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| 1. | A Place in Space
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| 2. | All Blues
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| 3. | Forest Garden
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| 4. | Insensatez [How Insensitive]
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| 5. | Mozart's Piano Concerto No.21 (Andante in F Major)
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| 6. | Song for My Father
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| 7. | Mind Games No.1
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| 8. | Ocean Breeze
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| 9. | Healing Waves
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| 10. | Mind Games No.2
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| 11. | Shadow Dance
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| 12. | Mind Games No.3
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| 13. | Prayer for the Sea
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| 14. | Steppin' Out
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Jazz
Stanley Jordan - Arranger, Creative Director, Guitar, Mixing, Piano, Producer, Programming, Recording
Al Pryor - A&R
Charnett Moffett - Bass
David Haynes - Drums
Dudu Lima - Bass
Hartt Stearns - Percussion
Jay Kishor - Sitar
Julianne Jordan - Vocals
Kenwood Dennard - Drums
Tommy Brown - Bass
Celebrated guitar virtuoso and three time Grammy nominee Stanley Jordan has consistently shown himself to be a musical visionary. This innovation was apparent the moment he electrified listeners with 1985's gold record ‘Magic Touch’ and it still resonates twenty years later with ‘State Of Nature,’ Jordan's first major release in over a decade and his debut for Mack Avenue Records.
‘State Of Nature’ shines with Jordan’s pioneering techniques, including simultaneous playing of both guitar and piano. Backed by charismatic bassist Charnett Moffett and anchored by the soulful rhythm of drummers David Haynes and Kenwood Dennard, Jordan's writing and playing express and embrace evolution, talent and change – his own and that of the world around him.
* Arthneice Jones - Tracking
* Bob Ludwig - Mastering
* Enrico DePaoli - Tracking
* Jim Reitzel - Engineer, Tracking
* Jim Vollentine - Tracking
* Johnny Kelman - Liner Notes
* Maria Ehrenreich - Creative Services Director, Portrait Photography, Production Director
* Raj Naik - Art Direction, Design, Photography
* Rick Vargas - Mixing
* Tim Jessup - Mixing
* Todd Whitelock - Tracking
* Will Wakefield - Production Coordination
State of Nature is the first studio offering by Stanley Jordan in over ten years; it also his debut for Detroit's fine Mack Avenue imprint. For those who have only heard the early Blue Note records or his live dates, this will be both welcome and a bit of a shock. Jordan has always been an ambitious artist. He took a long break from recording to study music therapy as well. His pioneering tap technique on the guitar changed the way it is used in jazz and popular music for many, and his holistic approach to music has delighted many and infuriated some purists. Oh well. The 14 tracks here are, as one might expect, all over the map, and so are his support musicians. There are some killer pieces from the jazz canon here, most notably in Horace Silver's "Song for my Father" and Miles Davis' "All Blues." These are likely to get notice because Jordan plays both guitar and piano on them simultaneously with no overdubbing. There will no doubt be some gnashing of teeth because Jordan's not as fine a pianist as Bill Evans or Silver. So what? These are fine renditions of these tunes, performed by a crack band featuring bassist Charnett Moffett and drummer David Haynes (who make up the core rhythm section on the majority of the disc). They swing, they groove, and they remain not only faithful but soulful as well. Haynes' cymbal work on the Silver tune is gorgeous, and Moffett's driving pulse of a bassline on the Davis tune is in the cut and very creative. As for the quality of Jordan's pianism? It works beautifully, and his guitar solos on both cuts add breadth and dimension to the originals. It's actually dazzling on "Song for My Father." These are but two of the many surprises to be found here. The reading of Tom Jobim's "Insensatez" with bassist Dudu Lima and drummer Ivan Conti evokes the sparseness of the original -- even with the multiple tonalities at work in Jordan's playing (many of them bluesy and rounded) combined with Lima's wildly creative, fretless bass playing -- and still manages to hold a drop-dead precise groove for the percussive invention that engages Jordan in his interaction with Conti. This is a beautiful if very unusual interpretation of the tune that probably adds more to its timeless appeal than any cover of it in recent memory.
Jordan's own compositions have not suffered in his time away from recording; far from it. Check album opener "A Place in Space" with the Moffett and Haynes rhythm section. The colors on display here are rich, even lush, and if the tune didn't pop the way it does rhythmically or have its force of swing -- even in rather staccato interludes -- it might be a tad lush. But it moves and the breaks by Haynes, while never overstated (he's using brushes) are simply intoxicating. There are a number of brief "environmental" recordings here, as well, underscoring the artist's deep concern with the personal transformation of self and nature (yeah; green politics) but it's a spiritual type of politics, not a brow-beating one. "Ocean Breeze" was written with Jay Kishor, who also plays sitar in a large ensemble setting. The Jordan-Moffett-Haynes trio is embellished by keyboards (Giovanna Imbesi), a second bassist in Tommy Brown, and various hand percussion and tablas. While the track has a bit of a new-agey feel in the first couple of seconds, it quickly becomes something akin to what Oregon did in the early '70s but with an electric guitar. The melodic invention in this cut is simply amazing. Another remarkable moment is the exchange of solos between Jordan and Kishor, followed by Tammi Brown's understated, wordless vocals in the backdrop. The funky breaks played by Haynes in "Shadow Dance" are supplemented by hip drum loops added by Jordan. He takes his most rockist solo here (feels like a nod to Hendrix); it spirals out into space with pedal effects and some keyboard programming and overdubbed piano, and it's an excellent fusion track which has enough funk and soul in it to create a killer groove. The album closes with a beautiful version of Joe Jackson's "Steppin' Out." A backing chorus of Tammi Brown and Julianne Jordan is accompanied by Jordan on electric piano, guitar, and loops, and the rhythm section of Moffett and Haynes. It swings and shimmers and stays deeply in the cut while letting its groove and dancefloor freak flag fly -- expect this one to be a hit on contemporary jazz stations even at almost six minutes. There is some additional recording at the end with environmental sounds, Meta Weiss' cello and Kishor's sitar fading in as the guitar solos and vocals fade out. In lesser hands this cut and perhaps an album this ambitious in scope would have been a mess. In Jordan's it is nothing short of a triumph of soul, spirit, and a seasoned jazz musician's acumen.
--- Thom Jurek, All Music Guide
Stanley Jordan
Active Decades: '80s and '90s
Born: Jul 31, 1959 in Chicago, IL
Genre: Jazz
Styles: Bop, Contemporary Jazz, Crossover Jazz, Instrumental Pop, Jazz-Pop, Neo-Bop
Stanley Jordan's discovery in the early '80s rightfully earned a lot of headlines in the jazz world as he came up with a new way of playing guitar. Although he was not the first to use tapping, Jordan's extensive expertise gave him the ability to play two completely independent lines on the guitar (as if it were a keyboard) or, when he wanted, two guitars at a time. He had originally studied piano, although he switched to guitar when he was 11. After graduating from Princeton in 1981, Jordan played for a time on the streets of New York. Soon he was discovered, had the opportunity to play with Benny Carter and Dizzy Gillespie and, after recording a solo album for his own Tangent label, signed with Blue Note. Since then, his career has been surprisingly aimless. Stanley Jordan can play amazing jazz, but he often wastes his talent on lesser material, so one has to be picky in deciding which of his recordings to acquire. Among his many albums are 1985's Magic Touch, 1990s Stolen Moments, 1994's Bolero, 1996's Standards, Vol. 1, 2003's Dreams of Peace, and 2008's State of Nature.
--- Scott Yanow, All Music Guide |
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