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| Just in Time [ ÉLŐ ] |
| Oliver Jones |
| első megjelenés éve: 1998 |
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| (1998)
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2 x CD |
| 4.161 Ft
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| 1. CD tartalma: |
| 1. | Falling in Love With Love
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| 2. | Lover Man
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| 3. | Just in Time
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| 4. | Up Jumped Spring
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| 5. | Little Girl Blue
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| 6. | Well, You Needn't
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| 7. | Something for Chuck
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| 8. | Someone to Watch over Me
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| 9. | Place St. Henri
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| 2. CD tartalma: |
| 1. | I Love You
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| 2. | Odalisque
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| 3. | On Green Dolphin Street
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| 4. | Willow Weep for Me
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| 5. | Waltzing Matilda
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| 6. | La Quigea
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| 7. | Mean to Me
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| 8. | Oleo
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| 9. | The Things We Did Last Summer
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| 10. | Gershwin Medley: Rhapsody In Blue / I Love You Porgy / Bess You Is My Woman / It Ain't Necessarily So / Summertime
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| 10. | Gershwin Medley: The Man I Love / Embraceable You / I Got Rhythm
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Jazz
Oliver Jones - piano, Producer
Norman Marshall Villeneuve - drums
Dave Young - bass
Oliver Jones is one of the finest pianists in jazz. From poignant ballads to hard swing this Yamaha superstar again spreads a broad and technically flawless beam throughout Just In Time. On this 15th recording for Justin Time Records, Jones presents another stellar performance.
Just In Time brings him full circle. It was in 1983 that Jones, accompanied by bassist Charlie Biddle, released his first album, Oliver Jones Live At Biddles, recorded during an appearance at a Montreal nightclub. During this 1998 gig at The Montreal Bistro in Toronto, Jones is supported capably by drummer Norman Marshall Villeneuve and bassist DaveYoung.
Jones continues to follow a simple music recipe: select good tunes and mix them with extraordinary musicianship and a nonpareil technique. He still plays on top of the beat. He still prefers performing with a trio "much, much more" than playing solo. And he still prefers playing standards, occasionally slipping in a composition of his own. "In recent years,'Jones said, "I've performed classical music and a lot of jazz with symphony orchestras, which I have enjoyed very much."
The main course on the menu for Just In Time is standards, beginning with a rousing and technically brilliant "Falling In Love With Love:" "Lover Man" receives a poignant, swinging reading with Jones integrating different moods and rhythms seamlessly. Following zesty treatments of "Just In Time" and "Up Jumped Spring;' he solos tenderly on "Little Girl Blue:' a pretty Rodgers & Hart standard played perfectly. A spirited "Well You Needn't" is followed by "Something For Chuck;' an original composition that Jones first recorded on The Many Moods Of Oliver Jones, his second release, and his first solo recording. He describes this track as a "down home, nasty blues." He wrote this piece for Chuck Peterson, Oscar's older brother and Oliver's very close friend. This arrangement has a Gene Harris flavor, complete with trills and powerful tremolos. After soloing on "Someone To Watch Over Me;' Jones ends the set with "Place St. Henri,' an Oscar Peterson composition.
A swinging "I LoveYou;' begins the second set, followed by "Odalisque:' a melodic composition by Lorraine Desmarais, a pianist and composer for whom Jones expresses great affection: "Lorraine was a student of Kenny Barron. She's a wonderful player who has made a name for herself here." This arrangement reminds the listener of how much Bill Evans has influenced modern jazz piano. "Green Dolphin Street" is in good hands. Jones isn't innovative in this rendition, but I will never fault a musician who performs a jazz classic superbly. ATatumesque "Willow Weep For Me" is followed by a bluesy toe-tapping 'Waltzing Matilda" the Australian folk song, rarely performed by jazz artists. After hearing Jones play this tune, you'll wonder why. "La Quigea;' a composition by drummer Norm Villeneuve, is filled with Latin rhythms. Because of his phenomenal technique, it would be easy for Jones to overplay a song such as "Mean To Me,' but he plays the right chords and applies the right technique at the right time, never straying far from the melody. "Oleo:' a Sonny Rollins tune, showcases Jones' fast fingers and overall keyboard skills. Hearing this track provides the listener with convincing evidence that Oliver Jones is a world-class pianist. A tastefully and tenderly played "The Things We Did Last Summer" displays the remarkable breadth of feelings and moods that Jones can express. A "Gershwin Medley," the final track, opens with excerpts from "Rhapsody In Blue" and "Porgy and Bess." An Erroll Garnerish "The Man I Love" leads into "An American In Paris" before ending with a climactic "I Got Rhythm."
On these nights at The Montreal Bistro, Oliver Jones and his sidemen performed several hours of music. There will be only a few more precious evenings like these. After many years on the road, time with his family has become much more important than traveling or fame. "It has been 60 years since I performed my first concert," Jones said. "For a decade, I performed 120 to 150 each year and was on the road almost 10 months. I've been everywhere, Europe, Africa, the United States, South America. I've decided that next year will be my last year of performing. It's time to spend more time with my family and to just relax. This year, I've given up teaching at McGill University and at Laurentian University." (Jones received an honorary doctorate in music from Laurentian in 1992 and from McGill in 1995.) "Probably the only thing I'll do during the next few years is to record. Not performing will allow me time to write music"
Nearly a decade ago, Leonard Feather described Oliver Jones as "dazzling rousing rumbling moving and inspiring;' words that could have been written yesterday. And I bet that almost every jazz pianist echoes the words of my friend, Larry Rosenthal, a pianist formerly with Gus Arnheim: "Oliver Jones plays jazz as I'd like to play it" Indeed, Oliver Jones - Just In Time is an object lesson on how a jazz pianist and a jazz trio should sound.
---Hugh Glenn, Jazz News
* Barry Thomson - Photography
* Jim West - Executive Producer, Producer
* Michael Slobodian - Photography
* Ted O'Reilly - Engineer, Producer
Recorded live in Toronto in late 1997, this double-disc set finds Jones and his trio in good form on a host of well-worn standards and a few unusual choices (like a nice "Waltzing Matilda"). While Jones' piano approach may be too heavily ornamented for some listeners, with extensive keyboard runs throughout, the music is welcoming rather than distancing. His shortcomings show on more intricate tunes, such as a strained cover of Monk's "Well You Needn't".
---Tim Sheridan, All Music Guide |
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