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| Staying in the Game |
| Fred Anderson |
| első megjelenés éve: 2009 |
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| (2009)
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CD |
| 4.221 Ft
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| 1. | Sunday Afternoon
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| 2. | The Elephant and the Bee
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| 3. | 60 Degrees in November
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| 4. | Wandering
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| 5. | Springing Winter
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| 6. | Changes and Bodies and Tones
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Jazz
Harrison Bankhead - Bass
Steven Walcott - Mastering, Mixing, Tracking
Tim Daisy - Drums
Staying in the Game starts off with the 24-minute explosion Sunday Afternoon, with Fred Anderson weaving in and around the active rhythm section of Harrison Bankhead and Tim Daisy. The energy starts slow, and then builds to the fire for which Anderson is known. To highlight his melodic prowess in different contexts, The Elephant and the Bee duo piece finds Anderson playing off the low-end thunder and high scratches of Bankhead's bass. 60 Degrees in November shows the trio at full speed again, followed by a re-working of one of Anderson s tunes, Wandering, done here with a delicate thumb piano intro by Harrison Bankhead, who jumps to the cello for the second half of the song. Springing Winter is another duo, this time with Tim Daisy's drums bubbling up from beneath Anderson's sax. The album closer, Changes and Bodies and Tones, starts with a Daisy solo followed by a feverish high string bass idea, upon which Anderson drops a majestic blues melody. And they roll out on that vibe, a hot and thoughtful set recorded two days before Barack Obama's election victory.
Fred Anderson
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Mar 22, 1929 in Monroe, LA
Genre: Jazz
Styles: Avant-Garde Jazz, Free Jazz, Modern Creative
Despite being an "old school" musician in terms of grounding and early influences, Fred Anderson was a founding member of the Association for the Advancement of Creative Musicians (AACM) and headed several AACM groups in the '60s. Anderson had formally studied music theory and was strongly influenced by Lester Young, Coleman Hawkins, and Gene Ammons. He reflected that training throughout his career, always having a full, huge tone and being a capable blues and ballad stylist. But he also absorbed the new ideas pioneered by Ornette Coleman and other free theorists; it was this ability to merge old and new that made Anderson a seminal figure among Chicago musicians in the '60s.
In the late '70s, Anderson ran his first club, the Birdhouse, named for Charlie Parker, whose music had a huge influence on the early development of the saxophonist. The '70s were also when he began collaborating with percussionist Hamid Drake; Dark Day: Live in Verona (Okka Disk, 2001) is a good documentation of their early work together and includes trumpeter Billy Brimfield, a frequent collaborator of Anderson's since before AACM's birth, and the musician with whom Anderson first traveled to Europe in 1977 (Anderson returned to Europe the following year with a group that included George Lewis). While two recordings from 1980 came out on CD almost 20 years later, no other available recordings document Anderson's work from 1981-1993.
Despite the lack of recordings, however, Anderson was busy making music throughout this time. 1982 found him taking over Velvet Lounge after the death of the previous owner, who was a friend of his. It wasn't long before the Sunday jam sessions started happening (this schedule highlight was still going on at the Velvet as of 2001). When the Chicago label Okka Disk started up in the mid-'90s, the first thing it did was issue a previously unreleased 1980 duo recording of Anderson and drummer Steve McCall. Not too long after came the first Fred Anderson recording made in years, Birdhouse, recorded in 1994 and 1995. Since then the under-documentation of this artist who so helped nurture creative jazz in Chicago was remedied with a steady supply of new recordings released on Okka Disk, Asian Improv, Thrill Jockey, and other labels. Included among these are 2005's Blue Winter, 2006's Timeless: Live at the Velvet Lounge, and 2007's From the River to the Ocean.
---Ron Wynn & Joslyn Layne, All Music Guide |
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