sounds that transcend genres and national borders are being produced. Let’s focus on some excellent players of the new generation who are expected to be very active in 2025.
#277 New Sounds of Jazz Piano
SANKOFA / Amaro Freitas
(Far out recordings FARO225 LP)
This is a 2021 trio album by Brazilian pianist Amaro Freitas, who came to Japan twice last year and attracted great attention. His performances, which freely transcend the boundaries of music, including not only his roots in Brazilian folk music and Africa, but also, pop, classical and all other types of music, have a mysterious sound never heard in jazz before. The complex and somewhat elusive rhythmic patterns and the improvisations performed with repeated rhythmic phrases seem like an extension of minimal music. However, they are not inorganic and exude an excitement that, while rooted in tradition, aims for exciting heights.
The well-coordinated combination with Jean Elton (b) and Hugo Medeiros (ds), the trio’s original members, creates bold and thrilling developments. The note “Sankofa is dedicated to the memory of Chick Corea” reflects the great inspiration he received from Chick and Amaro’s confidence that he could successfully express himself as he wished. The new 2024 album “Y’Y” with various guests was also in the running to be introduced. Still, first, I would like you to listen to this trio album, which exudes Amaro’s pianistic personality.
#278 Emmet Cohen’s Renditions Traversing Traditions
VIBE PROVIDER / Emmet Cohen
(Mack avenue ⇒ King International KKJ-246)
Listening to Emmett Cohen’s piano, one feels like playing in a fantasy world of freedom, moving effortlessly back and forth through more than a century of jazz piano history. Emmett uses tradition as a hidden taste to deliver vivid today’s jazz with dazzling technique. Born in Miami in 1990, Emmett has played at the forefront of New York’s music scene. In the spring of 2020, when the COVID-19 pandemic began, he started live streaming under the name “Live from Emmet’s Place,” which garnered record-breaking views.
This album focuses on the trio’s performances, but Bruce Harris (tp) and Tivon Pennicott (ts), who often joined the streams, also appear on three tracks. The contents of the album are, so to speak, one step beyond the streams. The album features a well-balanced lineup of originals, including ＜Lion Song,＞ dedicated to Willie “the Lion” Smith, a stride piano virtuoso active since the 1920s, and well-known standards. It is also a pleasant surprise to see such standard numbers as ＜Surrey with The Fringe on Top＞ and ＜Time on My Hands＞ performed with subtle arrangements and in new inventive manners.
#279 “All-star Quintet” that Intoxicates Us with Sounds of Contemporary Jazz
motion I / OUT OF/INTO
(Bluenote ⇒ UCCQ-1215)
To mark last year’s 85th anniversary of Blue Note Records, musicians representing Blue Note today gathered together. The band “Out of/Into” has the character of an up-and-coming “all-star quintet,” so to speak. The leaders, Gerald Clayton (piano), Matt Brewer (bass), and Kendrick Scott (drums), are not young, and each has been active at the forefront of their respective fields since the beginning of the century. Immanuel Wilkins, who stands at the front, is a 27-year-old talented musician who moved from Philadelphia to New York 10 years ago to study at The Juilliard School. He has released three leader albums on Blue Note, starting with “Omega” in 2020. Joel Ross, who plays the vibraphone, is 29 years old. He has released four albums from Blue Note, starting with “KingMaker” in 2019, and two of them (#79、#190) have already been introduced in this column.
As drummer Kendrick Scott says, “‘Out Of/Into’ reflects the evolution of the Blue Note story, and of our sound,” the band members’ strong will to create a new sound of jazz for the future while maintaining the spirit of Blue Note in the past, is evident. And somewhere, you can sense the atmosphere of Thelonious Monk, Eric Dolphy, Wayne Shorter, and others. While each member asserts themselves strongly, the band has a unified groove, probably because they all have a strong stance toward the future. The numbers played are all originals brought by the band members. In ＜Ofafrii,＞ a twisted theme line is followed by a relay of extremely unique solos. ＜Second Day＞ is a dignified ballad that doesn’t get carried away with sweetness. This album offers intoxicating sounds of fresh contemporary jazz, including ＜Synchrony,＞ which features Joel Ross’s exciting vibe.
About the Author
Masamichi Okazaki
Surrounded by various kinds of music from his childhood, Masamichi Okazaki joined Waseda University Modern Jazz Club. He started contributing articles to music magazines when he was a student. He covers wide range of music not only trad, modern and contemporary jazz, but also from pops to classics. He writes liner notes for CDs and LPs, and is a regular contributor to “JAZZ JAPAN,” “STEREO,” and others. He joined a big band, “Shiny Stockings,” as a saxophone player. He is a director of The Music Pen Club Japan (MPCJ).
