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| For All I Care |
| The Bad Plus |
| első megjelenés éve: 2008 |
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| (2008)
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CD |
| 4.270 Ft
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| 1. | Lithium
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| 2. | Comfortably Numb
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| 3. | Fém (Etude No. 8)
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| 4. | Radio Cure
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| 5. | Long Distance Runaround
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| 6. | Semi-Simple Variations
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| 7. | How Deep Is Your Love
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| 8. | Barracuda
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| 9. | Lock, Stock and Teardrops
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| 10. | Variation d'Apollon
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| 11. | Feeling Yourself Disintegrate
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| 12. | Semi-Simple Variations [Alternate Version]
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Jazz
Ethan Iverson (piano)
Reid Anderson (bass)
David King (drums)
Wendy Lewis (vocals)
Since their formation, The Bad Plus have radically reworked classic rock and pop songs by the likes of the Pixies, Bowie, Black Sabbath and Nirvana into modern day jazz pieces. It seemed on logical then that adding a vocalist would catapult them further down the path of being one of the most original bands at the cutting edge of jazz. For All I Care thus sees the arrival of the very talented singer Wendy Lewis.
The Bad Plus first appeared in 2000, and they didn't go unnoticed for long. Delighting in challenging conventions and causing jaws to drop, their music quickly won friends among fans and critics. Said The New Yorker, "The Bad Plus are the Coen brothers of jazz: both ironic and dead earnest; technically brilliant, beyond versatile, a little chilly sometimes, but funny, surprising, and hard to pin down."
After the success of last year's release, Prog, described by Billboard as "Easily the most likeable and listenable jazz album of 2007," the trio, never content to stand still, moved on their next challenge with For All I Care (Universal/Emarcy), their first album with vocals.
Says bassist Reid Anderson: "The Bad Plus has always reworked contemporary songs; the next logical step was do so with the added clarity of a voice." For All I Care was engineered by Brent Sigmeth and mixed by returning partner-in-crime, Tchad Blake (Elvis Costello, Peter Gabriel, Dandy Warhols, Sheryl Crow), who also co-produced the PLUS's first three albums.
Since their formation, The Bad Plus - Ethan Iverson on piano, Anderson on bass and Dave King on drums - have worked on creating a specific group identity. Classic rock and pop songs by the likes of the Pixies, Bowie, Black Sabbath and Nirvana were BadPlusified into convincing jazz vehicles along with their own compelling originals. It was going to take a very special singer who could fit into the band's style without disrupting the group's internal balance. Their choice was characteristically left of field. The band's first choice was Wendy Lewis, a veteran of the Minneapolis indie-rock scene. "Wendy is like another instrument with intense, compressed energy," says King. Through a remarkable piece of musical alchemy, Wendy became the fourth member of the trio on For All I Care. Her haunting voice adds a fresh and powerful dimension within the fabric of the group. Singing on eight numbers including Nirvana's "Lithium," Pink Floyd's "Comfortably Numb" (in which Reid sings a gorgeous harmony), Wilco's "Radio Cure," the Bee Gees' "How Deep is Your Love" and Heart's 70s rock anthem, "Barracuda," her storytelling privileges propel The Bad Plus' music into an exciting new place. This past summer the PLUS previewed their new line-up at the North Sea Jazz Festival in Holland to an overwhelming audience response. "We wanted to test the waters", says King, "and the audience accepted vocals as a natural part of our evolution. The ovation left us stunned and speechless; it was just beautiful."
The addition of Wendy Lewis is not the only new direction The Bad Plus takes on For All I Care. The boundary breaking band also explored classical repertoire for the first time performing compositions by Ligeti, Babbit and Stravinsky.
Throughout an exhausting year of touring and working on new repertoire, The Bad Plus reconciled two seemingly irreconcilable concepts: an adaptation of pop and rock classics for jazz trio and voice and an adaptation of contemporary classical repertoire for jazz trio. "We've always been interested in extremes," said Iverson. In a way, Ligeti and Wilco on the same album are opposite extremes - yet together quite perfect. We're interested that The Bad Plus provide each piece - whether it's Stravinsky, a rock cover or originals - organic unity. They should make sense as songs... and collectively make sense as an album."
The Bad Plus
Active Decades: '90s and '00s
Born: 1990 in Minnesota
Genre: Jazz
Styles: Post-Bop, Post-Rock/Experimental
Are the Bad Plus a pop- and rock-influenced jazz trio? Or are they a power trio who like to play jazz? It's really a bit of both. But in the brave new world of postmodern jazz, identity crises are encouraged. Reid Anderson (bass) and David King (drums) grew up in Minnesota, while pianist Ethan Iverson spent his formative years in Wisconsin. Eventually, after crossing paths in such unlikely places as high school rock showcases and tentative free jazz performances inside upper-Midwestern diners, the three first performed as the Bad Plus in 1990; but they would spend the '90s embracing separate influences, each musician developing a unique musical language that would gestate into the Bad Plus' iconoclastic jazz template. Anderson released three albums on the Spanish indie Fresh Sound; Iverson was music director of New York City's prestigious Mark Morris Dance Group; and King worked with his Happy Apple combo, as well as 12 Rods.
In August of 2001, the trio put aside their other projects and released The Bad Plus through Fresh Sound. It established them as a group unafraid to stray from the confines of jazz, but confident enough in their forays to make them stimulating, and not simply novelties. The debut was a critical success, garnering best-of honors from the New York Times and Chicago Reader, among others. An "official" bootleg followed in 2002, eventually going out of print. It was a particularly memorable performance at New York's Village Vanguard that led Columbia Records to sign the Bad Plus; in February of 2003, the label released These Are the Vistas which was produced by stranger-to-jazz and ex-Latin Playboy Tchad Blake. The album presented original compositions from each musician, as well as a few ringers from the musical world outside the borders of jazz. Their re-imaginations of "Smells Like Teen Spirit" (which Iverson had reportedly never heard before), Blondie's "Heart of Glass," and Aphex Twin's "Flim" caused tails to wag, but it was the trio's powerful mixture of personality and performance that really defined them. The Bad Plus toured throughout spring and summer 2003 in support of their major-label debut. The band's second album, Give followed in spring 2004. For 2005's Suspicious Activity?, the band produced with album with Tchad Blake at RealWorld Studios in England. PROG followed in 2007.
--- Johnny Loftus, All Music Guide |
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