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| 4.076 Ft
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| 1. | Broadway Rundown
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| 2. | Tootin' Back
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| 3. | After All These Years
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| 4. | Ceentennial Park
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| 5. | Hoover the Duvet
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| 6. | First Love
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| 7. | Juna the Last
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| 8. | Memories of Crete
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Jazz
Recorded January 4, 1993 in New York City, NY, USA by Max Bolleman
Steve Wilson (As / Ss)
Steve Nelson (Vib)
Bruce Barth (P)
James Genus (B)
Lewis Nash (D)
Steve Wilson's second recording as a leader shows considerable growth from his first, as he adds Steve Nelson's vibes to a group consisting of frequent Wilson collaborators (pianist Bruce Barth, bassist James Genus, and drummer Lewis Nash), with the sax-vibes front line creating a different group sound while adding more of the passion that characterized the first. Wilson, who wrote three of the eight compositions on Blues for Marcus, shows a stronger voice on alto sax, sounding reminiscent of Gary Bartz at times, and introduces his soprano sax, an instrument he would later use exclusively with Ralph Peterson's Fotet. Highlights include Ornette Coleman's "Jayne," based on the chords to the standard "Out Of Nowhere" and alternating between a samba and swing feel; Joe Chambers' "Patterns," taken at a blistering tempo; Wilson's "Diaspora," a three-sectioned composition played, according to liner notes writer and saxophonist Don Braden, "in the time feels of 12/8, 7/4, and 21/8!"; and the title track, an up-tempo blues complete with well-placed drum accents from Nash. One of 1993's best releases.
---Greg Turner, All Music Guide
Steve Wilson
Active Decades: '70s, '80s, '90s and '00s
Genre: Jazz
Styles: Modern Creative, Neo-Bop, Post-Bop, Hard Bop
Best known as a sideman in Chick Corea's Origins and many other famed jazz ensembles, Steve Wilson developed his fluid style and versatility through years of study, touring and session work with artists like Jon Hendricks, Ellis Marsalis, Don Byron, the Mingus Big Band, Out of the Blue and Frank Foster. By the early '90s, Wilson was stepping out on his own as a leader, issuing a series of albums for the Criss Cross label. By the mid '90s his work began to earn increasing critical praise -- in 1997 and 1998 he was named in a Downbeat critics poll as a "talent deserving wider recognition" for both soprano and alto saxophone. Two projects in the late '90s especially highlighted Wilson's strengths; Avashai Cohen's 1998 album, Adama, was a beautiful exploration of Middle Eastern sensuality that often seemed hung on Wilson's bright and flowing sax lines. His own 1999 project for Concord records, Generations, showed off Wilson's flexibility, by bringing together a multi-generational cast of players, including Ben Riley, Ray Drummond and Mulgrew Miller. Passages appeared the following year.
---Stacia Proefrock, All Music Guide |
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