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| Saturnian (Solo Saxophones, Volume 1) |
| David S. Ware |
első megjelenés éve: 2010
39 perc |
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| (2010)
[ LIMITED DIGIPACK ]
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CD |
| 4.460 Ft
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| 1. | Methone [Saxello]
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| 2. | Pallene [Stritch]
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| 3. | Anthe [Tenor]
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Jazz / Free Jazz, Avant-Garde Jazz
David S. Ware Sax (Tenor), Saxello, Stritch
John Rogers Photography
Petr Cancura Mastering Engineer, Engineer
Steven Joerg Concert Producer, Producer
Documents master saxophonist David S. Ware's triumphant return to performance following a kidney transplant in May 2009. This performance prompted features from New York Times and NBC Nightly News.
Strictly limited CD edition of 2,000. There will be more Solo Saxophones volumes to follow, and Ware's brand-new group recordings will be released in late Summer 2009.
"Ware's inventiveness burns as brightly as ever, his playing encompassing every dynamic and expressive shade ... a bold new statement from a true innovator."
-- Dusted
"As with Sonny Rollins, although Ware is an entirely different player, there is an uncompromising individuality to Ware's approach." -- DownBeat, HHHH (AUM 52)
Precedent-setting solo saxophonists in jazz are certainly few and far between, but Roscoe Mitchell and Sonny Rollins have pulled it off. David S. Ware certainly has the tools to do it, while commanding attention with every phrase or phase he goes through. What sets him far apart from the others is that this live set features a different instrument on each of the three selections -- saxello, stritch, and his trusty tenor sax. This is titled as the first volume from a complete concert performance at the Abrons Art Center in N.Y.C., but is, in total, under 40 minutes long. There's plenty of meaty music to keep one's rapt attention, but the tracks are thankfully short enough not to drone into tedium. On the straight, rich saxello, Ware places value on various riffs and runs that are quite melodic, as "Methone" pushes the envelope of harmonic displacement in a common-sense free improv that carries the day and consistently lingers. Made famous by Rahsaan Roland Kirk, the rather tall and lengthy stritch in Ware's hands yields squawks and squeaks with pauses for concern, as "Pallene" expresses a gospel-sounding repast that recalls Kirk's famous "The Inflated Tear" from a pure sonic standpoint. "Anthe" ("Anthem" missing the m?) is a calmer and deeper spontaneous composition where Ware's tenor sax adopts a near serene and spiritual stance, with only occasional flourishes, honks, and screamed accents. There's no wasted motion or overt histrionics here, just the expertly devised and soulful playing of a masterful musician who can create his own rhythm internally. These three pieces flow beautifully, not in the strictest angelic, pretty, or peaceful fashion, but with the clear, assured dignity and confidence Ware has always displayed. It's not intended for garden-variety jazz listeners, but for fans and those aware of the gifts of this giant-stepping innovator in modern creative music. ~ Michael G. Nastos, All Music Guide
David S. Ware
Active Decades: '80s, '90s and '00s
Born: Nov 07, 1949 in Plainfield, NJ
Genre: Jazz
Styles: Avant-Garde Jazz, Free Jazz, Jazz Instrument, Saxophone Jazz
The critical buzz aroused by David S. Ware's work with Andrew Cyrille and Cecil Taylor in the '70s had, by the late '90s, turned into a consonant roar. New York's collective jazz press -- always on the lookout for the music's next messiah -- crowned Ware the "King of Free Jazz" on the basis of his energetic quartet albums from the mid-'90s. Ware's band (with Matthew Shipp on piano, William Parker on bass, and, variously, Susie lbarra, Marc Edwards, or Whit Dickey on drums) became the decade's avant-garde supergroup by consensus, and Ware is indeed a splendid artist. His saxophone technique is total; unlike a good many free players, Ware does not base his style on any particular technical shortcoming or theoretical misunderstanding. His knowledge of functional harmony is above and beyond that of virtually any other free saxophonist. He's learned both the music and the horn up and down, inside and out, from the bottom up. In this respect, he's a true heir to Coltrane, who also based his free work on a comprehensive knowledge of his materials. Indeed, Ware's typical manner of performance -- modalfree, rubato, high-energy collective improvisation -- stems directly from Meditations-era Coltrane.
Ware's tenor sound is huge, centered, and multi-hued, all up and down its range. His facility is great, his imagination broad, and his expressive abilities immense. And no saxophonist now active plays with more unadulterated passion. Without question, he is a very, very fine, maybe even great player. His band, however, while certainly capable, has not proved to be on his level. Shipp is an excellent, Cecil Taylor-cum-McCoy Tyner pianist, but his best work has come as a leader of his own trio. With Ware, he often seems at a loss as to what to say in the midst of the band's hyperkinetic collective improvisations -- overwhelmed, or so it seems, by Ware's volcanic passion. Ware's finest, most complementary drummer has been Marc Edwards, a more roughly hewn and spontaneous player than the glib lbarra and the coloristic Dickey. Of Ware's bandmates, only Parker is his equal as a creative presence. William Parker generates energy like no other bassist; a band with Parker on bass doesn't need a drummer, so powerful is his percussive drive.
Ware played alto, tenor, and bari saxes in his teens. In the late '60s, he attended Berklee School of Music in Boston. There he formed a band called Apogee, which played around Boston until 1973, when the band moved en masse to New York. In 1974, Ware performed in a large Cecil Taylor aggregation at Carnegie Hall. The mid-'70s found Ware a member of drummer Andrew Cyrille's group, in a trio with trumpeter Raphe Malik, and on tour with Taylor. In 1977, he played in bop pianist Barry Harris' band; the two recorded a duo album that same year. Beginning in the late '80s, he renewed his association with Cyrille and played on the drummer's highly acclaimed Black Saint release Metamusicians' Stomp.
As a leader, Ware's recording career began in earnest with a pair of releases on the Silkheart label: 1988's Passage to Music and 1990's Great Bliss, Vol. 1. In the early '90s, Ware began recording for the Japanese DIW label; that company's 1991 release, Flight of I, was distributed by Columbia and remains in many ways the tenorist's most stunning work. The late '90s had Ware recording with his quartet for a number of independent companies, including most notably the alternative rock (and now-defunct) Homestead label. He signed to Columbia for 1998's Go See the World, issuing Third Ear Recitation on DIWKoch later that same year. Surrendered followed on Columbia in the spring of 2000. While continuing his rapid fire release schedule, he released Corridors & Parallels in September 2001 on the AUM Fidelity label. Freedom Suite followed in 2002, Threads in 2003, Live in the World in 2005, BalladWare in 2006, and Renunciation in 2007. Shakti featuring the three-part title suite appeared in 2009. The live solo recording Saturnian: Solo Saxophones, Vol. 1 followed in 2010.
---Chris Kelsey, All Music Guide |
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