  |
|
|
 |
|
CD |
| 3.566 Ft
|
|
| 1. | These Three Words
|
| 2. | Venus as a Boy
|
| 3. | Sleep Flying
|
| 4. | Life on Mars?
|
| 5. | Footprints
|
| 6. | Asadoya Yunta
|
| 7. | Fractured
|
| 8. | Cybergrrrl
|
| 9. | Black and Tan Fantasy
|
| 10. | Maple Sugar Rays
|
| 11. | Wild Card
|
| 12. | Blood Count
|
| 13. | Across the Universe
|
| 14. | Hibiscus
|
| 15. | Let Down/Hypno Gang
|
Jazz
Geoff Keezer - Piano, Producer, Sampling
* David Kreisberg - Engineer
* Douglas Yoel - Production Coordination
* Gene Paul - Mastering
* John Reeves - Photography
* Mac David - Artwork
This acoutsic solo piano effort by Keezer is not your typical collection of standards or lounge jazz. Instead, Keezer incorporates many elements of jazz expressionism, a few 20th century contemporary precepts, and chamber music approaches. It's quite a beautiful mix: melodically rich and texturally vibrant, all the while boldly italicizing Keezer's stance as a brilliant first-degree improviser of modern music. The vast majority of these 15 selections written by Keezer are introspective. "These Three Words," for example, exudes reverential resonance in waltz tempo, "Asadoya Yunta" is a hymn-like, Okinawan-based theme somewhat like "Someone to Watch Over Me," while "Letdown/Hypnogong" holds folk-type melodies close to heart. Cascading, improvised phrases tumble from Keezer's fingers on "Cybergrrrl"; a rich, Steve Reich-like, repetitive minimalism strikes up both "Hibiscus" and the somehow familiar, heavier ruminations of "Wild Card." There's also the lugubriously slow drip of Billy Strayhorn's "Blood Count," the patient two-beat version of Ellington's "Black & Tan Fantasy," and the "I'll Be Home for Christmas"church-like "Across the Universe." At his most animated during a supercharged "Footprints," Keezer plays ridiculously and delightfully fast in a modal-three beat. Also uppity is a foundation of popping, bopping hyperglycemic rhythm in "Maple Sugar Rays." Keezer mixes sunrise peacefulness with "Embraceable You" sentiments and a reggae beat during "Venus as a Boy," and galactic "Born Free" leaps and bounds during Life on Mars." He assimilates synthesized sounds from overdubbed and sampled acoustic piano during "Fractured," combining African congas and bata drums, rimshot clicks, afuche shakes, and zither string zings as underpinnings for his classical-type piano musings. "Sleep Flying" uses overdubbed, treated acoustic piano -- both spatial and spiritual -- in a deep, dense rubato fashion that would make Fred Van Hove, a master of this idiom, take notice. Ever striving for new means of playing jazz, the challenged, creative musician must also be mindful that he's playing for people's enjoyment; Keezer succeeds on both levels here, on a recording that should leave no universally minded soul disappointed. Highly recommended.
---Michael G. Nastos, All Music Guide
Geoff Keezer
Active Decades: '80s, '90s and '00s
Born: Nov 21, 1970 in Eau Claire, WI
Genre: Jazz
Styles: Post-Bop, Hard Bop, Contemporary Jazz
Geoff Keezer was only 17 when he became the last pianist in Art Blakey's Jazz Messengers (1988-1990), a perfect gig for the talented hard bop musician who fit right in with the tradition of Horace Silver, Bobby Timmons, Cedar Walton, James Williams, and Benny Green. Since Blakey's death, Keezer has recorded steadily as a leader for Sunnyside, Blue Note, DIW/Columbia, and Sackville and played on records led by Art Farmer, Roy Hargrove, and Antonio Hart, among others. Geoff Keezer has also performed and recorded with the Contemporary Piano Ensemble and in 1997 was a member of Ray Brown's Trio. Turn up the Quiet appeared the following year and in early 2000, Keezer returned with Zero One.
---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 |
|
|
