| | Zaid Nasser Escape From New York CD Zaid Nasser Discography of CDs
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While based firmly in post-Charlie Parker hard bop, alto saxophonist Zaid Nasser is a relative rarity in jazz in that he reaches into the music's pre-bop history for inspiration. With his deep, dark tone, Nasser injects vibrant new energy into the classic Duke Ellington ballad "Sophisticated Lady," as well as the Louis Armstrong-era chestnut "Chinatown, My Chinatown." Backing him are Sacha Perry, a supple pianist who channels the inspiration of bebop master Bud Powell, and Ari Roland, playing a firm but imaginative acoustic bass. Nasser doesn't just preserve the classic modern bop tradition, he carries it forward, adding to it along the way.
Liner Note Author: Luke Kaven.
Recording information: Zebulon Sound And Light, New York, NY (2007).
Photographer: Luke Kaven.
Personnel: Zaid Nasser (alto saxophone); Zaid Nasser; Ari Roland (bass guitar); Sacha Perry (piano); Phil Stewart (drums).
Audio Mixer: Luke Kaven.
Escape From New York Music Zaid Nasser Escape From New York Songs Escape From New York Review
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It's taken a long time, but he finally nailed it. Everette Harp is a bona fide star in the smooth, or "contemporary" jazz genre. As a saxophonist, his talent is undeniable. One can hear everyone from Junior Walker to Grover Washington, Jr to Stanley Turrentine, Cannonball Adderley, and David Sanborn in his playing, which is forceful, song-like and emotive. He cops to it in the liner notes, and that's just fine; that honesty is what frees him up to make the kind of music he wants to and acknowledging those influences places his own music in a direct line from his predecessors. That said, while some of his records have been very good, he's never gotten exactly what he needed from a label or a producer -- or an engineer for that matter -- to really make it all come together in a way that knocks the ball out of the park. Until now, that is. With his move to Shanachie Records in 2006, Harp found a new creative freedom, to let his jazz chops shine right along with his soul and funk grooves. Harp brought in a bunch of old friends for this date, George Duke is here, as is Jeff Lorber and James K. Lloyd from Pieces of a Dream, but he's done that before. What really gets it here is that the band he put together on this set is tight, sympathetic, and ready to punch it up a notch. Harp wrote seven of these ten tunes, with one each by Lloyd and Lorber, and there's a nice little cover of "Don't Look Any Further." Lloyd's "Juke Joint" opens the set, and it's pure funky J.B.'s funk all slicked up with a slippery backing groove, punched up horns, and a melody that exists because the groove is so pronounced. The Rhodes solo by Lloyd is smokin' but it's Alex Al's rubbery bassline and Harp leading off a three-piece horn line that makes it pop. The production on this tune is a bit compressed, but there are enough raw edges to really make it pop. Harp's "All Jazzed Up (And Nowhere to Go)" comes right out of the '70s CTI catalog . This could have appeared on either Washington's Feels So Good or Mister Magic LPs, and that's a very high compliment. The composition is seamless with an elegant soulful melody line, ...
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