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| An Afterthought |
| Marc Wagnon |
| első megjelenés éve: 1999 |
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| (2000)
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CD |
| 4.320 Ft
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| 1. | Aria
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| 2. | Slow Burn
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| 3. | An Afterthought
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| 4. | The Shadowline
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| 5. | Venus Incognito
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| 6. | The Warrior
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| 7. | Sound Sculpture
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| 8. | Ode to a Star
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| 9. | New Old World
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| 10. | Postlude
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Jazz / Fusion, Avant-Garde Jazz, Jazz Instrument, Vibraphone/Marimba Jazz
Marc Wagnon - electronic vibraphone
Sarah Pillow - Voice
Frank Katz - drums
Van Manakas - guitar
Greg Jones - violin
Dave Douglas - trumpet
Ray Anderson - trombone
Marc Wagnon's "An Afterthought" is his first collaboration with singer Sarah Pillow, who wrote lyrics to five of Marc's compositions. This recording holds interest from start to finish, as it also features trumpeter Dave Douglas, trombonist Ray Anderson, drummer Frank Katz, guitarist Van Manakas, and bassist Greg Jones.
Vibraphonist Wagnon has heard the fusion music of the '70s, and it has stuck with him. He's also quite cognizant of post-bop jazz horns, James Brown, and siren songs as evoked during much of this effort by Sarah Pillow. Trumpeters Dave Douglas and, especially, Tim Ouimette, trombonists Phil Arnold for the bulk and Ray Anderson for two solos, guitarist Van Manakas, bassist Greg Jones, and drummer Frank Katz round out this well-rounded, thoroughly contemporary, daring, and modern music ensemble. Pillow, as vocalist and lyricist, takes the lioness share of these "tunes." Her instrument is impressive, as flexible, scattable, dour and deep, or joyous and bold as anyone might need. A pained woman's anthem "Venus Incognito" goes from funk bridge to spacey and back, a tortured fighter's lament informs the poignant words and calmed funk of "The Warrior," while sweet oohs and ahhs follow the more quirky chart over a one-note bass ostinato and hard funk for Ouimette's solo and Wagnon's oriental flavored vibes during the title cut. In a more operatic, spooky, wordless stance (remembering Eileen Gilbert of the Jazz Modes?), Pillow lights up the complex staccato horn collective with Douglas on "Aria," and in a direct, no-nonsense fashion calls out "politicians, fire trucks, rabbis, lawyers, liars, health officials, allies, bankers, or robbers" who cannot put out the fire of human ignorance of "Slow Burn," scatting a bit as well. Pillow also waxes woefully on the serene "Ode to a Star," again scatting on the bridge. The instrumental tracks are equally virile. The hip funk of "New Old World" is guitar led, horn followed, and they join together in neat, clean splendor, a truly original musical idea requiring your attention. A 5/4-based "Sound Sculpture" sports a bright second melody after Ouimette's solo, and the cool funk of "The Shadowline" has Douglas again in the ensemble of a great unison horn line, with an inserted Afro-Cuban percussion workout. Katz presents the coda of the CD in a drum solo "Postlude." This recording holds interest from start to finish, the musicianship and originality is lofty, and Wagnon should be quite proud of this individualists effort. Recommended. ~ Michael G. Nastos, All Music Guide
Marc Wagnon
Active Decade: '90s
Genre: Jazz
Styles: Fusion, Avant-Garde Jazz, Jazz Instrument, Vibraphone/Marimba Jazz
Though his talent as a percussionist was immediately evident, the real story of Marc Wagnon's success is one of a series of fortunate encounters with equally prodigious artists. Born in Lausanne, Switzerland, his early musical tastes focused on progressive rock bands like King Crimson, Led Zeppelin, Yes and Genesis. He was also impressed with the fusion sounds of Miles Davis and the Mahavishnu Orchestra. It was a Gary Burton concert, though, which helped him focus his desire to become a musician -- he was impressed with Burton's technique, creativity and flexibility on the vibraphone. Soon after seeing that influential performance he would enter the Geneva Conservatory to study classical percussion, including the vibraphone, which would become his instrument of choice.
The five years that Wagnon spent at the Geneva Conservatory was supplemented by a year at the Berklee School of Music in Boston. Though his time there was short, it produced several relationships which would later prove helpful. At Berklee Wagnon met Dave Douglas, whose improvisational skills were an inspiration to Wagnon; he also met Dave Kikowski, who would become his consistent collaborator.
After his stint at Berklee, Wagnon moved to New York City where he began a series of projects and really began to develop his own unique style. He formed Dr. Nerve with Kikowski, a band with an aggressive, grinding sound that Wagnon described as "Schoenberg meets the Sex Pistols." During the Dr. Nerve years, Wagnon kept busy with several side projects. He produced an album under the band name Tunnels with famed bassist Percy Jones and Brand X drummer Frank Katz in 1993 entitled With Percy Jones. Tunnels featured a more straight-ahead jazz fusion sound than Dr. Nerve, showing off Wagnon's skill on the vibes. Wagnon's side projects didn't seem to affect his commitment to Dr. Nerve, however. Before they disbanded in 1997, they would release seven albums on the Cuneiform label. In that same year, Wagnon released the results of two other side projects. With No No Diet Bang, a collection of Swiss musicans, he produced a cd entitled Profan for the Bambrus record label. He also kicked off his new music service company, Buckyball, by releasing a collaboration with vocalist (and Buckyball co-founder) Sarah Pillow: Paper Cuts, which was a collection of jazz standards. The label would eventually release several other Wagnon releases, including a reissue of a side project from the late '80s, Shadowlines. Another Tunnels album, Painted Rock, and another collaboration with Pillow, An Afterthought, both pushed Wagnon further into experimental jazz territory and showed off his consistently evolving technical mastery.
---Stacia Proefrock, All Music Guide |
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