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| 4.500 Ft
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| 1. | Crop Circles
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| 2. | Obama
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| 3. | End of the Mayan Calendar
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| 4. | Between the Lines
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| 5. | Demolian Mode
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| 6. | Bluebonics
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| 7. | Horus
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| 8. | Tectonic Plates
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| 9. | Fidh
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Jazz
Jerry Bergonzi Piano, Sax (Soprano), Producer, Arranger, Sax (Tenor)
Andrea Michelutti Drums
Dave Santoro Bass
Fumiko Hosotani Design
Jimmy Katz Liner Notes
Joe Fields Executive Producer
Keiji Obata Design
Peter Kontrimas Engineer
Roberto Cifarelli Photography
DOWNBEAT said of Jerry Bergonzi, "his bold, penetrating tone and furiously paced streams of notes make for a commanding voice indeed." Muscular, bustling and driven his playing may sound, but there is a profound musical mind behind it, especially evident when appearing with his regular bandmates bassist Dave Santoro and drummer Andrea Michelutti, as he does here. Not only a master of his instrument, Bergonzi is a writer of quirky originals that display real creativity and imagination. On THREE FOR ALL, Jerry strolls over to play the piano on a couple of tracks for the first time on Savant, but the sax / bass / drums format remains Jerry's preferred means of expression. No doubt because it affords him the melodic freedom to explore all the possibilities suggested to him by what is clearly one of the most fertile imaginations in the business.
Three for All is a trio recording featuring Dave Santoro on bass and Andrea Michelutti on drums, but Bergonzi doesn't allow the limitations of the configuration to keep him from fattening up the sound. Often he augments his tenor saxophone with his own overdubbed soprano sax and piano, creating rich, expansive harmonies, and those moments are among the record's most captivating. The opening track, "Crop Circles" -- Bergonzi wrote all of the material himself, and also produced and arranged the entire album -- is a classic bopper, and Bergonzi, his multi-tracked self and his crew drive the melody into appropriately hypnotic circular patterns. On "Between the Lines" the horns' complementary melodies are so closely entwined that the listener could be forgiven for thinking only one musician is playing both lines. Similarly, "Tectonic Plates" and "Bluebonics" can fool even the most observant listener into believing this recording was made by a tight-knit quintet with thousands of road miles. In the end, though, it always comes back to that tenor, as Bergonzi is simply one of the most dependably innovative players we've got. While he allows plenty of space for development to his two co-horts, both of whom support the leader more than adequately, and the fuller band sound gives the music more depth than the trio naturally can, it's ultimately Bergonzi's main instrument that commands the lion's share of the attention. His tone is robust, his probing expositions intelligent (particularly so on "End of the Mayan Calendar," imbued with the sense of mystery its title suggests), and his composition and arrangement skills are exemplary. On tracks such as the closing "Fidh" and "Obama," Michelutti and Santoro may provide the drive, but it's Bergonzi's articulate phrasing and constantly brilliant improvs that leave the listener breathless. ~ Jeff Tamarkin, All Music Guide
Jerry Bergonzi
Active Decades: '80s, '90s and '00s
Born: 1950 in Boston, MA
Genre: Jazz
Styles: Neo-Bop, Post-Bop, Straight-Ahead Jazz, Jazz Instrument, Piano Jazz
A fine, high-powered tenor saxophonist with a tone influenced by John Coltrane, a mastery of chord changes, and a strong musical imagination, Jerry Bergonzi has long had an underground following in the Boston area. He started on clarinet when he was eight, switching to alto at 12, and finally to tenor two years later. Bergonzi was inspired early on by Sonny Rollins, Coltrane, and Hank Mobley. He attended Lowell University and then after graduation played electric bass in local bands behind singers and strippers, saving up enough money to move to New York in 1972. After struggling in the Big Apple for seven years and gaining some recognition as a member of Two Generations of Brubeck and of the Dave Brubeck Quartet (with whom he appeared on several Concord albums during 1979-1981), Bergonzi moved back to Boston in 1981, where he developed a strong career both as a tenorman and as an educator. He has since led several groups (including two called Con Brio and Gonz) and recorded for the Plug, Not Fat, Red, and Blue Note labels.
---Scott Yanow, All Music Guide |
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