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| Cool Man Cool |
| Grant Geissman, Charlie Bisharat, Chick Corea, Chuck Lorre, Chuck Mangione, Dennis Brown, Jerry Hahn, Mike Finnigan, Patrice Rushen, Russell Ferrante, Tom Scott, Van Dyke Parks |
| első megjelenés éve: 2009 |
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Kérjen
árajánlatot! |
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Jazz / Post-Bop, Contemporary Jazz
Grant Geissman - Art Direction, Guitar (Electric), Producer, Finger Snapping, Guitar (Acoustic), Guitar (12 String)
Alex Acuna Percussion
Bernie Grundman Mastering
Bill Milkowski Liner Notes, Author
Brian Kilgore Bongos, Percussion
Brian Scanlon Sax (Tenor), Flute, Sax (Soprano), Sax (Alto)
Charlie Bisharat Violin
Chick Corea Piano
Chuck Lorre Fender Stratocaster
Chuck Mangione Flugelhorn
Francesca Restrepo Art Direction
Jerry Hahn Guitar (Electric)
Jim Cox Piano, Organ (Hammond)
Loni Specter Photography
Mick Guzauski Mixing
Paul Stilwell Finger Snapping, Producer
Ray Brinker Sound Effects, Drums, Finger Snapping
Russell Ferrante Fender Rhodes
Steve Shepherd Engineer
Tom Ranier Piano
Tom Scott Sax (Tenor)
Trey Henry Bass (Acoustic), Tuba
Van Dyke Parks Accordion
On Cool Man Cool, the stunning follow-up to bSay That!/b, jazz guitarist Grant Geissman takes you places you might not expect to go, but the destination is always cool, man, cool. With cool special guests including Chick Corea, Chuck Mangione, Tom Scott, Jerry Hahn, Russell Ferrante, Patrice Rushen, and Van Dyke Parks. Packaged in a custom gatefold Mini LP-style cover, and featuring artwork by beat/outsider artist Miles Thompson.P'From scorching bebop to Latin jazz romp, from poignant ballad to jaunty Hot Club of France tribute, with touches of calypso, second line grooves, shuffle blues, greasy organ-fueled funk and '50s-styled exotica along the way, Cool Man Cool stands as Grant Geissman's most eclectic and gratifying outing to date.'
--- from the liner notes by Bill Milkowski.
Grant Geissman really stepped up his game with the release of his previous CD Say That, and this excellent recording where his finely honed jazz sensibilities come fully to the forefront. There's nary a speck of commercial filler, as every track sports an authenticity and originality that belie the derivative music he had made a living on for years. This is a fine effort with little reason to spoil with wasted critique, as Geissman himself is on top of his game, and whether he's playing with his peer group or select all-stars, the music is at a high level from start to finish. While bop does prevail, contemporary and progressive neo-bop are heard without the predictable trappings, and Geissman changes up the band per track to keep things ever interesting in the best sense of the term. Most fans will gravitate toward the cuts featuring the all-stars, "Chuck & Chick" in particular, as Geissman's classical acoustic guitar sidles along with Chick Corea's cascading piano in a lilting waltz with Spanish overtones, Chuck Mangione's credible jazz flugelhorn, Russell Ferrante's Fender Rhodes, and the soprano sax of Brian Scanlon. Mangione and Ferrante also show up during the slinky, under the surface tune "Tiki Time," while pianist Patrice Rushen, Mangione, and Scanlon on tenor sax all team up on the tasty, chunky funky number "Nawlins." Tom Scott plays tenor sax, guesting on the basic "Chicken Shack Jack" next to Geissman's chordal Wes Montgomery-type musings, while "Mad Skillz" is another fundamental tune, in this case a blues swinger. Guitar legend Jerry Hahn, clearly a big influence on Geissman, joins the band on "One for Jerry," a good groover with two plectrists and two keyboardists including organist Mike Finnigan. The shuffle swinger "Cool Blooz" is derived from "All Blues," features the renowned jazz and rock Hammond B-3 veteran, and sports a steelier guitar tone. Then there's the appearance of Van Dyke Parks, never really a jazz player but astute on the accordion for "Minnie Lights Out," an old-time oom-pah-pah tune punctuated by the tuba playing of Trey Henry. Despite the immense star power, it is Geissman and Scanlon who stand tall next to the well-known names. Geissman is notable for the comfortable flexibility he displays throughout, while Scanlon can hold his own with any post-Michael Brecker saxophonist, and proves it in every one of his nine appearances on the CD, even playing flute on the soulful title track. There's no slick or smooth material here, it all displays the epitome of California cool, and the selections have a thoughtful approach that reflect what Geissman has now evolved into. This album is clearly the best effort for the guitarist, and comes highly recommended for fans of Geissman's instrument, and all contemporary jazz listeners. ~ Michael G. Nastos, All Music Guide |
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