Martin Bejerano - Evolution/Revolution CD

Evolution/Revolution album for sale Bradley's was a legendary New York City jazz club that for 25 years acted as a gathering place for many of the Big Apple's top musicians, a place to hang out. In 1996, the Kenny Barron Trio dug in before the illustrious audience and played at their best. Barron and drummer Ben Riley were members of Sphere, a quartet (with tenor saxophonist Charlie Rouse and bassist Buster Williams) that initially paid tribute to Thelonious Monk. On this trio set, "The Only One" is based on Monk's "Hackensack," Barron takes Thelonious' "Shuffle Boil" as an unaccompanied piano solo, and the threesome jams on "Well You Needn't." The other two songs, the standard "You Don't Know What Love Is" and Barron's "Twilight Song," are not connected to the pianist-composer but are excellent examples of the trio's close interplay and ability to think as one. Barron, bassist Ray Drummond, and Riley had already had a long history together, in groups with Bill Barron, Stan Getz, and Gary Bartz in addition to being independent. The familiarity shows, as does their desire to avoid being predictable. The results are ...

Evolution/Revolution songs Phil Woods/Phil Woods Quintet: Phil Woods; Steve Gilmore (bass instrument); Bill Charlap, Bill Goodwin, Brian Lynch. Phil Woods, the great American saxophonist, has been featured in more diverse settings than almost anyone in the history of the music. His constant challenging of himself as a player, bandleader, and composer has been admirable since his debut set as a leader. While standards sets these days are not only a dime a dozen but mostly cop-outs from established artists and newcomers who either lost or never had the chops to execute them with any aesthetic imprint, let alone the one they deserve, septuagenarian Woods breathes life into ten of these tunes, and reinvents them both as harmonic structures and as tools for swing. With trumpeter Brian Lynch, pianist Bill Charlap (a fine leader in his own right), bassist Steve Gilmore, and Billy Goodwin on drums, Woods takes on "Foggy Day" as if it were a new tune. The same goes for the age-old jazz ballad of choice "All the Things You Are," on which Charlap sets the course for a wondrous take with the ensemble playing together as if they co-wrote the tune. Lynch's muted trumpet is a natural choice, but Charlap's extrapolation on the chord voicings and Woods playing the middle-low register of his horn and easing out with a sense of phrasing akin to Paul Desmond's. The front-line interplay on "I've Got You Under My Skin," is simply gorgeous, especially when Woods takes his second solo break and Lynch slips back in behind the beat. One can hear the entire history of the alto as a solo instrument in this tune. And if you are about to groan at seeing the nugget "Summertime" in this set, just take a listen to the Latin backbeat that this tune builds on, where blues, son and samba all meet, and Woods' clarinet playing when juxtaposed against Lynch's mute is simply out of this world. One wonders how anyone ever played it differently. The joint closes with "Right as the Rain," a near pastoral tune, except the shimmering horn interplay brings it right down into the blues again. The fills Charlap plays around the front line are simple, elegant, spare, and attention grabbing. This is one for the summer of 2006, and offers a fine view of what Woods and his crew are capable of when faced with the daunting task of reinventing standards. ~ Thom Jurek For Phil Woods, this album represents, as he puts it, "coming back to the great American songbook. I've been training for it my whole life. Many of my other albums have focused on obscure pieces by Duke Ellington and Oliver Nelson, my originals; and blow Personnel: Phil Woods (clarinet, saxophone); Brian Lynch (trumpet); Bill Charlap (piano); Bill Goodwin (drums). Liner Note Author: Nat Hentoff. Recording information: Avatar Recording Studios, NY (2002). Photographer: Jimmy Katz. Arrangers: Phil Woods; Bill Goodwin.

Evolution/Revolution CD music Texas-born jazz pianist Robert Glasper is an exciting study in contrasts. His compositions are harmonically intricate yet melodious and alluring, and he balances classical-sounding technique with subtle yet definite swing and even includes aspects of hip-hop. Glaspar has performed with an amazing variety of artists, including Carly Simon, Roy Hargrove, and Mos Def. On ELEMENT, his second disc for Blue Note, all these diverse strains come together for a trio session that's quietly challenging, user-friendly, and artistically satisfying. Recording information: Systems Two Studios, Brooklyn, NY (09/21/2006-11/01/2006). Author: Mulgrew Miller. Photographers: Jessica Chornesky; Jos L. Knaepen. Personnel: Robert Glasper (piano); Robert Glasper ; Reverend Joe Ratliff (spoken vocals); Vicente Archer (bass instrument); Damion Reid (drums). Audio Mixer: Joe Marciano.

