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| 4.644 Ft
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| 1. | Articulation
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| 2. | 1978
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| 3. | Hard New York Swing
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| 4. | Interlude 1
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| 5. | Childville
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| 6. | Blues For Wes
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| 7. | Nereda
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Jazz / Fusion, Post-Bop
Recorded at CI Recording Studio, New York City in September 1978.
Rodney Jones - guitar
Wallace Roney - trumpet
Arthur Blythe - alto sax
Bob Mintzer - tenor sax
Bernadine Davis - flute
Kenny Kirkland - piano
Kenwood Denard - percussion, drums
Benjamin Brown - bass (drums on Hard New York Swing)
Bruce Johnson - bass (on Hard New York Swing)
Bemshi Jones - vocals
He worked with Horace Tapscott (1963-1974), Stanley Crouch (1967-1973), Chico Hamilton (1974-1977), Leon Thomas, Julius Hemphill, Gil Evans (1976-1980), Lester Bowie and Jack Defohnette (1978-1980). He had many groups of his own of which 'In The Tradition9 was the most famous. With that group he played a repertoire based on Swing and Bop but he also had a quintet with afar more modern approach. After a short period in Pop
(early 1980's) Blythe returned to jazz in 1984 with his all-star free jazz sextet 'The Leaders'. Blythes play always has the emotional power of blues and gospel and with his great knowledge of harmonies he can improvise both very strongly, following the standard norms and forms or the abstract way. Pianist Kenny Kirkland (Brooklyn, N. Y. 28 September 1955) studied at the Riverdale School of Music and the Manhattan School of Music. First he played in rock and roll bands (1971-1973), later he worked with Michael Urbaniak (1977), Rodney Jones (1978), Miroslav Vitous (1979), Don Alias (1979-1981), Terumasa Hino(1980), Elvin Jones (1981-1985), Wynton Marsalis (1980, 1982-1984), Chico Freeman (1980), Sting, Crosby Stills and Nash, Michael Brecker, Billy Harper, Caria Bley, Branford Marsalis (1985-1986), Omar Hakim, Darryl Jones and Charnett Moffett. At this recording with Rodney Jones (September 1978) he already shows his promise. Another interesting musician on this disc is young trumpeter Wallace Roney III, bom in Philadelphia on 25 May 1960. He studied at the Settlement School and the Berklee School of Music and especially his play with the mute is strongly influenced by Miles Davis. His debut on record was this one with Rodney Jones and he also played with Art Blakey (1981, 1986), Chico Freeman (1982), Ricky Ford, Tony Williams (1986-1987).
Saxophonist (and flute and clarinet player) Bob Mintzer was born in New Rochelle on 27 January 1953. He drew his inspirations from Thad Jones, Herbie Hancock, Lester Young and
Duke Ellington. He studied at the Interlochen Arts Academy, the Hartt College of Music and the Manhattan School of Music. Mintzer worked already with a lot of groups like Deodato and Tito Puente (1974), Buddy Rich, Hubert Laws (1975), the Thad Jones/Mel Lewis band (1977), Sam f ones, Eddie Palmieri (1978-1980), Ray Mantilla, Jaco Pastorius (1980-1982), Mike Manieri, Louie Bellson, Joe Chambers, Bob Moses (1982-1984), Liza Minnelli and the American Saxophone Quartet.
Wim van Eyle
What the press said:
"Especially in 'Blues For Wes' Rodney Jones shows his possibilities." (Jazz Nu)
"Childville is an up tempo feature for Jones that he pulls off very well and Blues For Wes is a nice tribute featuring a trio of Jones, Brown and Denard." (Cadence)
"A record, especially recommended to guitar-lovers, not because Rodney Jones takes a new course but because one can find interesting impulses in it." (Musica Jazz)
Rodney Jones was only 22 when, in 1978, he recorded Articulation, his first album as a leader. At the time, the guitarist was in Dizzy Gillespie's employ, and he was capable of playing both fusion and straight-ahead jazz. Jones favors acoustic-oriented post-bop on this self-produced effort, which Timeless reissued on CD in 1991. Although it falls short of exceptional, Articulation is definitely solid. The tunes (all of which are by either Jones or bassist Bruce Johnson) are worthwhile, and no one would accuse any of the musicians of not having chops (even if some of them still had some growing and developing to do in the late '70s). The participants range from alto sax great Arthur Blythe to up-and-coming players such as tenor saxophonist Bob Mintzer, acoustic pianist Kenny Kirkland, and trumpeter Wallace Roney. In 1978, Mintzer, Kirkland, and the Miles Davis-minded Roney had yet to become major names in the jazz world; but in the 1980s and 1990s, all of them were quite visible. Blythe's passionate solos are a definite asset -- in 1978, he was the session's best-known player. Nonetheless, Jones is the man in the driver's seat, and one hears his potential on tracks that range from the hard-swinging "Blues for Wes" (which acknowledges fellow guitarist Wes Montgomery) and the driving "1978" to the mysterious "Nereda." The latter employs wordless background vocals by singer Bemshi Jones, who remains in the background. Articulation is very much an instrumental album, and it paints a likable picture of Jones at 22. ~ Alex Henderson, All Music Guide
Rodney Jones
Active Decades: '70s, '80s, '90s and '00s
Born: Aug 30, 1956 in New Haven, CT
Genre: Jazz
Styles: Fusion, Post-Bop, Standards
An underrated cool-toned guitarist who sounds at his best in straight-ahead settings, Rodney Jones had his highest visibility during his period with Dizzy Gillespie (1976-1979), when he was in his early twenties. Jones had previously worked with Jaki Byard and recorded with Chico Hamilton, and he would follow the association with Gillespie by working for a time as Lena Horne's accompanist. As a leader, Jones has recorded for Timeless (in 1978 and 1981), the RR label, and in the late '80s for Minor Music.
---Scott Yanow, All Music Guide |
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