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| 4.140 Ft
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| 1. | Vater Time
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| 2. | Her Story
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| 3. | Children of the Light
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| 4. | Inflorescent
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| 5. | Nia
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| 6. | Revolution: Resolution
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| 7. | Un Poco Loco
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| 8. | Fela's Shrine
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| 9. | Stand
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Jazz
Wallace Roney - trumpet
with
Geri Allen & Robert Irving III- keyboards; Antoine Roney- reeds; Rashaan Carter- bass; Eric Allen- drums; DJ Axum, Val Jeanty- turntables
This is a very smart disc. Hip, edgy, approachable. The trifecta we have come to expect from Wallace Roney. Hard to achieve by anyone, but it seems like second nature to one of the chops-heaviest trumpeters of his generation. From the opening notes, it's clear that we're in some kind of special territory. This is modern, electric-tinged, groove-oriented jazz of the absolute highest order. This music evokes a very cool vibe, at once slinky and vivacious, crepuscular and noonday bright, sultry and straightforward. With his wife Geri Allen on keyboards, producing brilliant pianism throughout, and brother Antoine on reeds, Wallace Roney and company offer another provocative album that once again points towards the future of jazz..
Wallace Roney
Active Decades: '80s, '90s and '00s
Born: May 25, 1960 in Philadelphia, PA
Genre: Jazz
Styles: Post-Bop, Hard Bop, Progressive Jazz
Wallace Roney's dilemma recalls that of Sonny Stitt in the '50s and '60s: his trumpet tone, timbre, approach, phrasing, and sound so closely mirror that of Miles Davis in his pre-jazzrock phase that he's been savaged in many places for being a clone and unrepentant imitator. Stitt stopped playing alto for years because of his disdain of being labeled a Charlie Parker clone; Roney, on the other hand, played many of Miles Davis' parts on the 1992 tribute to the Birth of the Cool sessions, which was issued in 1993 as Miles Davis and Quincy Jones at Montreaux. Roney even addressed the situation in the publication Jazz Times in 1993, blasting what he saw as unfair critical obsession with his stylistic similarity to Davis. It's a classic no-win situation; he does sound tremendously like Davis and can't be completely absolved from critical charges of imitation. But he's also a fine, evocative player on ballads and can be fiery and explosive on up-tempo tunes. Roney put in his stint in one of the last editions of Art Blakey's Jazz Messengers. He began recording as a leader in the late '80s with several sessions for Muse in primarily a hard bop mode, many pairing him with equally energized saxophonists Gary Thomas or Kenny Garrett. In 2000, Roney took a creative turn toward funk and experimental post-bop with the album No Room for Argument, a direction he has stuck with through several albums, including 2004's Prototype and 2005's Mystikal. He released Jazz in 2007.
---Ron Wynn, All Music Guide |
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