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MLK Convergence

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multikulti.com - ocena * * * * 1/2:
Jeśli dotąd nie zetknęłaś/eś się z Marlene Rosenberg, to tylko dlatego, że omijasz drobny druk na okładkach płytowych. Można ją znaleźć w zespołach Joe Hendersona, Nancy Wilson, Joe Williamsa, Franka Morgana, Eda Thigpena, Alberta "Tootie" Heatha, Benny'ego Greena, Roy'a Hargrove'a i Wallace'a Roney'a. Koncertowała z Cedarem Waltonem, Kenny'm Barronem, Stanem Getzem, Terry Lynne Carrington, Kevinem Mahogany'm, Davidem “Fathead” Newmanem, Marian McPartland, Monty'm Alexander'em, Teddy'm Edwardsem, Ira Sullivanem, Ernestine Anderson, Nick'iem Brignola, Cyrusem Chestnutem i wieloma innymi amerykańskimi jazzmanami.
Miała w swoim zespole kultowego obecnie drummera Makaya McCraven'a, na długo przed tym, kiedy jazzowy świat odkrył go dla siebie. Jest bodaj najbardziej cenioną kontrabasistką jazzową w historii amerykańskiego jazzu.
"MLK Convergence" to dopiero czwarta jej autorska płyta. Trzy poprzednie to "Waimea", "Pieces Of..." z Cedarem Waltonem i Javonem Jacksonem, i "Bassprint" z Geofem Bradfieldem, Scottem Hesse'm i Makaya McCravenem.

Trzyliterowy akronim utworzony od imion trójki bohaterów MLK zestawiony został ze słowem Konwergencja, tak powstał tytuł płyty "MLK Convergence". I jest bez wątpienia adekwatny do zawartości albumu, wydanego przez amerykański Origin Records. Bowiem muzyczne podobieństwo, czy też gatunkowe pokrewieństwo Kenny'ego Barrona, Marlene Rosenberg i Lewisa Nasha jest nie do podważenia. Każdy z muzyków oboma nogami stoją w jazzowym mainstreamie, a dokładnie w tej jego części, w której namiętności, drapieżności i wigoru nigdy nie brakuje.

Album zawiera osiem oryginalnych członków trio i dwa covery Stevie'go Wondera "Visions" i "Loves in Need of Love Today". Na płycie obok wciągających triowych opowieści usłyszymy także odbiegający od reszty "Not The Song I Wanna Sing" (autorstwa Marlene Rosenberg, Toma Burrella i Roberta Irvinga III), do jego nagrania doproszono Christiana McBride'a, występującego w roli drugiego kontrabasisty w dwóch utworach, a także Toma Burrella i Roberta Irvinga III, którzy razem z Marlene Rosenberg recytują poruszający tekst:
"Rogue killer cops take black lives that do matter
Minor traffic stops that end with blood spatter".

Ten album, poświęcony pamięci Martina Luthera Kinga, orędownika praw obywatelskich w USA, to mocny głos jazzowego środowiska przeciwko nienawiści i braku tolerancji, które trawią amerykańskie społeczeństwo. Trójka muzyków, od dziesięcioleci współpracująca ze sobą potrafi komunikować się niewidzialnym dla słuchacza językiem, co sprawia, że efekt sesji nagraniowej w nowojorskim Samurai Hotel Recording Studio, pełnej ciepła, miłości i koleżeństwa, jest po prostu ekscytujący. Kenny Barron, współpracownik Dizzy'ego Gillespiego i Yusefa Lateefa w latach 60-tych, jest pianistą obdarzonym niezwykłą elegancją, jego autonomiczna narracja, z jednej strony ekskluzywne grono pianistów starych mistrzów, z drugiej zawsze niezależna, osobna, wprowadza niezbędną dawkę namysłu, sprawiając, że obcujemy z zamkniętą, pełną jazzową formą. Trawestując zdanie ksiądz Twardowskiego można powiedzieć "Śpieszmy się kochać starych mistrzów, tak szybko odchodzą, zostają po nich tylko płyty i telefon głuchy".
autor: Mateusz Krępski
Copyright © 1996-2020 Multikulti Project. All rights reserved

Editor's info:
"MLK" is an acronym for this superlative trio of Chicago bassist Marlene Rosenberg, drummer Lewis Nash and pianist Kenny Barron and of course, iconically for the great American moral and spiritual leader Martin Luther King, Jr. Balancing the thought of these musicians being people of different colors, heritages, sexes and generations, coming together in great joy and purpose, with recent headlines highlighting a renewed environment of permissible hate, blame and lack of tolerance, was at the forefront as Marlene shaped this program. The music and activism of the '60s provided an inspiration for many of the original compositions, while the current social conditions added an urgency. Her relationships with Kenny and Lewis going back decades contributes the warmth, love and camaradirie that envelops the proceedings, bringing to mind Stevie Wonder's lyric from the closing track, “Loves in Need of Love Today / Don’t delay / Send yours in right away.”

New CD To be released in 2019 on Origin Records! Featuring NEA Master Kenny Barron, Lewis Nash, And special "appearance" by Christian McBride and Tom Burrell.

DownBeat:
If you don’t know bassist Marlene Rosenberg from her work with Paul Wertico or Ed Thigpen, OK. But she’s gigged with a virtual murderers’ row of players and had Makaya McCraven in her group before most folks had heard the drummer’s name.

Origin label honcho and drummer John Bishop had been paying attention, though.

“The first time I noticed her was when she was in Joe Henderson’s band with Renee Rosnes and Sylvia Cuenca back in the late ’80s,” he wrote in an email. That group issued the live set Punjab in 1990, Rosenberg taking a writing credit for “Blue Waltz.” “But she’s done thousands of gigs over the decades, one of us jazz worker bees.”

As playful, sturdy and vaguely funky as the material is on MLK Convergence, the album’s title works to reference the civil rights icon as much as the first letters in the names of the trio’s principal members, which in addition to Rosenberg includes drummer Lewis Nash and pianist Kenny Barron. Apart from a track featuring Christian McBride doubling-up on bass, “And Still We Rise,” and the album closer, “Love’s In Need Of Love Today,” most of MLK Converge doesn’t feel overwhelmingly political. But “Not The Song I Wanna Sing,” the only cut here with vocals, offers up lines from guests like, “Rogue killer cops take black lives that do matter/ Minor traffic stops that end with blood spatter” over an acoustic groove suitable for A Tribe Called Quest to have sampled in 1994. Rosenberg, who’s been based in Chicago since the ’80s, also makes certain to mention the 2014 shooting of Laquan McDonald, a 17-year-old slain by a city policeman.
By Dave Cantor

All About Jazz:
There's MLK, and then there's MLK. In this particular context we're talking about a three-letter acronym referencing the musical union of bassist Marlene Rosenberg, drummer Lewis Nash, and pianist Kenny Barron. And in broader terms those initials obviously point to the late Martin Luther King, Jr. With MLK Convergence the sounds of the former meet up with the outlook and philosophies of the latter, shedding light on societal woes while letting the light and the love in to overshadow the darkness.

Not comfortable standing idly by in these times of trouble, Rosenberg uses this date not only as a chance to make music with two longtime friends and legendary figures, but also as a platform to speak her mind. The grounded and bluesy "American Violet," named after a film about a wrongfully-convicted African-American woman, is the first of many topical tales on the program. "Not The Song I Wanna Sing," with additional bass bolstering from Christian McBride and vocal guest shots from Thomas Burrell and Robert Irving III, delivers some powerful grooves and messages about racial injustice, "The Line Between," exhibiting strength forged through straight time, looks at the divides that separate people while taking inspirational cues from the 1965 marches in Selma, Alabama, "Circle Story," in its waltzing flow, speaks of sad history circling back on itself, and a funky, McBride-enhanced "And Still We Rise" delivers Maya Angelou's message about subjugated people overcoming the circumstances they're facing.

Rosenberg doesn't shy away from addressing problems in any way during this program, yet she refuses to get mired in them. An optimist at heart, she takes many an opportunity to look toward the sunny side. "Togetherness," for example, speaks to a unity of man and a potential positive streak in our times. And Barron's gorgeous "Rain" washes away the despair. Marlene Rosenberg finds the beauty hidden beneath the ugliness of the past and the present, and she does it with supreme grace and style.
By DAN BILAWSKY

Jazz Journal:
Both title and line-up of bassist Marlene Rosenberg’s MLK Convergence piqued my interest. MLK is a reference to Reverend Martin Luther King. Rosenberg connects the message of King with horrible tragedies like the strangling of Eric Garner by the police in New York City in 2014. She offers “this music as an expression and in an effort to voice the current reality that exists in America, and ‘the dream’ of balance, harmony, and understanding that could expand exponentially”. MLK is also the acronym of a promising line-up that includes veteran class act pianist Kenny Barron and New York City stalwart, drummer Lewis Nash. Monster bassist Christian McBride is featured on two tracks.

Marlene Rosenberg dips her charts in blood and decorates the remains with sugar magnolias. Her compositions suggest affinity with Carla Bley: vamps and complex cyclical lines comprise her means of expression. The most successful example of her method is Circle Story, a snappy, uptempo sequence of intriguing patterns in 3/4 time. However, the bulk (Togetherness, American Violet, The Line Between) feels like material that strives for intensity but doesn’t quite reach it. Her protest song, Not The Song I Want To Sing, is a daring exposé of rap and spoken word featuring vocals by Tom Burrell and Robert Irving III, regardless of the rather unassuming drum and bass pattern.

Smooth and responsive accompaniment is Rosenberg’s forte. The abundance of bass intermezzos, albeit solid, doesn’t work in her favour. Kenny Barron, who launched a fruitful career in the 60s as collaborator with Dizzy Gillespie and Yusef Lateef, is one of the most elegant pianists of the old guard. The story that he weaves in the fabric of the spirited Rosenberg composition The Barron is thrilling. In general, Barron performs on his usual high level but he offers few sounds of surprise. Barron must’ve felt slightly out of place in Rosenberg’s experimental groove, much like David Niven would’ve felt had he starred in 2001: A Space Oddity.

Stevie Wonder’s Visions and Love’s In Need Of Love Today may aptly reflect Rosenberg’s worries about racism and dreams of change. This, however, doesn’t prevent the group from turning in unadventurous covers that add little to the canon of Wonder covers. MLK Convergence’s sincerity is praiseworthy, but its musical elucidation leaves something to be desired.
By Francois van de Linde
ORIGIN82781

Opis

Wydawca
Origin Records (USA)
Artysta
Marlene Rosenberg / Kenny Barron / Lewis Nash
Nazwa
MLK Convergence
Instrument
drums
Zawiera
CD
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