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| Grand Hotel Europa |
| Nigel Clark |
első megjelenés éve: 2001
62 perc |
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| (2001)
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CD |
| 2.905 Ft
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| 1. | East of the Sun
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| 2. | Grand Hotel Europa
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| 3. | Dolphin Dance
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| 4. | Sakura Samba (Cherry Blosson Samba)
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| 5. | Once I Loved
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| 6. | In Another Moment
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| 7. | Island Dance
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| 8. | Caso de Verao
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| 9. | How Deep Is the Ocean?
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| 10. | You Are Too Beautiful
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Jazz / Jazz Instrument, Guitar Jazz
Dave Gray Engineer
Nigel Clark Producer
These days, jazz education departments are turning out a lot of bop snobs -- myopic, predictable, narrow-minded musicians who believe that '40s and '50s bop is the last word on jazz and that anything other than straight-ahead jazz and classical has no artistic value. In the mind of a real bop snob -- the sort of musician who wouldn't know Nine Inch Nails from the Chieftains or the Roots from Dwight Yoakam -- rock and country are as worthless as funk, hip-hop, reggae, salsa, and traditional chinese music. But thankfully, Nigel Clark doesn't think that way. The lyrical acoustic guitarist can play bop -- he's quite good at it, in fact -- but he is no bop snob and brings a wide variety of influences to the table. On Grand Hotel Europa, Clark demonstrates that he has been affected by everyone from Django Reinhardt, Jim Hall, and Pat Metheny to Paco de Lucia and Brazilian guitarist Laurindo Almeida. The Scottish improviser is fairly unpredictable, embracing bop and post-bop as well as crossover/jazz-pop -- and his compositions incorporate elements of Brazilian, afro-cuban, and Spanish music. Clark interprets several well-known standards (including "How Deep Is the Ocean" and Herbie Hancock's congenial "Dolphin Dance"), but he wrote half of the songs himself -- which is a good thing because Clark is a talented composer. And even though some of the warhorses that he embraces have been beaten to death over the years, one is inclined to be forgiving because he has such an attractive sound. In the 21st century, there are plenty of unoriginal young guitarists who are content to be clones of Wes Montgomery, Joe Pass, or George Benson -- Clark, however, has an appealing personality of his own. And that personality serves him well on this consistently strong CD. ~ Alex Henderson, All Music Guide
Nigel Clark
Active Decade: '00s
Genre: Jazz
Scottish acoustic guitarist Nigel Clark is a very flexible jazzman who can handle straight-ahead bop and post-bop as well as crossoverpop-jazz. Although instrumental jazz is Clark's primary focus, he is not a jazz snob or a jazz purist. Clark, whose influences range from Django Reinhardt, Jim Hall, and Joe Pass to Spanish flamenco great Paco de Lucia and Brazilian virtuoso Laurindo Almeida, has also played rock, pop, and modern Celtic sounds and is quite willing to incorporate elements of Brazilian, Afro-Cuban, Spanish, or Indian music. Born in Glasgow, Scotland, in 1957, Clark grew up in that city and started playing and studying the acoustic guitar when he was in his early teens. Gypsy swing innovator Reinhardt was an early influence, but Clark also listened to a lot of rock, pop, and Celtic music when he was growing up. In the mid-'80s, Clark moved to Brighton, England, and played with a lot of local bop musicians in that seaside town. Clark knew that jazz would be his specialty, but he was open to rock and pop gigs. In 1987, he returned to Glasgow and became the guitarist/arranger for Hue & Cry, a Scottish band that brought jazz overtones to its pop/rock foundation. Clark stayed with Hue & Cry until 1991; the following year, he was employed as a sideman by Maire Brennan, who is best-known for her work as lead singer of the Celtic band Clannad. (Brennan is also the older sister of new age vocalist Enya). In the late '90s, Clark became a sideman for another Scottish singer, Carol Kidd, appearing on some of her albums and touring with her extensively. But while the guitarist was happy to play rock, pop, or modern Celtic music as a sideman, his own albums have focused on instrumental jazz. Clark's first album as a leader, Worldwide Sound, came out on the Sienna label in 1997 and featured jazz instrumentalists like British pianist Brian Kellock (who has also played with Hue & Cry), saxophonist Tim Garland, and drummer Mike Bradley. Worldwide Sound wasn't released in the United States, although it did well in England and Scotland. Clark produced his second album, Grand Hotel Europa, in Scotland in 1999 and 2000; that album became his first American release when the New York-based Arkadia Jazz released it in the U.S. in 2001.
---Alex Henderson, All Music Guide |
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