Aaron Diehl is at the beginning from Columbus, Ohio, began enjoying piano while he used to be seven years antique and hasn’t ever appeared again. He used to be named “remarkable soloist” on the Jazz at Lincoln Middle’s “Necessarily Ellington” festival in 2002, used to be picked up through Wynton Marsalis’ for his Septet for his or her Ecu excursion in 2003 and graduated Julliard in 2007. He has studied with grasp pianist Kenny Barron and has labored so much particularly with the nice singer Cecile McLorin Savant, Warren Wolfe, drummer Matt Wilson and vibraphonist Warren Wolf. In 2013 he used to be known through the Jazz Newshounds Affiliation with their absolute best “Up and Coming Artist” award.

So it will have to be no wonder that at age thirty, Diehl is entering his personal as a composer and participant. His so much contemporary free up Area and Time Continuum is a working example. The album options 8 songs, all however of them Diehl compositions. Each and every a examine in Diehl’s solution to be together with the canon whilst on the similar time transcending it. This is a completely relaxing album from an artist that keeps to wonder.

The hole name “Uranus” is a Walter Bishop Jr. composition that may be steeped within the arduous bop custom. Diehl is joined via his pliant rhythm component of David Wong on bass and Quincy Davis on drums. The hole is exact and jaunty with Davis’ drums and cymbals punctuating with a bit of luck and Wong’s solo heat and buoyant. While the crowd freely swings it is a excitement to behold. Diehl is a participant of uncommon fluidity and consummate readability. His notes are fleet, however now not rushed and his concepts are considerate and unique.

At the marvelously evocative “The Steadfast Titan” the movie noir temper is about with a quivering bowed bass and piano advent that units the level completely for the bellowing baritone of Joe Temperley. The 80 5 yr antique Temperley changed Harry Carney within the baritone seat in Duke Ellington’s Orchestra and now is living within the Jazz at Lincoln Middle Orchestra. The moody tone of his horn together with the deft writing of Diehl is simply natural magic. That is jazz at its absolute best. The track may just simply be perplexed with a Mancini rating for a detective film.

Diehl’s compositional acumen is on show together with his homage to the Again to the Long run trilogy “Flux Capacitor.” This completely up to date music is juxtaposed properly with the uncannily impressed breathy saxophone sound of visitor soloist Stephen Riley on tenor. Riley’s superbly heat and reedy tone is harking back to Getz or Webster.

“Natural End result” used to be written with visitor saxophonist Benny Golson in thoughts. The 80-seven yr antique Golson is an establishment onto himself and Diehl’s composition options him and trumpeter Bruce Harris in a candy tandem walk on the beginning. Diehl’s first solo is an indirect affair with Monkish parts. Golson’s solo is unmistakable in its heat and style-now not probing such a lot as with a bit of luck best the best way. All of the ensemble is in its component in this prolonged suite, Wong’s bass and Davis’ drums prominently dealing with the heart beat during.

Diehl takes the listener on a luscious, semi-classical experience with “Kat’s Dance” composed by way of Adam Birnbaum. Ethan Iverson’s liner notes defined Diehl’s association of the composition as a 6/four Bolero. Diehl’s piano is the very best counterpoint to the hushed, whispered tone of Stephen Riley’s saxophone. The 2 dance in the course of the piece with an understated magnificence that mesmerizes. Iverson indicates it is the very best “track to have a martini to.” I utterly agree.

“Santa Maria” open the with a mournful bowed bass solo over which Davis tastefully layers accents of shimmering cymbals and muffled toms. The track morphs right into a extra conventional strolling bass line pushed, Spanish motivated vamp the place Diehl presentations his skill to switch the tone of his piano voicings to conform to the converting feeling of his association-a fantastic demonstration of a refined, in sync trio.

Diehl’s facility at the keyboard is on complete show at the romping, Tatumesque “Broadway Boogie Woogie,” a minute testomony to unrestrained burning. The trio executes with equivalent aplomb making it glance all too simple.

The last music is the album’s name “Area and Time Continuum” with vocals via Charnee Wade and lyrics via Diehl’s family member Cecile McLorin Savant. Diehl’s lone somber piano chords result in Wade’s melancholic c voice which has a resonant timbre that she offers in a languishing cry that drips with emotion. After the mournful dirge has run its path, Diehl u.s.a.the pace in a lively 4/ 4 vamp that introduces alternating solos through Harris’ on muted trumpet and a restricted Golson on tenor. Wade introduces a few scat that interweaves with the 2 horns to the coda in a loose swinging finale.

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