James Carter, John Medeski, Christian McBride, Adam Rogers, Joey Baron: Heaven On Earth

79,99 zł


Polityka prywatności


Zasady dostawy


Zasady reklamacji

Modern Jazz / Indie Jazz
premiera polska:
kontynent: Ameryka Północna
kraj: USA
opakowanie: digipackowe etui

Pianista Jamie Saft powraca na swojej najnowszej płycie do gry w kwartecie, zapraszając do sesji nagraniowej dawnych współpracowników Billa McHenry’ego grającego na saksofonie tenorowym oraz kontrabasistę Bradleya Jonesa. Czwartym uczestnikiem prac nad nowym albumem Safta został rozchwytywany i chwalony ostatnio dość często perkusista Nasheet Waits.
Blue Dream jest zbiorem dziewięciu nowych kompozycji pianisty, uzupełnionych trzema standardami. Klasyki wypadają rewelacyjnie. Violets For Your Furs z repertuaru Franka Sinatry, Sweet Lorraine Cliffa Burwella utwór, z którym zapoznała Safta Gerri Allen oraz kończący płytę There’s a Lull In My Life Gordona i Revela, śpiewany w historii między innymi przez Ellę Fitzgerald, Cheta Bakera, Tonny’ego Bennetta i Nat King Cole’a. Klasycznie zinterpretowane, spokojne, snujące się powolnym mruczeniem saksofonu i delikatnymi kroplami fortepianowych nut. Finałowe nagranie, najdłuższe na płycie, kapitalnie podsumowuje nastrojowy, bluesowy charakter albumu. Bowiem niemal całe pięćdziesiąt pięć minut Blue Dream, rozgrywa się w odcieniach niebieskości. Niekiedy bliższych błękitowi, częściej jednak idących w kierunku granatowego mroku, jak choćby we fragmentach Walls, elegijnym Infinite Compassion czy rozpoczynającym całość Vessels. Wzmacniają nieco tempo Equanimity – z długim wstępem perkusji oraz Sword’s Water – szczególnie w saksofonowych pasażach. Bill McHenry wielokrotnie pokazuje wielką klasą. Zarówno w dłuższych solówkach jak i w krótszych wstawkach w finałach Decamping czy Blue Dream. Popisem Bradleya Jonesa, jako solisty, ale i – wraz z Waitsem – członka sekcji rytmicznej, jest właśnie tytułowy Blue Dream, wzmocniony wyważonym solem fortepianu.
Słuchając oryginalnych kompozycji Safta ma się czasem wrażenie obcowania ze standardami sprzed pięćdziesięciu, sześćdziesięciu lat. Wrażenie niezwykle pozytywne, dające niesamowity efekt przy słuchaniu albumu. Z jednej strony nowoczesnego, z drugiej pełnego nuty nostalgii.
autor: Krzysztof Komorek * * * *:
Blue Dream is the debut album from the Jamie Saft Quartet, featuring Saft on piano, Bill McHenry on tenor saxophone, Bradley Christopher Jones on bass, and Nasheet Waits on drums. Multi-instrumentalist, composer, and sound engineer Jamie Saft is likely the most well-known of the quartet, having been a fixture of the American underground since the mid-nineties or so. His massive back catalogue includes not only his solo work, but collaborations with John Zorn, Wadada Leo Smith, Nick Millevoi, and Joe Morris to name a few. The phenomenal New York saxophonist Bill McHenry also leads his own quartet and has collaborated with the likes of Hamid Drake, Paul Motian, and Andrew Cyrille. Bradley Christopher Jones has worked with Marc Ribot, Elvin Jones, Ornette Coleman, and is a member of Vibes with Bill Ware and EJ Rodriguez. Nasheet Waits (son of the great Freddie Waits) has played with Jason Moran, William Parker, John Medeski, and leads the Nasheet Waits Equality Quartet. This album finds the quartet gliding through a fantastic set of originals and standards with elegance, passion, and capability.

The album kicks off with Vessels finding the group winding up behind Saft’s lumbering chord progression and McHenry’s light tenor sax tones. The rhythm section keeps a steady unadorned time, until the midpoint at which Waits lets loose a fury of rolls and cymbal shimmer and the pace quickens, the saxophone soloing wildly over the upswing in intensity. Equanimity begins with Waits’ rustling percussion solo, the rest of the band jumping in at about a minute and thirty seconds. Jones plucks out a romping bassline and Saft takes an extended solo to which McHenry adds the occasional honk or odd lick. Sword’s Water presents precipitous sax runs and squall over turbulent piano and the rumble of the rhythm section. For the quartet’s first standard of the collection they offer a rich interpretation of Frank Sinatra’s Violets for Your Furs, with Saft proving the platform for the band’s airy retelling of the melody in the style of Coltrane’s classic quartet. The title track Blue Dream bursts from the gates with an up-tempo beat and walking bassline. Saft adds measured chords and runs as the song bobs along, McHenry only appearing during the last minute to harmonize with Saft. Infinite Compassion rolls to life in the same manner as Sword’s Water, however after about a minute the theme is stated by Saft which segues into the main melody and we are treated to powerful solos by McHenry.

