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| If Only for One Night |
| Wallace Roney |
első megjelenés éve: 2010
62 perc |
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| (2010)
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CD |
| 4.670 Ft
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| 1. | Quadrant
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| 2. | If Only For One Night
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| 3. | Only With You
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| 4. | I Have a Dream
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| 5. | Metropolis
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| 6. | Let's Wait Awhile
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| 7. | I Love What We Make Together
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| 8. | Fms
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Jazz
Antoine Roney Sax (Tenor), Sax (Soprano), Clarinet (Bass)
Aruan Ortiz Keyboards
David Stoller Producer, Mixing, Engineer
Dawn Jones Producer
Francis Davis Liner Notes
Janis Wilkins Photography, Design
Joe Fields Executive Producer
Kevin Blackler Mastering
Kush Abadey Drums
R. Andrew Lepley Photography
Rashaan Carter Bass
Richard G. Freeman Engineer
Wallace Roney Trumpet, Producer
The inventive and adventurous open-minded approach of Wallace Roney's first three HighNote releases is firmly maintained on IF ONLY FOR ONE NIGHT. Here Roney has succeeded in taking all of his influences and forging them into a coherent whole which is somehow more than the sum of its parts. IF ONLY FOR ONE NIGHT is full of provocation. Roney and company aren't necessarily presenting an ideal of where jazz is today, but rather a lush representation of the genre's possibilities. This music is challenging, vivacious and, above all, soulful.
At first glance of the cover art and title, you would be led to believe this is trumpeter Wallace Roney's romantic, late-night ballad album. While there's an after-hours aspect, this in fact is his first live performance release, done at the Iridium Jazz Cafe in N.Y.C., reunited with brother/saxophonist Antoine Roney. Retro-fusion and funk à la latter period Miles Davis with hard-swinging jazz and some pop-type ballads comprise this meaty and beaty session full of energetic highs and introspective low-key music. On the upper end, the hardcore electro-funk of "Quadrant" is a workout right out of the box, while "Metropolis" is a swift-kicking hard bopper straight from the urgent mid-'60s. The Roneys cover the Tony Williams late-period neo-bop beauty "Only with You" that starts the group on an introspective roll, as does the evocative "I Have a Dream," and the last three tracks, including Janet Jackson's "Let's Wait Awhile," tone the set to a whisper. The closer "FMS/For My Son" is Wallace Roney's triumphant solo trumpet taking center stage as if he was born to play sans a rhythm section, perhaps food for thought on a future project. Aruan Ortiz is very noticeable in this quintet setting for his acoustic or electric keyboard, on either forceful or quiet dynamics. A diverse and enjoyable set, overdue for Roney in a club or concert setting, it shows he's a strong player with plenty of ideas in the tank based in tribute to his idol Davis. ~ Michael G. Nastos, All Music Guide
Wallace Roney
Active Decade: '90s
Born: May 25, 1960 in Philadelphia, PA
Genre: Jazz
Styles: Post-Bop, Hard Bop, Progressive Jazz, Straight-Ahead Jazz, Jazz Instrument, Trumpet Jazz
Wallace Roney's dilemma recalls that of Sonny Stitt in the '50s and '60s: his trumpet tone, timbre, approach, phrasing, and sound so closely mirror that of Miles Davis in his pre-jazzrock phase that he's been savaged in many places for being a clone and unrepentant imitator. Stitt stopped playing alto for years because of his disdain of being labeled a Charlie Parker clone; Roney, on the other hand, played many of Miles Davis' parts on the 1992 tribute to the Birth of the Cool sessions, which was issued in 1993 as Miles Davis and Quincy Jones at Montreaux. Roney even addressed the situation in the publication Jazz Times in 1993, blasting what he saw as unfair critical obsession with his stylistic similarity to Davis. It's a classic no-win situation; he does sound tremendously like Davis and can't be completely absolved from critical charges of imitation. But he's also a fine, evocative player on ballads and can be fiery and explosive on up-tempo tunes. Roney put in his stint in one of the last editions of Art Blakey's Jazz Messengers. He began recording as a leader in the late '80s with several sessions for Muse in primarily a hard bop mode, many pairing him with equally energized saxophonists Gary Thomas or Kenny Garrett. In 2000, Roney took a creative turn toward funk and experimental post-bop with the album No Room for Argument, a direction he has stuck with through several albums, including 2004's Prototype and 2005's Mystikal. He released Jazz in 2007.
--- Ron Wynn, All Music Guide |
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