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| E-Bop |
| Eric Reed |
| első megjelenés éve: 2003 |
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| (2003)
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CD |
| 3.906 Ft
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| 1. | Ain't Nothing Wrong with That
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| 2. | Bouncin' with Boo Boo
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| 3. | E-Bop
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| 4. | Little Girls
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| 5. | Grew-Vy
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| 6. | Ornate
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| 7. | La Berthe
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| 8. | Perugian Rain
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| 9. | Roller Coaster
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| 10. | Evidence/Think of One
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Jazz
Eric Reed
Marcus Printup - Trumpet
Rodney Green - Drums
Rodney Whitaker - Bass
Walter Blanding - Sax (Tenor)
When someone with such prodigious chops as Eric Reed sits down at the piano you know you are in for a rewarding listening experience. E-Bop is no exception with Eric offering a diverse collection of originals and standards imbued with great imagination. A veteran of the Wynton Marsalis septet, Eric also occupied the piano bench in the Lincoln Center Jazz Orchestra. With masterful insight Eric reinvents tunes by Elmo Hope and Thelonious Monk and, along with trumpeter Marcus Printup and sax man Walter Blanding Jr., delivers his own original works with an authority only a composer can command. E-Bop presents compelling proof that Eric Reed is among the most talented keyboard artists in jazz today.
* Carl Posey - Photography
* Danny Kopelson - Engineer, Remixing
* Junko Mayumi - Design
* Orrin Keepnews - Producer
Since arriving on the jazz scene in the early '90s, Eric Reed has grown into one of the more impressive pianists and composers of his generation. Working with several Young Lions during this 2000 studio recording, including trumpeter Marcus Printup, tenor saxophonist Walter Blanding, Jr., bassist Rodney Whitaker, and drummer Rodney Green, Reed devotes most of the recording to his potent originals, highlighted by the soulful "Ain't Nothing Wrong with That," two lively hard bop vehicles ("E-Bop" and the well-named "Roller Coaster"), and the graceful ballad "Little Girls." Reed is featured with the rhythm section in a jagged interpretation of Elmo Hope's "La Berthe," while he is unaccompanied for his playful romp through a medley of Thelonious Monk's "Evidence" and "Think of One," showing off a bit of stride and some wild improvising. Highly recommended.
---Ken Dryden, All Music Guide
Eric Reed
Active Decades: '80s, '90s and '00s
Born: Jun 21, 1970 in Philadelphia, PA
Genre: Jazz
Styles: Post-Bop
Pianist Eric Reed is one of a growing number of talented musicians who have emerged from Wynton Marsalis' bands to pursue rewarding solo careers in their own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson.
Over 1991-1992, Reed worked with Freddie Hubbard and Joe Henderson as a sidelight, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, during 1993-1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie MurphyMartin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We.
---Steve Huey, All Music Guide |
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