Fritz Balwit Archive

Lionel LOUEKE: Close Your Eyes – Newvelle Records

Lionel LOUEKE: Close Your Eyes – Newvelle Records

Lionel LOUEKE: Close Your Eyes – Newvelle Records 015 – 45:46 (June 2018): ****: (Lionel Loueke; guitar, Ruben Rogers;bass, Eric Harland; drums) State of the art vinyl release by Newvelle Records which maintains the high musical standards of its predecessors.  Newvelle Records is in its third season of a unique project of producing new music, released on vinyl only, sold by subscription (only six records per year). These 180 gram LPs come handsomely-packaged with the inclusion of specially commissioned art and oblique literary works, which may or may not relate to the music. Their stated goal is to reconnect the jazz fan to the original thrill of the medium. Part of this may be considered the two-month drama of waiting for the next release. There is something special in unwrapping an LP and watching the dual-fold open with its potent suspense. And how much more rewarding it is to find a product pared down to an essential work of art. There is no plastic, no video-tie ins, no photos, bio, dedications, resumes. In short, there are two pieces of art (credited on cover) and an accompanying literary piece of uncertain description and a single disc of transparent vinyl. Apparently, given […]

J.S. Bach: Sonatas for Flute and Harpsichord – Stephen Schultz, Jory Vinikour – Music and Arts

J.S. Bach: Sonatas for Flute and Harpsichord – Stephen Schultz, Jory Vinikour – Music and Arts

The best performances of these works of the new millenium. J.S. Bach: Sonatas for Flute and Harpsichord – Stephen Schultz (flute) Jory Vinikour (Harpsichord) – Music and Arts 1295 55:18, (3/2/18)  *****: This writer subscribes to the view that the Sonatas BWV 1017-1023 for violin and harpsichord obbligato by Bach are his finest chamber works. A new recording of these by Rachel Barton Pine and Jory Vinikour were recently and favorably reviewed on these pages. It seems only fitting to acknowledge a 2018 recording of pieces that are nearest rivals to these eminent works, the Sonatas for Flute and Harpsichord, BWV 1030-1032, (featuring, as it happens, the same harpsichordist, Jory Vinikour); They are part of the inspired innovation to realize a trio sonata with two instruments by asking of the obbligato accompaniment a division of hands. The left hand merrily chases around the soloist, now in imitative counterpoint and now in extravagant improvisations, each instrument with its own themes, which converse with each other. The left hand soberly performs the work of the basso continuo, carrying along the swiftly-moving harmonic progressions. From a historical perspective, these sonatas were remarkable for the use of the transverse flute as a solo instrument, […]

Peripheral Vision: More Songs About Error and Shame – Step3 

Peripheral Vision: More Songs About Error and Shame – Step3 

Sparkling quartet jazz with brainy energy and inspired open-ended charts. Peripheral Vision: More Songs About Error and Shame – Step3 – 007, 52:40 (2/27/18) ****: (Michael Herring; bass/ Don Scott; guitar/ Nick Fraser; drums/ Trevor Hogg; tenor saxophone) It was the great chess grandmaster and wag, Savielly Tartakower, who remarked with regard to  initial setup of the chessboard “all the mistakes are there, waiting to be made.” Much the same could be said at the beginning of the day (or a life). Nature herself is profligate in failed experiments, which Natural Selection ruthlessly edits out.  As for the individual opossum or human, a mistake (if it doesn’t kill one) provides just as much opportunity for learning as for shame.  The record under review is called More Songs about Error and Shame. The charming cover depicts a graphic schema of humans in various poses of regret and embarrassment. The inner sleeve adds scenarios ranging from the Titanic to a broken window, an overfilled coffee cup, the space station flaming out, missing the trash can with a crumpled wad of paper, or an embarrassing email exchange. It is only February, but I predict this will be my choice for album cover of […]

Edgar Steinitz: Roots Unknown – OA2 Records 

Edgar Steinitz: Roots Unknown – OA2 Records 

A striking meeting of Latin Sephardic traditional music and jazzy Klezmer. Edgar Steinitz: Roots Unknown – OA2 Records –  45:40 (1/19/18) ****½ ; (Edgar Steinitz; clarinets/ Bonnie Birch; accordion/ Jeff Busch; percussion; Julian Smedley; violin, viola/ Wayne Porter; drums/ David Friesen; Hemage bass/ Jay Thomas; flugelhorn, tenor sax, flute, trumpet) By day, jazz clarinetist Edgar Steinitz works as a rehab physiatrist at hospitals in the Tacoma, Washington area. However, for years he has pursued a music vocation on the side. His musical odyssey began in New York City, where he took in the vibrant jazz scene as a youth. He then relocated to the Pacific Northwest where he has practiced medicine for more than 20 years while taking music lessons from David Friesen. Our readers should not assume that this is a vanity recording by a musical amateur, for the playing is accomplished by both the leader and his more well-known associates. The concept of Roots Unknown is unusual: a tribute to an exotic musical and cultural tradition that derives from the Sephardic Jewish Diaspora in South America. There is an ample serving of more recognizable Klezmer inflected music, in which accordion and violin set the stage for fervent clarinet […]