The second half of the records starts with another standard, this time Sweet Lorraine, made famous by Nat King Cole. The classic is given a terrific rendition here; McHenry’s tone is warm and soft, his playing reflective. The moody Walls follows, beginning with Saft rolling sustained chords over Jones’ lines of arco. Waits adds cymbal shimmer as McHenry traces the shapes produced by Saft and offers subtle counterpoint. Decamping presents a stout reprised melody, the sax and bass both offering brief vamps in between which nicely frame the piece. The song has some serious bounce to it and offers a nice change-up to the more moody preceding and proceeding pieces. Words and Deeds returns us to the bottom of the ocean with a gorgeous piano motif over taut rhythms. Jones displays some terrific pizzicato runs which segue into a husky and potent solo by McHenry. Mysterious Arrangements begins with a wash of piano and percussion, the saxophone pleading somberly. The bass switches up the rhythm and the song turns into an undulating piano suite. The album is closed with There’s a Lull in My Life, Mack Gordon and Harry Revel’s ballad from the 1937 movie Wake Up and Live that is given an extended treatment by the quartet including soft piano and airy sax lines over barely there percussion and a deep bobbing bass line.

This is fairly conventional jazz by this blog’s standard, which isn’t meant as a detractor just as a bit of information for the reader. Perhaps it doesn’t break any new ground but the songs and sequencing are stellar and the playing is superlative. I’ve been really enjoying this record and have given it multiple spins. I wasn’t sure what to expect to be honest, this being a Jamie Saft record after all, but I like this direction and I think this is a really great band he’s assembled. Blue Dream, in addition to his recent (and equally great) solo piano album Solo A Genova, find Saft releasing some very compelling music this year.
By Nick Metzger

All About Jazz * * * *:
If RareNoise Records has a characteristic sound as ECM Records has a characteristic sound, that sound is defined Jamie Saft. Whether it is the unholy ministry of Slobber Pup or the plaintive solo piano of his recent Solo A Genova (RareNoise, 2018), multi-instrumentalist Saft has brought Giacomo Bruzzo's and Eraldo Bernocchi's eclectic-electric British label front and center of not just the jazz world, but the music world.

Saft has recorded widely, most notably with John Zorn, Wadada Leo Smith, Roswell Rudd, Iggy Pop, Marc Ribot, Bill Laswell, Cyro Baptista, and Dave Douglas. He is responsible for producing the most magnificent noise as evidenced on recordings like, Berserk!'s Berserk! (RareNoise Records, 2013) and Slobber Pup's Black Aces (RareNoise Records, 2013) and Pole Axe (RareNoise Records, 2015), along with his collaboration with guitarist Joe Morris on Plymouth (Rare Noise, 2014). Overlapping with his noisemaking is Saft's redefinition of acoustic jazz over the past five years as heard on: The New Standard (RareNoise, 2014); Ticonderoga (Clean Feed, 2015); Strength & Power (RareNoise, 2016); Loneliness Road (RareNoise, 2017); and Solo A Genova (RareNoise, 2018)

Jamie Saft's penetration of acoustic jazz continues with his present quartet recording Blue Dreams. Immediately, I thought of John Coltrane's great 1960's quartet, circa A Love Supreme. "Vessels" opens with sustained bass notes in a simple harmonic figure by Saft, very much in keeping the McCoy Tyner style of the time. Tenor saxophonist Bill McHenry plays Coltrane's part, without the screeching and loss of mind. Like an early '60s Coltrane solo, the ensemble begins simply before setting out to make a sonic statement, both musically and dramatically. "Equanimity" is introduced by drummer Nasheet Waits, when, at the 1:36 mark the rest of the band enters, anxious and excited. Bassist Bradley Jones carefully chooses his figures and times in such a way to propel the music in a swinging and unpredictable manner.

The first of three standard's, "Violets for Your Furs," reels the band back into mainstream mode, capturing the sound of 1950s Miles Davis. It is a beautiful revelation. "Sweet Lorraine" is taken at a loping pace, Saft playing between the lines with Jones' ever near-the-beat pulse avoiding temp tachycardia. McHenry plays as straight as Saft, quaint and beautifully. "Walls" offers an expansive answer to "Lorraine" with Jones providing a continuo arco. McHenry barley rattles the reeds, a sound like stretching parchment, while Saft favors his beloved low notes with sustain. Like a Coltrane performance, the piece is all introduction. It is worthwhile to consider that there is no resolution in music like this, only an extended consideration. "Words and Deeds" follows the same formula of the opening "Vessels," brooding and impressionistic. The final standard "There's a Lull in My Life" completes the recording beautifully and appropriately. McHenry first duets with Jones, Waits brushing in the background. By the time Saft gets there, things are well underway, introspectively. Within this musical microcosm, Saft and company blow the dust off of and update a storied method of performance.

Jamie Saft Piano
Bill McHenry: tenor saxophone
Bradley Christopher Jones: acoustic bass
Nasheet Waits: drums

1. Vessels
2. Equanimity
3. Sword’s Water
4. Violets For Your Furs
5. Blue Dream
6. Infinite Compassion
7. Sweet Lorraine
8. Walls
9. Decamping
10. Words and Deeds
11. Mysterious Arrangements
12. There’s a Lull In My Life

wydano: 2018-06-28
nagrano: Recorded by Jamie Saft and Brian Gunn at Potterville International Sound, NY, Fall 2017

more info:



James Carter & John Medeski
Heaven On Earth
chat Komentarze (0)
Na razie nie dodano żadnej recenzji.