  |
|
|
 |
|
CD |
| 2.545 Ft
|
|
| 1. | Answer Me, My Love
|
| 2. | Embraceable You
|
| 3. | Unforgettable
|
| 4. | Too Young
|
| 5. | Mona Lisa
|
| 6. | It's Only a Paper Moon
|
| 7. | Gee Baby, Ain't I Good to You
|
| 8. | Cole After Midnight
|
| 9. | I Concentrate on You
|
| 10. | What Is This Thing Called Love?
|
| 11. | It's De-Lovely
|
| 12. | I've Got You Under My Skin
|
| 13. | Ace in the Hole
|
| 14. | You're the Top
|
| 15. | It's All Right With Me
|
| 16. | Answer Me, My Love
|
Jazz
Recorded at the Monticello Opera House, Monticello, Florida
Marcus Roberts - Arranger, Editing, Mixing, Piano, Producer
Jason Marsalis - Drums
Leah Anderson - Drums
Roland Guerin - Bass
Thaddeus Expose - Bass
* Douglas Foulke - Photography
* Fred Chester - Assistant Engineer
* James L. Hunter - Graphic Design
* Joel Zimmerman - Art Direction
* Les Stephenson - Editing, Engineer, Mixing
* Mark Wilder - Mastering
Marcus Roberts' Cole After Midnight is actually a tribute to both the terrific pianist/singer Nat "King" Cole and the great composer Cole Porter. The pianist also wrote extensive liner notes explaining how his concept evolved and how it was achieved musically. Roberts avoids the predictable path in honoring Nat King Cole, covering songs both from his days as a singing jazz pianist (while omitting Cole's own classic compositions such as "Straighten Up and Fly Right") and later material when he had become a pop icon (strictly as a vocalist) during the 1950s and 1960s. Two separate elegant solo piano arrangements of "Answer Me, My Love" are utilized to open and close the CD, because Roberts couldn't choose between the two takes. He doesn't mimic Cole's piano style, offering a lush and deliberate "Embraceable You," while his snappy chart of "It's Only a Paper Moon" features two bassists (Roland Guerin and Thaddeus Expose) and drummer Jason Marsalis' crisp brushwork. Cole's influence is the most obvious in his interpretation of "Gee Baby, Ain't I Good to You." None of the pop songs from Cole's singing days are covered that often by jazz artists, but Roberts does a credible job with "Unforgettable," "Mona Lisa," and especially "Too Young," which features Marsalis' hand drumming. Roberts' one original, the driving Erroll Garner-inspired "Cole After Midnight," provides a segue between the two halves of the CD, with both Marsalis and Leon Anderson on drums. His solo of "I Concentrate on You" is very formal, while the funky "What Is This Thing Called Love" is rather refreshing. "Ace in the Hole" has a dual personality, alternating between up-tempo swing and an exotic Latin vibe, while Roberts' familiar stride style is best heard displayed in "You're the Top." This imaginative CD is highly recommended.
---Ken Dryden, All Music Guide
Active Decades: '80s, '90s and '00s
Born: Aug 07, 1963 in Jacksonville, FL
Marcus Roberts is a very talented -- if very raw -- young musician, whose good fortune it was to capture the attention and goodwill of the all-powerful Wynton Marsalis. Roberts is one of the generation of young African-American jazz musicians who seems bent on forging the future by reinventing the past; his infatuation with older forms renders his music a pastiche of obsolete styles. Roberts is a gifted mimic, though his adoption of his idols' surface mannerisms does not penetrate to the essence of their art.
Roberts is without sight; he attended a school for the blind near his childhood home of Jacksonville, FL. He began playing piano in his youth, and studied the instrument at Florida State University in the mid-'80s. Roberts replaced Kenny Kirkland as Marsalis's pianist in 1985. He recorded as a sideman with the trumpeter through the rest of the decade and into the '90s, while at the same time making records under his own name for Columbia. Roberts became Marsalis's aide de camp at Jazz at Lincoln Center, writing and arranging extensively for the house big band, and participating in most of the cultural center's activities variously as a composer, performer, or teacher. Roberts is an outspoken proponent of jazz traditionalism; he has little patience for styles of jazz that lie outside the narrow parameters set down by his mentors. His lack of interest in expanding jazz's creative possibilities causes his music to have a hermetic quality, which is unfortunate, because one gets the feeling by listening to his recent compositions that, were Roberts to broaden his horizons a bit, he might be capable of doing excellent work.
--- Chris Kelsey, All Music Guide
Styles: Christmas, Ragtime, Swing, Post-Bop, Hard Bop, Stride, Contemporary Jazz, Standards |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
