  |
|
|
 |
|
CD |
| 5.686 Ft
|
|
| 1. | Gateway
|
| 2. | Over the River Club
|
| 3. | Grief
|
| 4. | Crea
|
| 5. | Song Out of My Trees
|
Jazz / Avant-Garde, Avant-Garde Jazz
Henry Threadgill - Sax (Alto)
Amina Claudine Myers Harpsichord
Bill Emmons Assistant Engineer
Brandon Ross Guitar, Guitar (Acoustic)
Diedre Murray Cello
Ed Cherry Guitar
Gene Lake Drums
Gennaro Carone Engineer
Giovanni Bonandrini Producer
James Emery Guitar (Soprano), Guitar
Jerome Harris Guitar (Bass), Bass (Acoustic)
Jerome Richardson Bass
Jon Rosenberg Engineer
Jules Allen Photography
Michelle Kinney Cello
Mossa Bildner Voices
Myra Melford Piano
Reggie Nicholson Drums
Teddy Daniel Horn, Trumpet
Tony Cedrus Accordion
Henry Threadgill is nominally known for his well-crafted alto sax and flute playing, as well as for his creative approach to bandleading. But Song Out of My Trees is more a vehicle for Threadgill's striking compositions. Although he's known for dense, structurally busy compositions in his Very very Circus group, Threadgill's work for guitar quartet is haunting in its brittleness and delicate harmonic lines. A chamber composer of great talent, Threadgill should gain noteriety as a maverick with Song Out of My Trees, for the CD melds tightly-woven quilts of textures and harmonic pointedness with blurry, exciting runs across different spectrums of energy, from the crowd-entrancing to the hip-shaking.
----Andrew Bartlett
Even longtime Threadgill fans may be surprised at the direction and content on his most recent session. The five tunes include three pieces where Threadgill is absent, and one ("Over The River Club") is a nine-minute-plus opus dominated by three guitars colliding, intersecting, and dueling. The title track showcases Threadgill's blues and gospel roots, with some wonderful organ by Amina Claudine Myers. Only "Crea" and "Gateway" are similar to past Threadgill works, with "Crea" featuring the unusual sound of Ted Daniel on hunting horns. Even a champion of the unorthodox like Threadgill may have some people scratching their heads after they hear this, but it's a signal that he'll never settle for doing what's expected. ~ Ron Wynn, All Music Guide
Henry Threadgill
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Feb 15, 1944 in Chicago, IL
Genre: Jazz
Styles: Modern Creative, Avant-Garde, Avant-Garde Jazz
The jazz avant-garde has produced dozens of notable improvisers (not surprisingly, since improvisation is arguably the music's defining element) but relatively few great composers. Henry Threadgill is a member of that exclusive club. With his fellow Chicagoans Anthony Braxton and Muhal Richard Abrams, he's one of the most original jazz composers of his generation. Threadgill's art transcends stylistic boundaries. He embraces the world of music in its entirety, from ragtime to circus marches to classical to bop, free jazz, and beyond. Such might sound merely eclectic in the telling, but in truth, Threadgill always sounds like Threadgill. A given project might exploit a particular genre or odd instrumentation, but whatever the slant, it always bears its composer's inimitable personality. Threadgill is also an alto saxophonist of distinction; his dry, heavily articulated manner is a precursor to that of a younger Chicagoan, the alto saxophonist Steve Coleman (no coincidence, one would suspect). Threadgill took up music as a child, first playing percussion in marching bands, then learning baritone sax and clarinet. He was involved with the AACM (Association for the Advancement of Creative Musicians) from its beginnings in the early '60s, collaborating with fellow members Joseph Jarman and Roscoe Mitchell and playing in Muhal Richard Abrams' legendary Experimental Band. From 1965-1967 he toured with the gospel singer Jo Jo Morris. He then served in the military for a time, performing with an army rock band. After his discharge, he returned to Chicago, where he played in a blues band and resumed his association with Abrams and the AACM. He went on to earn his bachelor's degree in music at the American Conservatory of Music; he also studied at Governor's State University. In 1971 he formed Reflection with drummer Steve McCall and bassist Fred Hopkins. The trio would re-form four years later as Air and would go on to record frequently to great acclaim. It's 1979 album Air Lore featured contemporary takes on such early jazz tunes as "King Porter Stomp" and "Buddy Bolden's Blues," prefiguring the wave of nostalgia which was to dominate jazz in the following decade. Threadgill moved to New York in the mid-'70s, where he began forming and composing for a number of ensembles. Threadgill began showing a love for unusual instrumentation; for instance, his Sextett (actually a septet), used a cellist, and his Very Very Circus included two tubas. In the mid-'90s he landed a (short-lived) recording contract with Columbia, which produced a couple of excellent albums. Throughout the '80s and '90s Threadgill's music became increasingly polished and sophisticated. A restless soul, he never stood still, creating for a variety of top-notch ensembles, every one different. A pair of 2001 releases illustrates this particularly well. On Up Popped the Two Lips (Pi Recordings), his Zooid ensemble combines Threadgill's alto and flute with acoustic guitar, oud, tuba, cello, and drums -- an un-jazz-like instrumentation that nevertheless grooves and swings with great agility. Everybodys Mouth's a Book features his Make a Move band, which consists of the leader's horns, with vibes and marimba, electric and acoustic guitars, electric bass, and drums -- a more traditional setup in a way, but no less original in concept.
---Chris Kelsey, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
