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6.819 Ft
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1. | Awakening Part 1 & 2
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2. | Sioux City
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3. | UFO
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4. | Harlem Moon
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5. | Effing Blues
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6. | What Can I Say?
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7. | Free As A Bird
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Jazz Post-Bop Mainstream Jazz
Recorded December 19, 2002 in Brooklyn, NY, USA
Ryan Kisor (Tp) Grant Stewart (Ts) Peter Bernstein (G) Sam Yahel (Hammond B3 organ) Willie Jones III (D)
Part of a new breed of jazz artists expanding the mainstream language in fresh and stimulating ways, trumpeter Ryan Kisor's Awakening returns to the organ combo as heard on his debut Criss Cross set Battle Cry This time around however, Kisor leaves the standards behind and opts for his own originals, which cover a good deal of ground - from the ballad tempo of Harlem Moon to the bop-inflected Effing Blues. In addition to Kisor's own bristling solo work, organist Sam Yahel, guitarist Peter Bernstein, and tenor saxophonist Grant Stewart are heavily featured throughout this fervent showcase. On drums the great Willie Jones III.
On his first album of all original material, trumpeter Ryan Kisor delivers an atmospheric mix of organ-based post-bop. Calling to mind the work of such late-'60s luminaries as Pat Martino, Freddie Hubbard, and Wayne Shorter, Awakening coalesces various harmonic and rhythmic themes Kisor has explored on his previous efforts. That said, there is something deeper and more crystallized about his work here, especially on the two-part opening title track, an eerie, spacy, and fractured bossa nova piece. Throughout the album, Kisor displays a knack for unpredictable, intellectual improvisation. He draws you in with warm storytelling phrases and pretty birdcall-like tones. Urging him on are the expansive organ sounds of Sam Yahel and sensitively funky guitar work of Peter Bernstein. Together they bring a mix of angular minimalism and gooey nonlinear swing to Kisor's understatedly hip compositions. Similarly, tenor saxophonist Grant Stewart and drummer Willie Jones III add their distinctive styles to an ensemble that seems to thrive on subtle group interplay. While Kisor does not push the boundaries of jazz style and form to their edges, he has found a fresh way to imprint his persona on the tradition with an album that ranks as his best so far. ---Matt Collar, allmusic |
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