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| Communication Theory |
| David Berkman |
| első megjelenés éve: 2000 |
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| (2000)
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CD |
| 3.700 Ft
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| 1. | Blutocracy [Blues for Bluto]
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| 2. | Colby
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| 3. | Interesting, Perhaps, But Hardly Fascinating Rhythm
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| 4. | Blue Poles
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| 5. | Communication Theory 1
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| 6. | Really Little Waltz
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| 7. | Weird Knock
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| 8. | Communication Theory 2
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| 9. | Back in the 90's
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| 10. | Remission
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| 11. | No Crosstalk
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| 12. | Communication Theory 3
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Jazz
David Berkman - Liner Notes, Piano
Brian Blade - Drums
Chris Cheek - Sax (Soprano), Sax (Tenor)
Sam Newsome - Sax (Soprano)
Ugonna Okegwo - Bass
* Lourdes Delgado - Photography
* Matt Balitsaris - Producer
* Michael MacDonald - Mastering
In the liner notes to his second album as a leader, Berkman thanks one Terry Coen for "exceeding all expectations in his battle against the forces of conservatism." Whatever that actually means, it can be applied to the music-making on this CD, which is lively, unpredictable, not afraid to veer out of control, and full of inventive ideas. Berkman is an intelligent pianist, making every note count without finding it necessary to flaunt his technique, with echoes of Bud Powell and Lennie Tristano (one fine non-spotlit example of his work is the fancy obbligato work to a front-line chorus in "Blue Poles"). Most of all, he is an imaginative composer; one of the best pieces is the jolly tune that goes until the name "Interesting, Perhaps, but Hardly Fascinating Rhythm" (he needn't be so modest, it's a fine piece). "Really Little Waltz" is an affectionate piece of work, closer to Dave Brubeck than Bill Evans perhaps, while "Communication Theory #1" seems influenced by twelve-tone classical music as it destabilizes into freeform thrashing about. Berkman fields an unusual three-sax front line -- tenor Chris Cheek, alto Steve Wilson, soprano Sam Newsome -- sometimes pitting them against each other, sometimes stacking them, sometimes using only one on a tune, always getting stimulating solos from them. Brian Blade is the volatile drummer, Ugonna Okegwo discreetly mans the bass.
---Richard S. Ginell, All Music Guide
David Berkman
Active Decades: '90s and '00s
Genre: Jazz
Styles: Post-Bop
David Berkman is an inventive pianist and composer whose music is full of subtle surprises and adventure yet well grounded in the jazz tradition. His father was an amateur pianist and Berkman, after a short stint on the bass, also switched to piano. Although he gigged locally, he did not become serious about music until he attended college including a period at Berklee. After graduation, Berkman returned to Cleveland, often playing with drummer Greg Bandy and bassist Junie Booth and accompanying visiting all-stars. He moved to New York in 1985 and since then he has performed in many situations including with trumpeter Scott Wendholt, tenor-saxophonist Rich Perry, drummer Eliot Zigmund (with whom the pianist recorded a trio album), the Woody Herman Orchestra (touring in 1989), drummer Matt Wilson, Joe Lovano, Billy Hart and bassist Ray Drummond; he also arranged songs for singers Eden Atwood and Lisa Michel. Berkman's most important and extensive musical associations have been with bassist Cecil McBee (with whom he recorded Unspoken), the Vanguard Orchestra and Tom Harrell. In 1998 Harrell and altoist Steve Wilson were part of David Berkman's quintet album for Palmetto, Handmade. He released Communication Theory in 2000.
---Scott Yanow, All Music Guide |
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