Jazz in Review 

Toshiko Akiyoshi, who began her career as a jazz pianist in post-war Japan, found inspiration for her latest work during a visit to the Hiroshima Memorial Museum. Among the horrific post-bomb photographs, Akiyoshi found one of a woman with "eyes full of hope" that moved her to compose this sweeping, three-part suite. Recorded live in Hiroshima on the anniversary of the dropping of the atomic bomb, this is a big-band masterpiece that brilliantly balances swinging rhythm and delicately-voiced horns. Akiyoshi creates a graceful musical landscape where several talented soloists romp. Especially impressive is Lew Tabackin, who delivers a number of impassioned improvisations on both tenor sax and flute, adding further depth to Akiyoshi's poignant arrangements.

Jane Ira Bloom
Chasing Paint
Arabesque

Soprano saxophonist Bloom draws inspiration from the paintings of Jackson Pollock for this song cycle, calling the process that led to the creation of these intriguing soundscapes "chasing paint." The allusion works well in this aesthetic movement from Pollock's visual to Bloom's audio art, with Bloom creating a series of striking tunes that beg for closer analysis. Given Pollock's influence, it's not surprising that these tunes are somewhat abstract. Yet they are also accessible and affective, making this a strikingly original and satisfying work.

Paul Desmond and Gerry Mulligan
Two of a Mind [Original Recording Remastered]
RCA Bluebird

Baritone sax master Mulligan and alto sax wizard Desmond prove themselves to be musical soulmates on this aptly titled 1962 session. Desmond's soft alto style is unmistakable (the Brubeck quartet reedman was famous for saying that he wanted his sax to sound like "a dry martini"), and he's paired beautifully with the supple, yet muscular depth of Mulligan's baritone. Gently swinging throughout, this pleasant and rewarding outing is enhanced by a half-hour of previously unissued cuts, including a blues number with guitarist Jim Hall.

Dave Douglas
Freak In
RCA Bluebird

Freak In is a tastefully eclectic and electric outing from trumpeter Douglas. Using modern synthesized effects and tape loops, Douglas updates the dense, electronic sound pioneered by iconic stylist Miles Davis in the early 70s. He intensifies the sonic stew with the occasional horn chart, some dazzling guitar work from Marc Ribot, and Joey Baron's inspired drumming. You'll hear hints of flamenco, some boppish solos, and a bit of India underneath, thanks to Karsh Kale's tabla. Weaving in and above the whole array are Douglas' inventive and challenging solos, which effortlessly run the gamut from blistering fusillades to muted, evocative gems.

Bill Frisell
The Intercontinentals
Nonesuch

The artistic depth of Bill Frisell is one of the ongoing marvels of modern music. He has merged his lilting, slightly ethereal, and instantly recognizable guitar style with a variety of musical genres, with each foray resulting in a recording that pays homage to various influences while remaining uniquely Frisellian. Given the title of his latest effort, it's not surprising to discover that Frisell casts his gaze abroad for musicians and musical influences on The Intercontinentals. Varied and distinct world flavors come from a mixture of international musicians, including Brazilian guitarist and vocalist Vinicius Cantuaria, Macedonian musician Christos Govetas on oud, bouzouki, and vocals, and Mali multi- percussionist Sidiki Camara. Also on board is Frisell's longtime associate Greg Leisz on slide and steel guitars. Influences blend under the magic spell of Frisell's fretwork, with each individual musician adding a distinctive air to the intoxicatingly deep musical mix. Whether it's the percussion of Camara and Cantuaria underscoring Frisell and Leisz's interwoven guitars, or Govetas' lyrical oud, or Cantuaria's singing on his original "Perritos," this is an extraordinary work. It's the kind of unique and appealing material we've come to expect from Frisell. The beauty is, he rarely disappoints.

Patrick Zimmerli & Octurn
The Book of Hours
Songlines

Saxophonist/composer Zimmerli's Book of Hours is a suite loosely based on the Christian monastic tradition of a daily prayer cycle. Beginning with "Dawn" (or "Lauds") and ending with "Sleep" (or "Matins"), Zimmerli's suite draws upon the daily patterns of monastic prayer and life, interspersed with a series of thematically linked interludes loosely based on Coltrane's A Love Supreme. Scored for five horns, piano, guitar, two basses, and two drums, The Book of Hours is a beautiful musical exploration of life and contemplation, alternately bursting with brightly arranged horn sections and quietly meditative passages, always brimming with either a simmering or whispering energy. In concept and execution, Zimmerli has delivered a fine work that is Ellingtonian in scope and delivery.