  |
|
|
 |
|
CD |
| 5.580 Ft
|
|
| 1. | This Just In
|
| 2. | Moon Alley
|
| 3. | Steps En Trois [Giant Steps]
|
| 4. | Twilight
|
| 5. | Hit The Bricks
|
| 6. | Cool Customer
|
| 7. | I'm Thru With Love
|
| 8. | Empty Promises
|
| 9. | Brazilian Fantasy
|
Jazz / Post-Bop, Jazz Instrument, Trombone Jazz
Recorded: January 26 & 27, 2000, Avatar Studios, New York City
John Fedchock - trombone
Scott Wendholt - trumpet (#2,5,8)
Chris Potter - tenor saxophone (#2,5,8), soprano saxophone (#9)
Allen Farnham - piano
Rufus Reid - bass
Dave Ratajczak - drums
Adrian D'Souza - percussion (#9)
Recording engineer: Paul Wickliffe
Digital Mastering: Allan Tucker, Foothill Digital, New York City
Design & Photography: B. Robert Johnson
Produced by: John Fedchock & Mark Feldman
Executive Producer: Kayla Feldman
Stepping back from his regular New York Big Band setup, John Fedchock applies his considerable talent and attention to a small group session. Armed with a play list that has compositions by Fedchock, contemporaries like Tom Harrell and Kenny Barron, and one straightforward standard, the trombonist and his confreres offer an hour's worth of scintillating and attention catching performances. Fedchock has got to be one of the more lyrical trombone players on today's jazz scene. His seamless technique, reminiscent of Urbie Green, permits the listener to concentrate on the music rather than on the virtuosity of the player. While he may be a wizard with the slide instrument, his technique is so transparent that it doesn't humble the music. While this attribute is present on all cuts, it is especially effective on the haunting "Twilight" with precise and to the point playing. One problem here is that the tune goes on too long, running out of ideas about three-fourths of the way through. But there's no denying the mellifluous Fedchock trombone. Showing an ability to completely rework familiar material giving it another perspective, John Coltrane's "Giant Steps" is made over as a waltz, a somewhat risky venture fooling around with this pedestal occupying jazz standard. But the group pulls it off with aplomb. There's relief offered in the fairly serious proceedings up to now with Fedchock's original "Hit the Bricks," where the trombone player reveals he can get a quick tongued staccato from the instrument as well as long lyrical lines. The tune provides a chance for the rest of the players to show off. Chris Potter on tenor, Scott Wendholt on trumpet, Allen Farnham on piano, along with Fedchock, are in the solo spotlight propelled along with punctuating drum breaks by Dave Ratajczak. The one standard, "I'm Thru With Love," gets a sprightly reading as Fedchock uses his polished slide technique to give this oft played tune a new luster.
Not surprisingly, modern music dominates this session, but it is modern music that is symmetrical and harmonious and therefore a joy to the ear. Fedchock makes sure that the emphasis is on the music, not on the technical wizardry of the players. A refreshing approach in these days of large egos. Recommended. ~ Dave Nathan, All Music Guide
John Fedchock
Active Decades: '90s and '00s
Born: Sep 18, 1957 in Cleveland, OH
Genre: Jazz
Styles: Big Band, Hard Bop, Post-Bop, Swing
A talented bop-based trombonist, John Fedchock is also quite notable as a big band arranger. Fedchock graduated from Ohio State University and the Eastman School Of Music. In the 1980's he spent seven years playing and touring with Woody Herman's Orchestra and, although he had chances to solo, it was his swinging charts that gained him the most attention. In addition, Fedchock toured with Gerry Mulligan's Concert Jazz Band, Louie Bellson's Big Band and Bob Belden's Ensemble among others. Fedchock has been active as a clinician (conducting seminars and workshops), a freelance soloist and a busy arrangercomposer. In 1992 he released his first recording as a leader (New York Big Band on Reservoir) which displayed both his playing and writing talents. Throughout the next six years, a steady playing schedule helped Fedchock improve his chops and develop a more distinct style, which made 1998's On the Edge a notable improvement on his previous album. Brimming with energy and excitement, the record kicked off a steady release schedule that included 2000's small group session Hit the Bricks and 2002's technically impressive No Nonsense.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
