Bassist Steve Zerlin and drummer Francis Thompson sit in on the cool-inflected "Nana," and Zerlin also provides the edgy pulse of the title cut.
The tunes on this date are expansive, with a mix of dense arranging and free blowing. Originally released in , You St. Peter Fraize is a saxophonist and composer from Washington, D. As a bandleader, his projects have been diverse: the jazz- fusion band Stickman, "chordless" quintet and trio, and his current Hammond organ-driven group. He has also collaborated with avant-garde trombonist Giancarlo Schiaffini, and is a member of the free improvising trio Pierce, Putter and Rumble sax, piano, electronics.
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His best moments occur on Michelle when his solo, rising from the ensemble reading of the theme, moves away from the melody in a most pleasing way. Trombonist Rick Lillard is a strong voice in the ensemble sections, holding down the lower notes - when he solos, he shows not only bluesy interpretations of the melodies but a good sense of the humor.
You St. The band pushes at its material, not content with cliches or pat readings of the themes. While this group does not create "new" sounds, this recording shows how creative Peter Fraize and his companions can be within the tradition. Kamins, Cadence Magazine. While a piano can conceal a multitude of sins committed by a jazz ensemble, it's absence, as Sonny Rollins and others have discovered, can lead to new paths and possibilities. An outgrowth of Monday night jam sessions at the Washington, D.
Fraize composed nearly all of the tunes, providing each with a distinctive theme, harmonic design and rhythmic momentum. The relaxed gait and piquant harmonies that make "Nana" so appealing provides a sharp contrast to the tumultuous sax and drums duet that introduces "Plain Folk. Funny thing about jam sessions: they can either lead to unexpected meetings of minds from disparate musicians, or end up being frustrating exercises in misinterpretation.
Since a distinguished visitor from abroad and some local ringers were involved, this CD, recorded a couple of years ago at a now defunct-Washington, D. Yet, during the plus minutes of the session, the saxophonist, plus bassist Steve Zerlin and drummer Leland Nakamura, joined by second bassist Vattel Cherry, soprano and alto saxophonist Jesse Meman and most notably veteran Italian trombonist Giancarlo Schiaffini tweak the musical fare only a bit.
Schiaffini, who has led a parallel career in jazz and New music since the late s, is not only a member of the all-star improvising Italian Instabile Orchestra, but contemporary chamber ensembles, and has had solo pieces dedicated to him by composers such as Scelsi, Nono, and Guaccero. Not only does the trombonist introduce multiphonics and oblique motion to his solo, but the tenor man wiggles inside and out in a solo that includes high-pitched, trills and overblowing. Before he literally introduces a two-beat shuffle at the end, Nakamura uses simple rat-tat-tat rhythms that are likely similar to what he uses on his fusion and rock gigs.
Both bassists walk and the saxes honk throughout, while the trombonist goes into Tricky Sam Nanton mode for a deep-dish plunger solo. As the horns hocket away in unison the tempo slows down and the tune dribbles away. Less inhibited, he sounds out sharpened semitones in his solo, charging up and down the keys as Nakamura rumbles along below him. Meman and Schiaffini soon get into the act, riffing then swaying back and forth with the theme, until all oral instruments join to take the piece out.
Be warned about that. This follow-up to the hard-to-find album Deconstruction, recorded on the Italian Pentaflowers label, is a splendid introduction to the enormous abilities of the unlikely combination of Washington-based saxophonist Peter Fraize and Italian trombonist Giancarlo Schiaffini. Boasting an unusual front line of two saxes and trombone, and a rhythm section on three of the tracks of two string basses and drums bassist Vattel Cherry sits out of two numbers , there is a visceral energy that spans genres.
The opening "St. James Infirmary" espouses that old-time religion, updated to incorporate the modern idiom of free jazz improvisation, while Schiaffini's take-off of "Wednesday the 17th" is clearly a variation on Monk's "Friday the Thirteenth. His fluid strokes create a walking-bass-like foundation on tracks such as True Nature allowing the others freedom to improvise; while his solo forays such as Omnipresent Beauty , vibrate sophisticated tonal asides which frequently refocus the narratives.
It appears that the University of Toronto is, happily, going to be known for more than medicine and other sciences.
For now, let fine arts take centre stage as we are treated to an album of exhilarating songs and some soaring, yet elegiac balladry — Trillium Falls. Here we have director Terry Promane, low-brass specialist, writer and arranger, as producer of this fine eight-song set. This finely crafted unit is more valuable than a proverbial well-oiled machine, although the refined machination of the band is one of its main attractions.
And on evidence of her luminous, wordless vocals Jacqueline Teh is sure to journey to the stars. Discoveries on tracker action organs Veryan Weston Emanem emanemdisc. Veryan Weston is an English improviser and composer, a brilliant free-jazz pianist whose works include Tessellations , a structure for improvisation that moves permutationally through 52 pentatonic scales.
Weston is inspired by the behaviour of different keyboard instruments and by the possibilities of microtonality, two passions that came together on the Tuning Out tour with violinist Jon Rose and cellist Hannah Marshall Emanem Anselm Hall in Manchester. The minute Numerous Discoveries All Saints in York is a work of sustained invention, with Weston finding sub-vocal bleats and wails as well as beat patterns between close frequencies. Entonnoir treize, for instance, begins with a resonation that could be from a drum set, but is quickly revealed to be a powerful string pluck.
Meantime two separate tones, one strident and high-pitched, and the other moderato like Baroque continuo, move in parallel fashion across the narrative. De Beauport can perform a sequence on a single string with enough twists in it to resemble an uncoiling snake as on Meet das Berger or he can unearth his buried past as guitarist on Kokosberge where he twangs as if playing a folk song.Classic jazz, sometimes called Dixieland or trad jazz, can be a path into the music. However since the th birthday of recorded jazz passed last month, those who stick to recreating jazz standar.