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| 4.585 Ft
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| 1. | So It Seems
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| 2. | The Wing Key
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| 3. | Vine
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| 4. | Ice Fall
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| 5. | Granada
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| 6. | Reno
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| 7. | What's Left
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| 8. | Not a Samba
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Jazz
Recorded in New York, 1999
Chris Cheek - Design, Producer, Sax (Soprano), Sax (Tenor)
Brad Mehldau - Fender Rhodes, Piano
Jorge Rossy - Drums
Kurt Rosenwinkel - Guitar
Matt Penman - Bass
* Anthony Gorman - Assistant
* James Farber - Engineer, Mixing
* Jordi Pujol - Executive Producer
* Lourdes Delgado - Photography
* Paul Zinman - Mastering
* Rory Romano - Assistant
* Tom Beckham - Design
Chris Cheek's sophistication as a writer takes a giant leap with Vine, his best album to date. Joining the saxophonist are two of the most talked-about instrumentalists in jazz, pianist Brad Mehldau and guitarist Kurt Rosenwinkel, as well as bassist Matt Penman and drummer Jorge Rossy. Mehldau plays acoustic piano on only three tracks; otherwise, his instrument of choice is the Fender Rhodes, which blends with Rosenwinkel's guitar in subtle, miraculous ways.
"So It Seems" begins the album with winding melodies over a double-time feel and space-age chords that suggest club genres such as jungle and drum-n-bass. Rosenwinkel's solo is dirty and distorted; his expressive vocabulary takes some startling and highly original turns, such as falling off a note with an awkward wobble to end a phrase. In contrast, his solo on the quick 6/8 tune "Ice Fall" glistens with a clean tone and flawlessly executed lines. Mehldau is in top form throughout, getting around the Rhodes with consummate flair and playing beautiful piano behind Cheek's soprano sax on the final duo piece, "Not a Samba."
There's an epic side to Cheek's writing that we haven't quite heard prior to this album. In addition to "So It Seems," there's "The Wing Key," a Latin-tinged exploration that begins with a series of stunning tenor/guitar unison lines; "Granada," a more introspective piece with a Spanish-style hook at the end of the form; and "What's Left," a bright 12/8 piece that Mehldau, Cheek, and Rosenwinkel whip up in turn with brilliant solos. In contrast, "Vine" and "Reno" are simpler constructions, more similar to the folk and country elements heard on Cheek's previous album, A Girl Named Joe. Perhaps this is what it would have sounded like had Keith Jarrett ever happened to sit in with The Band.
It's not exactly surprising when a "dream team" of players such as this shines with instrumental brilliance. But it takes an artistic sensibility as focused and fully realized as Cheek's to work with the raw materials at hand and come up with something smashing.
---David R. Adler, All Music Guide
Chris Cheek
Active Decades: '90s and '00s
Genre: Jazz
Styles: Cool, Hard Bop, Post-Bop
Chris Cheek is among the cream of a young new crop of jazz musicians who came of age in New York during the 1990s. Raised in St. Louis, the tenor and soprano saxophonist attended Webster University before relocating to the Berklee College of Music in Boston. There he studied with Joe Viola, Hal Crook, and Herb Pomeroy, among others. In 1992 he made the move to New York, and has since worked with Paul Motian's Electric Bebop Band, Guillermo Klein's Los Guachos, Seamus Blake's Bloomdaddies, Stephan Crump, and Jen Chapin. His appearance on pianist David Berkman's Communication Theory, alongside fellow saxophonists Steve Wilson and Sam Newsome, further cemented his reputation as a first-tier player. As a leader, Cheek records for the groundbreaking Fresh Sound label. His 1997 debut, I Wish I Knew, was a standards session featuring guitar whiz Kurt Rosenwinkel. His second album, an all-original date titled A Girl Named Joe, followed in 1998. Vine was released in 2000.
--- David R. Adler, All Music Guide |
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