Ron Magril: Inspired (GleAM Records AM7030)

The organ trio, much like big bands, has never truly disappeared. This observation is particularly relevant today, as there seems to be a resurgence of such ensembles globally. The golden age of this electrified format spanned the 50s and 60s, significantly influenced by Jimmy Smith’s groundbreaking work and the frustrations faced by piano players with out-of-tune instruments—an issue that doesn’t affect the classic Hammond B3.

This trio, led by Israeli guitarist Ron Magril, features organist Yonatan Riklis and drummer Ofri Nehemya. While they don’t break new ground, they will appeal to fans of structured jazz. All eight tracks are original compositions by Magril, engaging enough to keep listeners’ attention throughout the album.

Two titles, Playing For Wes and Another One For Wes, clearly indicate Magril’s influences, yet he avoids any accusations of imitation. Organist Riklis strives to introduce fresh ideas, while Nehemya remains unobtrusive, providing precise accents and fills.

The standout track, Africa, blends straight-ahead swing with 12/8 time interludes, maintaining an energetic flow that distinguishes it from the more predictable offerings.

Alessandro Di Liberto: Punti Di Vista (GleAM Records AM7032)

Sardinian pianist Alessandro Di Liberto presents a 10-track auditory tribute to his cherished island. Often, such projects resonate more with those familiar with the locale’s charm, but the crucial question remains: does the music hold its own?

Di Liberto showcases a diverse range of moods, characterized by shifting tempos delivered with care through his warm keyboard playing, complemented by Laura J Marras (alto saxophone), Sebastiano Dessanay (bass), and Roberto Migioni (drums).

The Italian titles of the tracks reflect a deep appreciation for the location, with the music occasionally veering towards the light but generally maintaining a standard expected from artists from this region of Europe.

Pasquale Grasso: Fervency (Sony Music Master Works G010005042610X)

New York-based, Italian guitarist Pasquale Grasso draws inspiration from the past, notably from pianist Bud Powell, and has a well-documented affinity for music spanning the 30s to the 60s. His classical training occasionally surfaces in his more delicate moments.

On Fervency, he collaborates with longtime associates Ari Roland (bass) and Keith Balla (drums), a partnership that results in a tightly-knit approach to each track, blending familiar and lesser-known pieces. The album opens with Powell’s Sub City, where Grasso feels at ease paying homage to his idol.

Grasso excels on tracks like Milestones (reimagined), Cherokee, Lady Bird, and Little Willie Leaps, all of which showcase his fondness for earlier music. His clean lines, regardless of tempo, are supported by the reliable foundation provided by Roland and Balla.

While the overall feel may seem slightly nostalgic, this likely aligns with Grasso’s artistic intent.

Ella Fitzgerald: The Moment Of Truth – Ella At The Coliseum (Verve 7566419)

This recently discovered live concert from 1967, recorded in Oakland, California, features Ella in exceptional form, accompanied by the Ellington Orchestra, with Jimmy Jones on piano in place of Duke. This performance is part of a larger concert that also included Oscar Peterson and Coleman Hawkins.

The setlist, comprising seven standards and two contemporary hits, suits Fitzgerald beautifully, as do the arrangements that keep her front and center, without interruptions from the band. She delivers powerful performances throughout, with tender moments in You’ve Changed and Alfie, showcasing the sensitivity associated with her long career. The latter and Music To Watch Girls By were better suited to her style than the less fitting Sunny and Sunshine Of Your Love.

Classic numbers like Don’t Be That Way, Bye Bye Blackbird, and Mack The Knife remain timeless, and these renditions hold their own against any from that era. The performance also includes a nod to Louis Armstrong, plenty of scat, and engaging interactions with the audience, making this CD a treasure for fans. A vinyl version is also available.

Blue Jitters: Blue Jitters (Swinguez Moustaches)

Now known as Blue Jitters, this septet performs music from the 1930s while occasionally referencing both earlier and later styles. Based on this album, the group draws inspiration from renowned interpretations by artists like Benny Goodman, John Kirby, Louis Armstrong, and surprisingly, Betty Carter.

This album is primarily easy listening, as the musicians navigate tracks such as Wrap Your Troubles In Dreams, China Boy, Nobody Else But Me, Sweet Georgia Brown, and the more contemporary Splanky, a Basie classic. All eleven tracks feature the charming vocals of Caloe, who also plays violin, alongside Nicolas Almosni on accordion.

The ensemble comprises a trumpeter, saxophonist, guitarist, bassist, and drummer, all of whom adhere to the band’s ethos. While the execution is polite and authentic, it lacks the excitement that characterized the performances of the original artists, despite the band’s efforts to offer a slightly fresh take on these well-loved songs.