DownBeat November 2006 [antikvár]

For his third project as leader, versatile composer, arranger, and pianist MIKE H0L08ER returns to the small group format, joined by guitarist WOLFGANG MUTHSPiEL, bassist JOHN PATITUCCI, drummer BRIAN BLADE, and saxophonist TIM RIES for a set of new compositions, bold improvisation, and a fresh take on familiar tunes.realuring Holober's arrangemenl of lennon t McCjrtney's "Blackbird"BORDERS. iTuneskM PiUC'ivl WiaOmnalso avail3ble:Mike Holober with Wolfgang Muthspiel, Scott Colley, Brian Blade, and Tim RiesMifte Holober and The Gotham Jazz Orchestra::5Se^mmmission project^TMertng creativity througbJHMlMteca Mngtng studeiTts togettier witfi compostrs and performirijHegdnitticofg artists recordingswww.sonsoTsound.comUrjWNBCAT IJovftr.h.-f ,'(ir)(,First TakeOf Genres And GenerationsBy Jason KoranskyI ho hip-hop goncraiion mccis j;i//. It's a subjcct we've written about in these pages before, and with this issue featuring Christiuii McBride. Ahmir "'.'uestjove" Thompson and DJ Logic on tlie cover, it's a topic that we're delving into once again. We're shining tiie sjx)tlight on three artists, each of wliom is in his mid 30s. in three stories about how the demarcations between jazz and other genres continue to get blurred by creative artists.Sure. McBride is still a first-call straightahead acoustic bassist, a direct descendent from Ray Brown. He tours the world with the Pat Metheny Trio, appears on album after album as a rock-solid rhythmic backbone and is active in jazz education. But increasingly, the groups he leads such as the Christian McBride Band and A Christian McBride Situation are plugging in and exploring the confluence of jiizz. funk, hip-hop and rb.DJ Logic has discovered a way to make the turntables work in improvised music, essentially using his instrument as a piece of percussion with his own group as well as with the likes of McBride and Medeski Martin & Wood. ?uest-love. as the dmmmer in the hip-hop group The Rwts. has provided some of the most innovative beats in music over the past decade, many of which have inlluenced young jazz dmmmers.McBride. '?ucstlove and Logic iircn't splitting from jazz traditions. Rather, they're following die path of so many artists before them: creating new platforms for improvisation by using the musical ideas of their generation to augment what was previously laid down, thereby pumping fre.sh. innovative ideas into music.This past summer's festival season offered examples of this generational divide in jazz. Tiike Ihc Monterey Jazz Festival presented by Veri/on, wliich ran Sept. 15-17. Shows in the Fairgi'ounils featured anists such as the Robert Glasper Trio. Uri Caine & Bedrock. Richard Bona. Taylor Eigsti Quartet. Iliiomi. Eldar. Lionel l.ouekc Trio and the Aaron Goldberg 'IVio, These were not exactly lunisehokl names for the casual jazz fan: in fact, while at the fe.sti-val. I lalkeil to sever.il altemlees alxnil how they were discovering new music hy checking out yoiingci ai lists (hat ihcy had never he.irti of. And whal (lid lliey liml.' I'lenly of new grooves.unique concepts on the dynamics of a jazz group (and some duds) ajid impressive improv chops. An older audience was exposed to new music.On the main Jimmy Lyons Stage the older generation was featured, including the likes ofOJ Logic llsttl. ?uestlove and Christian McBride: generations! innovations"V-McCoy Tyner. Charles Lloyd and the Sunday night show feaniring the Dave Brubeck Quartet ^ and Oscar Peterson. The days when such star . power can exist on one stage at a jazz festival are numbered. Brubeck played for close to uvo hours. He opened with an hour of standards such as "Stomiy Weather" and "On The Sunny Side Of The Street." then segued into his newly penned jazz opera, "Cannery Row Suite." which featured Robena Gambiuini. Kurt Elling and a chorus. He was stately on stage, playing less piano than I had beard him play just a few years ago, but his spirit and love for the music wxs contagious.I ciuinot imagine Peterson pcrfonning much longer, ;u> his playing was only a shell of its piist virtuosity. At Montei^y he nirely used his left hand, and seemed to gel lost in the contmes of his quartet. He stiuied and stopped a couple of times on "When Summer Conies" bccause he heard some feedback in bis monitors, and told die same joke to open and stan the song. SiilK there were son^e sparks of his pitst playing. ;uid the audience loved the show, giving him a standing ovation. It was a chance lo ivlleci in the ikv-talgia of a past era, and to thank him for the music he's offeivd over motv than ve;irs.After all, he's a star. Bin each gcneralion Ikls t

Termékadatok

Cím: DownBeat November 2006 [antikvár]

Szerző: Curtis Fuller D. D. Jackson

Kiadó: Maher Publications

Megjelenés: 2006. január 01.

Kötés: Ragasztott papírkötés

Méret: 210 mm x 280 mm

Curtis Fuller művei

D. D. Jackson művei

Bolti készlet  

Amennyiben az Ön által választott könyvesbolt neve mellett 1-5 szerepel, kérjük kattintson a bolt nevére, majd a megjelenő elérhetőségeken érdeklődjön a készletről és foglalja le a könyvet.

Baja, Family Center Líra Könyvesbolt

1-5

Baja, Family Center Líra Könyvesbolt

1-5

Baja, Family Center Líra Könyvesbolt

1-5

Baja, Family Center Líra Könyvesbolt

1-5

Vélemény: