Jeff Parker, Eric Revis, Nasheet Waits: Eastside Romp

66,99 zł

CD i Vinyl * * * * 1/2:
Kto by pomyślał, że muzycy kojarzeni raczej z jazzową i okołojazzową awangardą nagrają album, skrzący się teksturalną lekkością, otwartą rytmiką i harmoniczną głębią melodii.
Zmienność narracyjna "Eastside Romp" i chwile zadumy sprawiają, że lektura ich płyty jest poruszająca
… wspaniale słuchać, jak Parker, Revis i Waits godzą ogień z wodą, czyli przystępność formy i abstrakcyjną wyobraźnię.



Polityka prywatności


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Zasady reklamacji

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska:
Wydawnicto Audiofilskie

kontynent: Ameryka Północna
kraj: USA
opakowanie: Digipackowe etui
opis: * * * * 1/2:
Nie wiem dlaczego opublikowanie tej płyty zajęło sześć lat, skoro w ostatnich dniach maja 2016 w studiu nagraniowym w Pasadenie powstało kompletne, doskonałe nagranie, które od kilku już lat mogłoby nas cieszyć. Trzeba by zapytać muzyków skąd potrzeba tak długiego procesu postprodukcji, czyli miksu przeznaczonego do CD i Vinyla.
Ukazujący się na CD i na Vinylu "Eastside Romp" ma bardzo czytelną, chciałoby się powiedzieć klasyczną jazzową strukturę, po dwie kompozycje autorstwa Parkera i Waitsa, jedną Revisa, jedną kompozycję zbiorową i jedną autorstwa Mariona Browna - "Similar Limits", która rozpoczyna płytę.
Po rozbiegowym, radosnym i figlarnym "Similar Limits" Mariona Browna trójka instrumentalistów częstuje nas interakcyjną maestrią godną mistrzów. Zawiedzie się ten, kto oczekuje wojennych batalii, ognistego zwarcia instrumentów. Nic z tych rzeczy, album nieomal w całości wypełniają free-jazzowe mroczne ballady z „Drunkard’s Lullaby” na czele, owszem z bujnymi kulminacjami, jednak bliższe elegijnym formom niż noise-jazzowym jatkom.
„Wait” Jeffa Parkera to posępna ballada budowana na rytmicznym fundamencie Revisa i Waitsa. Dalej ufundowana na powolnym pulsie kontrabasu Revisa„Between Nothingness and Infinity” z targającą za serce gitarą Parkera. Potem następuje „Pijacka Kołysanka” Erika Revisa, w której muzycy „mylą kroki”, porywająca dawka kombinacji rytmicznej precyzji i elektronicznych przesterów. Dalej podpisany przez trójkę muzyków tytułowy „That Eastside Romp”, z porwaną narracją, jeden z najbardziej intrygujących na płycie. Przedostatni „A Room for VG” Waitsa to ballada noir, złożona z rozrzuconych, pojedynczych dźwięków tworzy kruchą strukturę narracyjną. Na koniec „Watusi” Parkera, lekko zabarwiony funkiem akcent końcowy.
Kto by pomyślał, że muzycy kojarzeni raczej z jazzową i okołojazzową awangardą nagrają album, skrzący się teksturalną lekkością, otwartą rytmiką i harmoniczną głębią melodii.
autor: Witek Leśniak
Copyright © 1996-2022 Multikulti Project. All rights reserved

Editor's info:
This music is about a delicious understanding of life, that compels us to constantly rethink, relive, every single thing—to not be afraid of visiting our similar limits, as Marion Brown would so subtly say, and explore them. To lift, and spirit away, sounds and meaning. Alexandre Pierrepont, excerpt from the liner notes
Eastside Romp was recorded in 2016 in Pasadena, California by an egalitarian trio of all-stars: Parker, bassist Eric Revis and drummer Nasheet Waits. The equality extends to the compositions—two each by Parker and Waits, one by Revis, one a collective composition and one by Marion Brown. It’s tidy too, like a classic LP. The first three tracks total a little over 19 minutes, the second a little under.
Marion Brown’s “Similar Limits” gets things started, a bright, bouncing, almost calypso-like anthem here, its scintillating theme separated by slightly irregular interludes. Once past the brief theme, Parker’s sound turns to a series of electronic mutations, a lead voice, yes, but always bouncing through the heightened presence of Revis and Waits. Parker’s “Wait”’ follows, a sombre ballad, his glassy sound hanging atop the low bass line and almost ceremonial drumming, but sometimes mutating here, too, until by the end an electronic tremolo is engaged, his notes pulsing in a way suspended between speed picking and electronic artifice. Next up is Waits’ “Between Nothing and Infinity”. That, too, is slow, opening with Revis’s yearning bass solo, prefacing Parker’s statement of the theme at dirge tempo. There’s something about the music’s reverent architecture that might support more expansive development.
Side two picks up with Revis’s “Drunkard’s Lullaby”, which, intriguingly, is at a bounce tempo, Revis and Waits setting the pattern before Parker enters, his sound thickly processed to introduce the theme before he launches a solo that is part rhythmic punctuation, part skronk. “That Eastside Romp”, collectively credited, begins with Waits’ complex Latin-based rhythm, picked up first by Revis, then Parker, his short rhythmic motifs gradually stretching to longer, almost circular lines, before his sound mutates to something resembling an electronic log drum, bass dropping out, drums simplifying to exit. Waits’ “A Room for VG” returns to the elegiac tempos that dominated the first side, with faint drum taps, cymbals and rustles, and sustained bass notes decorating Parker’s theme statement. Parker’s concluding “Watusi” is a lightly funk-tinged line, comfortably framing the program along with Brown’s “Similar Limits”.
Eastside Romp’s shifting range and moments of revery make for moving, thoughtful music making, though my own preferences will run to the extended, spontaneous movement of the ETA 4tet.
By Stuart Broomer

Jeff Parker and the rhythm section from Tarbaby cut loose on Eastside Romp!
Why did it take six years for this album to be released?
It didn’t take long to make: electric guitarist Jeff Parker, double bassist Eric Revis, and drummer Nasheet Waits spent just one day recording Eastside Romp in a Pasadena studio in late May 2016, and it’s been mixed since 2018. The music certainly hasn’t languished because of an issue with its quality—the session was basically a summit between the formerly Chicago-based string bender and the rhythm section from celebrated jazz ensemble Tarbaby, and all three players shine. The album wastes no time shifting into high gear.
After stating the jubilant theme of Marion Brown’s “Similar Limits,” the musicians launch into a propulsive three-way slalom, then converge with a clash like an explosion in a Slinky factory—only to seamlessly snap into a restatement of the theme. For the rest of Eastside Romp, the trio play a variety of instrumentals composed by each member. Parker’s “Wait” is an importuning ballad whose melody practically demands to be delivered with one knee on the ground and one hand over the heart—except that it’d be tough for the guitarist to hold that pose, given that it sounds like he needs four limbs to play the shimmering, effects-laden solo that clinches his plea for pause. Revis’s ironically titled “Drunkard’s Lullaby” draws a zigzagging path that even a stone-cold-sober gymnast might have a hard time walking without stumbling; the trio negotiate it handily, with a thrilling combination of rhythmic precision and electronic distortion. And Waits’s “A Room for VG” uses sparse notes and reluctantly deployed drumbeats to mold silence into exquisite shapes.
Maybe one day we’ll find out why this music spent so long under wraps, but even without that answer it’s profoundly satisfying to hear Parker, Revis, and Waits reconcile accessibility and abstraction.
by Bill Meyer
In May 2016, guitarist Jeff Parker, double bassist Eric Revis, and drummer Nasheet Waits spent a single day recording in a Pasadena studio. The seven tunes they cut appear on Eastside Romp. Mixed in 2018, it sat on a shelf for four more years. This collaboration juxtaposes Parker, an adaptable and mercurial player, with the incendiary, wildly inventive rhythm section of the ever-evolving Tarbaby.
All members of the trio got in on the composing. There are two tunes each by Parker and Revis, one by Waits and one group improv. Opener "Similar Limits" is the set's only cover. Composed by the late alto saxophonist Marion Brown, it originally appeared on 1967's Porto Novo. The trio keep the iconic, Monk-esque intro after a brief roll from Waits. Parker and Revis play the staggered melodic intro as Waits rolls, fills, and accents all over the kit. As the bassist expands the tune's harmonic reach, Parker explores the underside with great sensitivity and swing. "Wait," the album's longest cut, was composed by the guitarist. It commences as a dirge led by Revis playing vamped chords. He establishes a circular vamp as Parker points at his changes and Waits dances limpidly on his tom-toms in 4/4. The languid lyric line crisscrosses post-bop, Spanish-tinged modalism, and blues. Parker moves between melody and angular improv as his bandmates respond with empathy, highlighting and expanding the reach of his labyrinthine harmonic lines. As a perfect complement, Waits offers a studio version of his oft-performed nugget "Between Nothingness and Infinity." Paraphrasing the title of 1973's live Mahavishnu Orchestra album Between Nothingness & Eternity, he frames a musical narrative that emerges directly out of Parker's deeply moving ballad-esque playing, adding textural airiness, rhythmic spaciousness, and harmonic depth to its melody. "Drunkard's Lullaby" is a group improvisation, laden with guitar effects, knotty bass vamps, and dialogic conversation between snare, hi-hat, and kick drum. Parker's abstracted soloing is saturated in distortion, and it short-circuits, staggering his already jagged lines, creating a barely restrained sense of power. The rhythm section intersects and interlocks in detailed, propulsive conversation as the guitar travels afield, adding more frenetic yet glitchy notes and layers of feedback. Waits' "A Room for VG" employs an economy of scale as sparse notes, somber basslines, and reluctantly deployed drumbeats interact with silence and space to create ethereal shapes and colors. Parker's chord voicings are elegant, graceful, and eerie. Closer "Watusi" was composed by Parker. Led by Revis' walking post-bop bassline, Parker alternately traverses the melodic inventions of Jimmy Giuffre, Sonny Rollins, and Pat Metheny in his elongated lyric statement. He adds blues to post-bop swing, even as its repetitive three-chord vamp quotes from the heart of the Champs' "Tequila" progression, resulting in a finger-popping groove caressed by funk. No one except the creators know why it took six long years for this relaxed yet canny set to arrive, but its appearance adds immeasurably to the mystique and inventive creativity of these three musicians.
by Thom Jurek

Jeff Parker: guitar
Eric Revis: double bass
Nasheet Waits: drums

1. Similar Limits (4:11)
2. Wait (8:08)
3. Between Nothingness and Infinity (7:00)
4. Drunkard’s Lullaby (5:40)
5. That Eastside Romp (3:36)
6. A Room for VG (4:49)
7. Watusi (4:35)

wydano: 2021
nagrano: Recorded and engineered by Nolan Shaheed on May 31, 2016 at Nolan Shaheed’s Recording Studio in Pasadena, California, USA

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Rogue ART (FR)
Jeff Parker, Eric Revis, Nasheet Waits
Eastside Romp
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