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| Live at the Village Vanguard [ ÉLŐ ] |
| Wessell Anderson |
| első megjelenés éve: 1998 |
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| (1998)
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CD |
| 4.161 Ft
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| 1. | African Cowboy
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| 2. | Now's the Time
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| 3. | Dis Here
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| 4. | Soul Eyes
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| 5. | Snake Charmer
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| 6. | I'll Remember April
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| 7. | The Star-Crossed Lovers
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| 8. | Quick Skeem
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| 9. | Red Top
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Jazz
Wessell Anderson - Sax (Alto), Sax (Soprano)
Irvin Mayfield - Performer, Trumpet
Jaz Sawyer - Drums
Steve Kirby - Bass
Xavier Davis - Piano
* Frank Goodenough - Art Direction, Artwork
* Judy Walgren - Photography
* Keith Foerster - Executive Producer
* Mark Elliot - Engineer, Mixing, Producer
* Stanley Crouch - Liner Notes
Alto saxophonist Anderson is emerging as one of the premier modern day exponents of the Charlie Parker be bop style of jazz. Since coming out as a leader and stepping forth from experience with Wynton Marsalis and the Lincoln Center conclave, he continues to refine his bop chops, establishing himself as an extrememly lyrical sound sculptor and a helluva swinger. The evidence of his rise to power is all in this great set of music recorded live, with the equally talented pianist Xavier Davis, bassist Steve Kirby, drummer Jaz Sawyer, and on four cuts, the welcome addition of trumpeter Irvin Mayfield. The nine track program is complete in diversity and traditional values. Three are written by the leader; "African Cowboy" a train whistle/wah-wah melody that charges into a bop figure, "Snake Charmer" a calypso fed rhythm with Anderson on sopranino saxophone, and "Quick Skeem" with Mayfield on an Art Blakey-ish hard bop head, relentless in pursuit of truth. Of the out-and-out boppers, "I'll Remember April" fares particularly well for 12+ minutes, Anderson wittily adding flourishes and embellishments on top of the melody line, then Davis stating the second half of the theme before "Warmdaddy" Wes gets back to it, an excellent reinvention. On the other hand "Now's The Time" has a slightly edited head, notes are whittled off for effect, and Anderson's highly melodic sense is clearly in the house. "Soul Eyes" is the lone ballad, done pristinely by Anderson and Davis for the long, lovely intro of an 11+ minute version, and the soul jazz classics "Dis Here" and the finale "Red Top" are rendered with heartfelt respect, the latter featuring Davis on a rambunctous solo that spontaneously merges from 4/4 to 3/4. Anderson, as an improvisor and tunesmith, has his ducks in a row. This is one of the better live jazz CD's of the past decade, and stands up remarkably well upon repeated listenings. We notice in the latest Downbeat Critics Poll, Anderson does not even list in the top ranks of alto saxophonists. It's an oversight, for he clearly is one of the better players going today, and this exceptional date is highly recommended.
--- Michael G. Nastos, All Music Guide
Wessell Anderson
Active Decade: '90s
Born: 1966 in Brooklyn, NY
Genre: Jazz
Styles: Swing, Post-Bop, Hard Bop
Alto saxophonist Wessell "Warmdaddy" Anderson grew up in the tough Bedford Stuyvesent and Crown Heights neighborhoods of Brooklyn, NY. By the time Anderson was 14 years old, he was deeply involved in the local jazz scene (thanks in part to his father, a drummer) and attending jam sessions at then-active Brooklyn and Queens jazz clubs like the Blue Coronet, Pumpkin's, and the Turbo Village. Anderson later studied at Harlem's famed Jazzmobile workshops with the likes of Frank Wess, Charles Davis, and Frank Foster. Here, Anderson also met Wynton and Branford Marsalis, who were both playing with Art Blakey's Jazz Messengers at the time. At Branford's urging, Anderson soon departed New York to study with famed clarinetist Alvin Batiste at Southern University in Baton Rouge, LA.
It wasn't long before Anderson got his first big break, when Wynton Marsalis asked Anderson to tour with the Wynton Marsalis Septet. Soon, Anderson was off to the studio and the road with Marsalis, helping make some of the most defining music of the late-'80s and early-'90s jazz revival. Although Marsalis disbanded the group in 1995, Anderson is still the first string alto saxist with Marsalis' Lincoln Center Jazz Orchestra.
It was during his time with Marsalis' group that Anderson began to develop his own sound: a mix of traditional New Orleans jazz (likely Batiste's influence) and a sweeping blues style similar to that of Cannonball Adderly. Anderson's 1994 debut album, Warmdaddy In the Garden of Swing (Atlantic Records), featured Anderson playing a set of all original compositions with big-name sidemen like pianist Eric Reed and bassist Ben Wolfe. Anderson truly came into his own, however, with 1998's Live at the Village Vanguard, which found him in top form with his own hand-picked band of powerhouse young players, including trumpeter Irvin Mayfield, bassist Steve Kirby, pianist Xavier Davis, and drummer Jaz Sawyer.
--- Alex Arcone, All Music Guide |
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