  |
|
|
 |
|
CD |
| 5.180 Ft
|
|
| 1. | Mellow B
|
| 2. | Moment's Notice
|
| 3. | Charvez
|
| 4. | Confirmation
|
| 5. | Lorca
|
| 6. | Irah
|
| 7. | Lullaby for Imke
|
| 8. | Iverson's Odyssey
|
| 9. | Neon
|
Jazz / Post-Bop
Billy Hart- drums
Mark Turner- tenor
Ethan Iverson- piano, Liner Notes
Ben Street- bass
Some jazz bands operate under a kind of aesthetic mandate, imposed by a bandleader in search of a sound. Many are much looser, allowing for whatever happens in the combination of certain ingredients. The drummer Billy Hart, who has had a busy career in New York since the late 1960's, trusts his musicians and encourages them to expand their ideas as they see fit. Here is a band of musicians who let their imaginations take them down their respective roads and yet merge together for a unified sound that transcends the individual players. Billy Hart's turbulent crashes and splashes can play against Ben Street's patient bass lines with telling effect while pianist Ethan Iverson's (The Bad Plus) explosive neo-romantic approach perfectly compliments Mark Turner's fragmentary, interval-driven improvisations. Billy Hart, through the power of his musical vision and strength of his personality galvanizes these diverse players in a band which generates excitement as well as thought.
* A.T. Michael MacDonald - Engineer, Mixing
* Joe Fields - Executive Producer
* Jos L. Knaepen - Photography
* Josh Bonati - Assistant
* Keiji Obata - Design
* Mark Conese - Assistant
A veteran drummer who has recorded only sporadically as a leader, Billy Hart leads a group including two promising musicians from a later generation, pianist Ethan Iverson and tenor saxophonist Mark Turner, plus bassist Ben Street. Since this was a working band for some time prior to the making of Quartet, the musicians were already of one mind, rather than being thrown together and trying to make something out of brand new, unfamiliar charts. The opening piece "Mellow B" is a blues penned by Iverson that suggests both Ornette Coleman and Edgard Varèse in spots. The leader brought several originals to the session, including the exotic ballad "Charvez," the exuberant "Lorca," (dedicated to his percussionist son) and the delicate, gorgeous ballad "Lullaby for Imke" (written for his daughter). Turner's contribution is the meandering but invigorating "Iverson's Lullaby." The interplay between the four men and the intensity of their individual solos leave no doubt that this quartet has earned a return trip to the studio for a follow-up session.
---Ken Dryden, All Music Guide
Billy Hart
Active Decades: '60s, '70s, '80s and '90s
Born: Nov 29, 1940 in Washington, D.C.
Genre: Jazz
Styles: Post-Bop
A flexible drummer who has been a sideman in many different settings, Billy Hart is a creative player most at home playing advanced jazz. He worked early on in Washington, D.C., with Buck Hill and Shirley Horn, and was with the Montgomery Brothers (1961), Jimmy Smith (1964-1966), and Wes Montgomery (1966-1968). Hart was a member of Herbie Hancock's challenging sextet (1969-1973), and played regularly with McCoy Tyner (1973-1974) and Stan Getz (1974-1977), in addition to extensive freelancing (including recording with Miles Davis on 1972's On the Corner). His own opportunities to lead sessions have been comparatively rare, but Billy Hart has led interesting dates for Horizon, Gramavision, and Arabesque.
--- Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
