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Kérjen
árajánlatot! |
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| 1. | Training
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| 2. | September Second
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| 3. | Home
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| 4. | Little Peace in C for U
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| 5. | Love Letter
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| 6. | Cantabile
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| 7. | Colors
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| 8. | So What
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Jazz / Contemporary Jazz; Post-Bop
Recorded: Nov 1997, Blue Note, Tokyo
Michel Pterucciani - piano
Steve Gadd - drums
Anthony Jackson - bass
Along with Anthony Jackson and Steve Gadd, two master instrumentalists and close friends of Michels, the trio lines up a burning hour of music overflowing with unbonded passion and sensual lyricism.
Pianist Petrucciani was somewhat of a chameleon, inclined to go from mainstream jazz to more contemporary beats, which makes the rhythm team of electric bass guitarist Anthony Jackson and drummer Steve Gadd a good combination. They push and pull the pianist, flexing their fusion-oriented muscles while providing a swinging backdrop that Petrucciani can relate to, allowing him to exhibit his unbridled lyricism. This is a live club date done at the Blue Note in Tokyo, and the crowd response is indicative of the kineticism flowing on the bandstand from these three outstanding musicians. The trio swings hard on "Training," one of seven Petrucciani originals. It's a basic melody rivaling the best of Tommy Flanagan's work. Gadd's swing/funk informs "September Second," which sets the pianist on a melodic tear of modally repeated choruses as a basis for his startling improvisations. The lilting ballad "Home," with its slight samba inferences, goes into a disco shuffle and "Just the Way You Are" tonalities. Then the trio cuts loose for Petrucciani's flying bop number "Little Peace In C For U," a showstopper no matter your preference. Gadd's seldom-heard brush work on the ballad-to-easy-swing of "Love Letter" has the band gelling nicely, while "Cantabile" incorporates light funk underneath Petrucciani's paraphrasings of snippets from "Blues Skies" and "Without a Song." A more rambling melodicism that can go anywhere -- and does -- accents the modal, pedal-point base of the funky lite blue "Colors" with quotes straight from "But Beautiful" and "But Not for Me." As an encore closer, the trio begins politely on the Miles Davis evergreen "So What!," but grows energetic and animated halfway through. There is an emphasis on interplay, especially from Gadd on the latter bridgework. This is another posthumous reminder of how wonderful Petrucciani could be in a spontaneous concert setting, playing his own music with most capable musicians. Recommended.
---Michael G. Nastos, allmusic
Includes liner notes by Pascal Anquetil. |
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