album review
Jazz Legacy
Release date: August 11th 2009
Availability: CD, MP3 Download
Back in 1947 Jimmy Heath formed one of his earliest bands – one that featured John Coltrane as a sideman. He played with Charlie Parker and could play his riffs so well that he became known for awhile as 'Little Bird'. Perhaps to escape that tag, he switched from alto to tenor sax (and lately soprano sax) where he has largely stayed to this day.
On the way, he has recorded and performed with Miles Davis, Kenny Dorham, Milt Jackson, Clifford Brown, Freddie Hubbard, Nat Adderley, Sam Jones, Donald Byrd, Grant Green, Sonny Rollins, Duke Ellington and Pat Metheny amongst many others. He has published over 120 compositions and made countless arrangements for small groups and big bands alike. At age 82, 'Endurance' is his 'comeback' album after eleven years as Professor of Music at the Aaron Copland School of Music at Queens College.
Jimmy Heath
He is joined by his brother Albert 'Tootie' Heath on drums who, together with now departed bass player brother, Percy, had performed and recorded with Jimmy as The Heath Brothers over many decades. The band is completed by Jeb Patton (piano) and David Wong (bass) with Claudio Roditi (shaker) on one track.
It is difficult not to overstate the accomplishment of this album with its many stand-out tracks.
The playing on "Ballad of Leadership Suite", for example, is exquisite and fully reminiscent of John Coltrane on tracks such as "Naima" or "After The Rain".
"Wall To Wall" and "Two Tees" are upbeat, city slick, swinging, straight ahead jazz at its best.
When Jimmy Heath takes up soprano sax on "Dusk In The City" and on "From A Lonely Bass", the results are just as impressive.
A fine album.
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album review
Concord
Release date: August 4th 2009
Availability: CD, MP3 Download
With 'Way Out West', Sonny Rollins defined the pianoless saxophone trio. Joshua Redman recently explored the formula with great success in his 2007 album "Back East". Now, teaming with Joe Lovano on tenor sax, ace bassist John Patitucci explores the form. The difference, of course, is that the musical perspective is now from the point of view of the bassist rather than the sax player.
'Remembrance' delivers an ambitious programme of eleven compositions by John Patitucci, most aiming at recalling the importance of jazz greats that have influenced him and the music in general. Though composed, there is a strong open improvisational feel as the three principals (John Patitucci and Joe Lovano are joined by the always worth listening to Brian Blake on drums) freely interact with each other.
Photo credit: Lisa Stein
The musical references come thick and fast – 'Monk/Trane' is a reworking of the chord structure to 'Giant Steps'; 'Messaien's Gumbo' is a take on classical composer Olivier Messaien meets John Scofield; 'Sonny Side' directly recalls 'Way Out West'; 'Blues for Freddie' pays tribute to recently departed Freddie Hubbard; ' Joe Hen' recaptures Joe Henderson's vibrant influence; 'Play Ball' is for the enduring influence of bassist Ray Brown; the final short title track employing doubled electric basses is a dedication to Michael Brecker.
What delivers added depth is John Patitucci's use not only of acoustic bass but also 6-string electric bass, 6-string electric piccolo bass and arco bass quartet. This introduces funk elements as in 'Mali' and Pat Metheny influenced colorings as in 'Meditations'. 'Scenes From An Opera', where Sachi Patitucci joins on cello and Joe Lovano takes up alto clarinet, is contemplative, atmospheric and engrossing. Its sudden ending calls for a more extended future elaboration on the possibilities discovered.
Additional percussion is by Rogerio Boccato.
Recommended.
You can hear streaming audio of two of the tracks here: Messaien's Gumbo and Scenes From An Opera
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Our review of Joshua Redman "Back East"
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album review
Jazz Eyes
Release date: March 2nd 2009
Availability: CD, MP3 Download
This double CD of the Seamus Blake quartet recorded live on a tour of Italy in 2007 is one of the most vibrant albums of the year. The partnership with David Kikoski that featured on the Concord release 'Way Out Willy' of the same year has been retained but there is no guitar seat and the bass and drums slots have been changed so that the band is now: - Seamus Blake (tenor sax), David Kikoski (piano), Danton Boller (bass), Rodney Green (drums).
Three of the Seamus Blake compositions from 'Way Out Willy' – the title track, "The Jupiter Line" and "Fear Of Roaming" – appear on the live album in extended versions. There is also the David Kikoski original "Spacing". The playing on these cuts is exceptional with both Seamus Blake and David Kikoski delivering some of their best recorded performances. Breathtaking, inventive runs deliver full value in the extended space of the live performances.
Don't be concerned about Seamus Blake's occasional use of electronic effects in his sax playing. It is a feature of the track "Way Out Willy" where the mirroring of a wah-wah pedal guitar sound is appropriate to the upbeat jollity of the tune. Elsewhere, he uses the effects very sparingly, for example on the opener "The Jupiter Line", to suggest some additional texture. That's it, really; the remainder of the almost two hours of music is full on acoustic sax.
The non-original material is full of interest. There are wonderful interpretations of Duke Ellington's "The Meaning of Jazz" and of the Van Huesen/DeLange standard "Darn That Dream". The Brazilian composer Djavan's "Ladeirinha" is also featured, as is a long and moody take on the second movement of Claude Debussey's "String Quartet in G Minor".
The disc ends with a rollicking take on John Scofield's "Dance Me Home".
Danton Boller on bass and Rodney Green on drums combine well with the two principals to showcase a tight, inventive band that is clearly relishing the opportunities presented of honing their sound and performance on the tour.
A clear candidate for best jazz album of the year.
(Check out the very competitive price of the MP3 version – an out and out bargain for jazz of this quality and scope).
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