Evolution/Revolution buy CD music While a sideman with the inimitable Terence Blanchard, pianist/composer Edward Simon released a series of recorded ensemble works, including La Bikina and Afinidad, which impressed upon his listeners his sense of swing, melodic structure, and harmonic balance. Later, with drummer Eric Harland and bassist John Patitucci, Simon released The Process, followed by Simplicity in 2004 with bassist Avishai Cohen and drummer Adam Cruz. These trio recordings were critically acclaimed and led Simon to continue his legacy as a bandleader in the classic trio format. With his third recorded trio work, Unicity, Simon now offers his audience an impeccable selection of ten songs accompanied by drummer Brian Blade and bassist Patitucci. As his best recording to date, Unicity brilliantly captures Simon's gold-standard abilities with Afro-Hispanic rhythms, instruments, and classical and jazz forms. The haunting theme "Abiding Unicity," which he has dedicated to Egberto Gismonti, surrenders Gismonti's remarkable influence on the pianist with elaborate, romantic beauty. Simon's delicate classicism is brilliantly underlined by the subdued basslines of Patitucci and creative percussive expressions of Blade. This song is absolutely beautiful. "Prelude No. 9" -- a stunning composition written by Federico Mompou -- has been given a new 4/4 time signature and a solo section based on the composition where the award-winning Simon truly shines. Patitucci takes the lead on "Pathless Path," with a memorable electric bass intro that eventually evolves into a priceless solo by Simon. The interplay of this trio is beyond expectations. The remaining songs are just as extraordinary. Simply put, the entire recording is amazing. Each song is performed to perfection and it's no wonder that this particular trio is being compared to the powerful expressions of such spectacular jazz trios as Peterson, Brown, and Thigpen; Jamal, Crosby, and Fournier; and Evans, LaFaro, and Motian. A must-have for any jazz trio devotee. ~ Paula Edelstein Personnel: Edward Simon (piano); John Patitucci (acoustic bass, electric bass); Brian Blade (drums).

Evolution/Revolution songs Bill Mays has long been an underrated but valuable pianist on the jazz scene. In addition to his extensive studio work, his career includes stints with Sarah Vaughan, Al Jarreau, Bud Shank, Bobby Shew, Mark Murphy, Gerry Mulligan, James Moody, Sonny Stitt, and Art Pepper. He has also recorded at least 13 albums as a leader. That said, Live at Jazz Standard is one of Bill Mays' finest recordings. Teamed in a trio with bassist Martin Wind and drummer Matt Wilson, Mays digs into two originals and eight diverse standards. On material ranging from "How Are Things in Glocca Morra," Thelonious Monk's "Let's Call This," and Ornette Coleman's "When Will the Blues Leave" to Charlie Chaplin's "Smile," Mays is consistently inventive, using dynamics and changes in mood quite effectively. Wind's bowed solos and Wilson's stimulating playing clearly inspired Bill Mays to play at his very best and every selection has its surprises. This set, which revitalizes the piano trio within modern mainstream jazz, is highly recommended. ~ Scott Yanow Recording information: Jazz Standard, New York, NY (12/09/2004-12/11/2004). Editor: Matt Balitsaris. Personnel: Bill Mays (piano); Bill Mays; Martin Wind (bass instrument); Matt Wilson (drums, cymbals). Audio Mixer: Matt Balitsaris.

Evolution/Revolution album for sale Wayne Escofferey's third CD as a leader (and first for Savant) shows a focused musician who exudes confidence in every performance. With a solid band including veterans Joe Locke on vibes and drummer Lewis Nash, plus bassist Hans Glawisching, the tenor saxophonist is heard in portions of two nights recorded at Smoke. Following a brief solo introduction by Locke, Escofferey delivers the goods with a powerful take of Dizzy Gillespie' infrequently performed "I Waited for You," adding a wild improvisation by the vibraphonist. But the pièce de résistance is a pair of Booker Little compositions, including a turbocharged navigation of "Bee Vamp" (first recorded at the Five Spot by Little in a band with Eric Dolphy and Mal Waldron) and an equally inspired treatment of "Looking Ahead" in which Escofferey's expressiveness reaches new heights. The leader is also no slouch interpreting ballads, delivering a soulful take of "Isfahan" (with some delicious accompaniment by Glawisching). Escofferey switches to soprano sax for his one original, a moody, captivating piece. Beautifully recorded in the tiny New York City night club, this CD will easily stand the test of time. Highly recommended! ~ Ken Dryden Personnel: Wayne Escoffery (soprano saxophone); Joe Locke (vibraphone); Hans Glawischnig (bass instrument); Lewis Nash (drums).