  |
|
|
 |
|
CD |
| 6.194 Ft
|
|
| 1. | Rhythm of the Cane
|
| 2. | New African Village
|
| 3. | Mambo Rap
|
| 4. | Guitar
|
| 5. | La Luna
|
| 6. | El Mensaje
|
| 7. | Business as Usual
|
| 8. | Once Again
|
| 9. | 541
|
| 10. | La Marqueta
|
| 11. | Viejo San Juan
|
| 12. | Business as Usual [Bonus Mix]
|
Jazz / Post-Bop; Afro-Cuban Jazz; Latin Jazz
Recorded: Loho Studios, New York
Chico Freeman Y Guataca:
Chico Freeman (soprano & tenor saxophones, piano, keyboards)
Akil Dasan (vocals); Romero (Flamenco guitar); Hilton Ruiz (piano); Avery Sharpe (acoustic & electric basses); Terreon Gully (drums); Pibo Marquez, Chembo Corniel (congas, percussion)
When people speak of Latin jazz, they're usually referring to a blend of bop and Afro-Cuban rhythms -- Cal Tjader, Dizzy Gillespie, Poncho Sanchez, and Mongo Santamaria are some of the names that immediately come to mind when one hears the term Latin jazz. But Latin music is vast; the cultural contributions of Latinos range from Mexican ranchera to Brazilian samba to Spanish flamenco to Argentinean tango. So technically, Latin jazz could be anything from bossa nova to Miles Davis' Sketches of Spain. Although everything on Chico Freeman's Oh, by the Way has some type of Latin influence, not all of the selections are Afro-Cuban-minded. Afro-Cuban rhythms are a high priority on this post-bop CD; the post-bop/Afro-Cuban fusion is especially appealing on "El Mensaje," "541," and "Old San Juan." But other times, saxophonist/pianist Freeman favors more of a post-bop/Spanish blend -- on "La Luna" and "Guitar," the saxman/pianist and his Guataca band demonstrate that post-bop and flamenco are an attractive, perfectly logical combination. Although most of selections are instrumental, Freeman features rapper Akil Dassan on "Mambo Rap" and "Business as Usual" (which almost sounds like Eminem hooking up with an Afro-Cuban band). The interesting thing is that Freeman uses Dassan in much the same way that saxophonist Bill Evans featured KC Flightt and Ahmed Best in the '90s; instead of being totally electronic, Freeman gives Dassan some honest to God musicians to interact with. Much to his credit, Freeman provides an album that is unpredictable and broad-minded but doesn't sound disjointed or confused -- Oh, by the Way, for all its diversity, has a certainly continuity. When a Spanish-influenced piece follows an Afro-Cuban-influenced piece -- or when a rap offering follows an instrumental -- Freeman is obviously on top of things. This excellent CD is as focused as it is diverse.
---Alex Henderson, AMG
Chico Freeman
Active Decades: '60s, '70s, '80s and '90s
Born: Jul 17, 1949 in Chicago, IL
Genre: Jazz
An excellent tenor saxophonist and the son of Von Freeman, Chico Freeman has had a busy and diverse career, with many recordings ranging from advanced hard bop to nearly free avant-garde jazz. He originally played trumpet, not taking up the tenor until he was a junior in college. Freeman graduated from Northwestern University in 1972, played with R&B groups, and joined the AACM. In 1977, he moved to New York, where he worked with Elvin Jones, Sun Ra, Sam Rivers' big band, Jack DeJohnette's Special Edition, and Don Pullen, in addition to leading his own groups. He recorded a dozen albums as a leader during 1975-1982. Starting in 1984, Freeman has played on a part-time basis with the Leaders, he has recorded on a few occasions with his father and in 1989, he put together an electric band called Brainstorm. Chico Freeman has recorded through the years as a leader for Dharma, India Navigation, Contemporary, Black Saint, Elektra/Musician, Black Hawk, Palo Alto, Jazz House, and In & Out.
--- Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
