Evan Parker/Barry Guy: 'Obliquities' Maya MCD 9501
These are two of the elder statesmen of Improvisation. Their credentials and
compatibility are in no doubt. Evan Parker and Barry Guy have been two of
the leading exponents of this fee mode of expression for many years and their explorations
continue apace.
'Obliquities' represents their most recent duo utterances of a most otherworldly
music, absolutely refined and immediate. Where do these remarkable sounds come from and
what do they mean? Perhaps this is the sound of peering around corners, or arching skyward
ascent. A subterranean crawl, a deepness, a lightness, an ever forward-moving interplay of
bracing energy and excitement. The extended virtuosic techniques of both musicians are now
givens, assured practices which allow their music to travel in many directions at once.
Their vocabulary defined, Parker and Guy revel in an acoustic universe of Saxophone and
Double Bass and spin out endless extensions and permutations of a fundamental dialogue.
Once upon a time this music was deemed 'difficult' by the punters and critics alike. The
music which Evan Parker and Barry Guy play has now become a recogniseable style of
Improvised Music, and to that end it is eminently listenable, while remaining illuminating
and challenging. The internal geometries of 'Obliquities' add an invaluable chapter to
these two musicians' long association and to Improvised Music in general. CONTACT:
MAYA RECORDINGS, BRAMLEYS HOUSE, SHUDY CAMPS, CAMBRIDGE CB1 6RA, U.K.
Reviewed by Matt Krieg
Source: Jazz Notes
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New Releases
John Patitucci "Now"
Concord Records CCD-4806-2 Duration : 70'18" RRP: $30
European bassist John Patitucci first came to prominence in the 80s as a member of both Chick Corea's Electrik and Acoustic Bands following a stint with violinist Stephane Grappelli. Patitucci proved himself to be a master of both the electric and acoustic bass as he soloed effortlessly and accompanied with precision in these varying contexts. In the intervening years, he began releasing a number of recordings under his own name which featured not only his technical prowess, but also his compositional skills.
Recorded in New York City in January of 1998, "Now" features 8 of John's fine contemporary compositions plus two other tunes - Coltane's technique bending "Giant Steps" and the lovely ballad "Search For Peace" by McCoy Tyner. John assembled some of today's top musicians to participate in this excellent recording project. John Scofield on guitar, Bill Stewart, drums join John on most tracks, while Chris Potter and Michael Brecker share the saxophone duties.
The uptempo title track, "Now", features burning solos from Scofield, Potter and Patitucci. This is followed by the slower yet evocative "Grace", which has some fine solos from Sco' and Potter. "Out Of The Mouths Of Babes" is a rhythmically interesting tune for the group to explore. Michael Brecker takes over the sax chair for the sensitive, contemporary ballad, "Hope" and stays for the funky, down-home feel of "Labor Day". "Espresso" is introduced by drummer, Bill Stewart and bubbles brightly along with Potter resuming sax duties. "Forgotton But Not Gone" kicks along in a slow groove with the occassional pensive moment. "Search For Peace" scales the group to a guitar trio as Patitucci leads the group on electric bass for a sensitive reading of this lovely ballad. Coltrane's "Giant Steps" is convincingly tackled by the unlikely duo of bass and drums. The final selection "Miya" features only Patitucci on some haunting electic bass.
An excellent recording by musicians who are able to share in and contribute to Patitucci's current musical vision. For more details on this and other recordings available on the Concord label visit www.aent.com/concord on the internet. Available at all good CD stores.
Reviewed by
Greg Fisher
John Patton Quintet : 'This one's for Ja' DIW-919
featuring: John Patton: organ, Dave Hubbard: tenor sax, Ed Cherry:
guitar, Eddie Gladden: drums, Lawrence Killian: percussion. recorded:
December 1995, N.Y.
Ah! The Hammond B-3 in the hands of a master... what a sweet, sweet sound. Following on
the heels of last year's previous DIW release (the incredible 'Minor Swing' with John Zorn
on absolutely killer alto sax - a definite 'must-have'!) comes 'Big' John Patton's latest
instalment from his band of old and new friends. This is laid-back and relaxed classic B-3
jazz where, in place of Zorn's manic, but inspired bop-derived splatter, comes the
uncomplicated, but effusive, tenor sax of Dave Hubbard, a competent and Rollins-influenced
player who plays through this collection of tunes with aplomb. Guitarist Ed Cherry makes
his mark with a gorgeous, bright tone which just leaps out and grabs you. His comping and
solos are warm and well in the groove. The front line is completed by the Big B-3 man
himself, an old hand on the keyboard who knows that you don't have to rush things to get
where you want to go. His playing sounds great, with brawny, fat chordal sustains which
bring out the full majesty of the Hammond and spiky, bluesy solos which climb gradually to
their peak and carry the tunes forward. About those tunes: Patton provides four of the
eight pieces, with the opener, 'Patand' particularly effective with its' driving
four-square beat and happy, declamatory tenor/ guitar line. Good solos allround: bright
and sunny, the perfect introduction. Perhaps the other most effective original is 'Extensions'
which has a greater sense of urgency and turns out some gutsy blowing from Hubbard.
Patton's appreciation of Coltrane is heard in a straight reading of 'Syeeda's Flute
Song' and Archie Shepp's nostalgic 'Steam' brings lyrical solos from Hubbard,
Patton and Cherry, both tunes signalling Patton's identification with the legacy of his
60's compadres. Further signposts to Patton's heyday are found in fresh renditions of
Grachan Moncur's 'Sonny's back' and Wayne Shorter's 'Children Of The Night',
the appropriate closing theme. There's another tune from Patton's pen which sums up this
session of bonhomie and good vibes, 'No Problem'. It seems to reflect Big John's
obvious pleasure in being back in the studio and putting his excellent music down on tape.
It's great to see him on such good form with another solid outing which lets you know that
he's well-and-truly back to knock you out with some of the authentic sounds of the Hammond
B-3: all part of the instrument's popular revival. Completing the whole package is DIW's
marvellous sturdy, cardboard cases. They're like mini LP's, more square than the jewel box
and capturing the feel and slightly reduced look of the old Blue Note Vinyl. A great
advance for CD presentation. To top it all off, the cover is graced by some terrific
B&W photos of the majestic 'Big' John in action circa 1965, Dig it! A very groovy,
feelgood album. Exclusively distributed by BIRDLAND, 3 Barrack Street, Sydney, 2000
ph: 9299 8527 E-Mail: [email protected]
Web: http://www.magna.com.au/~birdland
Reviewed by Matt Krieg
Source: Adelaide Jazz Scene
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