| | Jason Moran Modernistic CD Jason Moran Discography of CDs
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Piano virtuoso Jason Moran has made a stunning artistic statement with MODERNISTIC. While Moran's BLACK STARS (featuring the great avant-garde saxophonist Sam Rivers) and THE BANDWAGON (a live outing) find him playing ably with a crack team of musicians, MODERNISTIC is pure solo piano. Aside from having prodigious technical skills (he employs dense flourishes, exquisite sensitivity to space, and punk-styled aggression), Moran has an all-encompassing imagination, as evidenced by the album's staggeringly eclectic set list.
The opener, a treatment of James P. Johnson's "You've Got to Be Modernistic," seems to be almost tongue-in-cheek at first. Yet Moran speaks through Johnson's stride innovations, illustrating that the future of music is always built upon its past. (Similarly, Moran gives a gorgeous reading of Robert Schumann's "Auf Einer Burg" here.) Yet Moran is equally committed to contemporary sounds, employing a hip-hop beat in a version of Afrika Bambaataa's "Planet Rock," and venturing into breathtaking abstractions in Muhal Richard Abrams's "Time into Space into Time." Moran's own compositions measure up to his covers in their elegance and invention, fleshing out this manifesto of personal artistry. If the early 21st century has any equivalent to the likes of Bud Powell, Thelonious Monk, and Bill Evans, Jason Moran is it.
notes by Alicia Hall.
Recorded at Systems Two, New York, New York on April 12, 2002. Includes liner
Solo performer: Jason Moran (piano, mini piano).Entertainment Weekly (9/27/02, p.87) - "...Dazzling..." - Rating: A
JazzTimes (9/02, p.109) - "...Harmonic colors and melodic ingenuity. It's a daring experiment, but Moran has the boundless imagination and technical facility to pull it off..." Jason Moran Modernistic Songs Purchase Modernistic CD To buy, Click on price to add to cart | Joe Lovano I'm All For You CD (2004)
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Joe Lovano's big-toned tenor saxophone (think John Coltrane in the '50s, or Sonny Rollins, as reference points) has graced many diverse jazz contexts. From soul-jazz (Lonnie Smith) to straight-ahead big band (Woody Herman, Mel Lewis) to freer, edgier situations (Paul Motian), the adaptable Lovano has excelled in all these while remaining true to himself. In his career as a leader, Lovano rarely repeats himself: ...
| | Dave Holland Overtime CD (2005)
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This exceptional date by Dave Holland Big Band was recorded in 2002 in New York, yet remained unreleased until 2005. As is to be expected, Holland assembled a fine cast of seasoned and young players, some of whom are veterans of Holland's quintets and quartets. These are four saxophones -- two alto, tenor and baritone -- three trumpets and trombones, and vibes as well as bass and drums. They include Chris Potter and Robin and Duane Eubanks, Antonio Hart, Steve Nelson, Josh Roseman, Billy Kilson, Taylor Haskins, Gary Smulyan, Jonathan Arons and Alex Sipiagin. The music centers around the opening four-part "Monterey Suite," a tour de force commissioned by the Monterey Jazz Festival and originally performed there in 2001. ...
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| | Satantango DVDs (1994) Widescreen; Black & White; Subtitled
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| | Anita O'Day Rules Of The Road CD (1993)
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This CD should not have been released. Anita O'Day at age 73 had no voice left. The backup group (a big band led by Jack Sheldon) is excellent and the arrangements by Buddy Bregman (with the exception of a corny interpretation of "Shaking the Blues Away") are fine, but the ambitious program is sunk by O'Day's wavering voice, which is out of tune more often than not. Jack Sheldon's trumpet solos (and participation in a vocal with O'Day on "I Told Ya I Love Ya, Now Get Out") are the only highlights of this unfortunate effort. ~ Scott Yanow
This '93 session reunites O'Day with a big band for the first time in many years and also with Buddy Bregman, who produced her first Verve recording (the label's debut) in 1956. Her voice has deepened and perhaps lost some range and sheen in the upper register, but otherwise she is as fine a stylist as ever. O'Day's timing, pacing, and delivery on these 14 numbers are impressive; she builds tension, lets the band fill in the spaces and knows which lyrics to punctuate, stretch, or caress. Bregman's arrangements keep the band in the forefront without compromising O'Day's vocals. This may be conservative material, but it is done in a youthful, vibrant ...
| | Rowallan Consort Notes Of Noy Notes Of Joy CD (1995) (Import) United Kingdom
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| | Larry Carlton No Substitutions: Live In Osaka CD (2001)
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Lighting-fast phrases, spectacular solos, and soothing statements abound in this first ever "live" collaboration by two guitar icons. Larry Carlton on the left side and Steve Lukather on the right side are astounding on No Substitutions: Live in Osaka. This was the first recorded onstage collaboration of the guitarists, even though they had met nearly 25 years before performing in a club environment, and their first-take energy comes through loud and clear. Joined by drummer Gregg Bissonette, keyboardist Rick Jackson, and bassist Chris Kent, the award-winning guitarists perform a no-holds-barred set on five extended tunes that range from a 14-minute version of Jeff Beck's "The Pump" to the legendary Miles Davis tune "All Blues" and Carlton's signature piece, "Room 335." The tremendous interaction between Carlton and Lukather works extremely well on "All Blues," their frets working together in melodic harmony while displaying their original musical personalities. Amplified rock licks bring this song to another level that is devoid of any riffs in vogue on the jazz scene. However, Carlton and Lukather do remain true to the song's original series of five scales, and each solos until they've completed the series. This is one awesome blowing date and is highly recommended for all true rock and fusion fans whether you were there or not. ~ Paula Edelstein
One of the more underrated guitarists in rock is Steve Lukather. Best known for his work with Toto, Lukather is a highly sought-after session player, having played on countless albums by other artists, and has no problem adapting his playing to a wide variety of different styles. Lukather also finds the time to sporadically issue his own solo albums, and in 2003, he issued a live collaboration with fellow session guitarist Larry Carlton, No Substitutions: ...
| | Brian Eno Here Come The Warm Jets CD (1974) Japan; Mini LP Sleeve
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Japanese limited edition in an LP-style slipcase, retransferred by Simon Heyworth from the original analogue masters using the best technology available.
By the time Brian Eno left Roxy Music and came to record this masterpiece of a debut in 1973, he already held in his grasp the raw tools to revolutionize popular music. HERE COME THE WARM JETS is bathed in his singular pop-with-a-wink aesthetic and free-associative imagination. Whether on the four-on-the-floor pre-punk stomp of "Needles In The Camel's Eye" or the Spector/VU trad-rock-ism of "Cindy Tells Me," the album displays an unabashed love of quirky, catchy pop. Macabre lyrics often subvert the melodies, a feature fully expressed on "Baby's On Fire," where the singer's cheeky vocals exaggerate the theme's comic ...
| | Electroslashdisco: '80S Underground Dancefloor Sounds Vol. 1 CD (2006)
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| | LO LIFE THUGS Maryland's Finest: The Movie CD (2004)
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