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| Sleep Won't Come |
| John McNeil |
| első megjelenés éve: 2004 |
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| (2004)
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CD |
| 5.061 Ft
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| 1. | Sleep Won't Come
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| 2. | The Other World
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| 3. | The Water Is Wide
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| 4. | Wired Together
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| 5. | Each Moment Remains
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| 6. | Escape From Beigeland
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| 7. | Penumbra
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| 8. | Polka Party
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| 9. | Somnambulation
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| 10. | Nanotech
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| 11. | World Without Velcro
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Jazz
Recorded: Mile High Music, Denver, Colorado (05/04/2003 - 05/06/2003); Mile High Music, Denver, Colorado (04/02/2004 - 04/03/2004)
John McNeil (trumpet)
Jeff Jenkins (piano, prepared piano)
Kent McLagan (double bass)
Trumpeter, composer, and part-time insomniac John McNeil's musical portrayals of lying-awake-at-4AM-staring-at-nothing scenes, ranging from piano tone-cluster mashing tunes and ECM like grooves to Mileish-muse, Irish traditional songs, and even a polka!
* Frank Tafuri - Executive Producer
* John McNeil - Liner Notes, Producer
* Katherine Miller - Mastering
* Scott Griess - Engineer
When it comes to inside playing versus outside playing, John McNeil has always believed in keeping his options open. The trumpeter can be quite lyrical and melodic, but that doesn't mean he won't get into dissonant outside playing when it's appropriate. McNeil has been greatly influenced by Miles Davis and Chet Baker, but that hasn't prevented him from learning some things from Don Cherry, Lester Bowie and Kalaparusha Maurice McIntyre. And that open-mindedness is a definite advantage on Sleep Won't Come, which finds the trumpeter forming a drumless trio with pianist Jeff Jenkins and bassist Kent McLagan. Recorded in 2003 and 2004, this post-bopavant-garde disc reminds us just how enjoyably unpredictable McNeil can be. McNeil is at his most lyrical on a tender, vulnerable performance of the traditional Irish song "The Water Is Wide," but he has no problem taking things in a more abstract, mildly avant-garde direction on "The Other World" and "Penumbra" -- mildly being the operative word. Sleep Won't Come, which is dominated by McNeil's own compositions, is not an exercise in complete atonality; compared to the work of a free jazz firebrand like saxophonist Charles Gayle (just to give one example), this release isn't all that left-of-center. Rather, Sleep Won't Come is an example of a talented, broad-minded improviser using both inside and outside playing to his creative advantage (with the inside ultimately having the upper hand). McNeil, regrettably, is not as well-known as he deserves to be in the jazz world, and this memorable date underscores the fact that he is well deserving of greater exposure.
--- Alex Henderson, All Music Guide
John McNeil grew up in Yreka, CA. The little town off of I-5 wasn't exactly brimming with musical knowledge, but the tenacious McNeil still taught himself trumpet and learned to read music on his own. By his late teens the young trumpeter was playing in combos throughout northern California; by the mid-'70s he was freelancing in New York City and gaining a reputation as an innovative, lyrical player. He performed with the Thad JonesMel Lewis Orchestra at the Village Vanguard, and led his own groups at various area clubs. By the latter part of the decade, McNeil had joined the Horace Silver Quartet and secured a solo contract with SteepleChase. The label issued a flurry of McNeil releases, including 1978's Embarkation and The Glass Room, Faun, and (with Tom Harrell) Look to the Sky in 1979.
In the 1980s, the trumpeter continued to work as both a sideman and leader. He appeared as a soloist with Gerry Mulligan's band, and formed the John McNeil Trio/Quartet for 1983's I've Got the World on a String. He toured internationally, and was recognized by the contemporary jazz community as a go-to writer, arranger, and producer.
McNeil went on to issue a series of critically acclaimed albums, including the Kenny Burger collaborations Hip Deep (1996, Brownstone) and Brooklyn Ritual (1998, Synergy). Released in 2001, Fortuity featured a few pop-inspired numbers, like a Latin-flavored interpretation of the Beatles' "I Will." The Latin influence continued with 2003's This Way Out (Omnitone), which McNeil recorded in Barcelona with tenor saxophonist Gorka Benitez and bassist Giulia Valle. The record was breezy, bold, and curious, and proved that McNeil's hunger for music hadn't diminished an iota from those days learning trumpet in the fields of Yreka.
---Johnny Loftus, All Music Guide
Styles: Modern Creative |
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