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| Ten |
| Jason Moran |
első megjelenés éve: 2010
65 perc |
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| (2010)
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CD |
| 4.270 Ft
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| 1. | Blue Blocks
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| 2. | RFK In The Land Of Apartheid
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| 3. | Feedback Pt. 2
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| 4. | Crepuscule With Nellie
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| 5. | Study No. 6
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| 6. | Pas De Deux Lines Ballet
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| 7. | Study No. 6
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| 8. | Gangsterism Over 10 Years
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| 9. | Big Stuff
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| 10. | Play To Live
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| 11. | The Subtle One
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| 12. | To Bob Vatel Of Paris
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| 13. | Old Babies
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Jazz / Modern Creative, Post-Bop, Straight-Ahead Jazz
Adam Pendleton Cover Design
Andrew Hill Composer
Antwon Jackson A&R
Burton Yount Design, Art Direction
Clay Patrick McBride Photography
Conlon Nancarrow Composer
Eli Wolf A&R
Gene Paul Mastering
Gordon H. Jee Creative Director
Jaki Byard Composer
Jamie Polaski Mastering
Jason Moran Piano, Producer, Composer
Jonathan Altschuler Mixing Assistant
Leonard Bernstein Composer
Nasheet Waits Drums
Rick Kwan Assistant Tracking Engineer
Sascha von Oertzen Mixing, Engineer
Shanieka D. Brooks Product Manager
Tarus Mateen Bass, Composer
Thelonious Monk Composer
Jason Moran & The Bandwagon Celebrate Ten Years With New Album
In 1999, the same year that Jason Moran released his debut Soundtrack To Human Motion, the prodigy pianist and composer also joined New Directions, a band made up of young stars from the Blue Note roster that went on tour in celebration of the label's 60th anniversary. At the core of New Directions was the genesis of a rhythm section--with Moran, bassist Tarus Mateen, and drummer Nasheet Waits--that would go on to become one of the most enduringly creative piano trios in jazz.
Ten years later, the trailblazing trio--which Moran has since dubbed The Bandwagon--headed into Avatar Studios in Manhattan to record Ten, the most assured and focused album of Moran's acclaimed career, a snapshot of a mature band with a decade of shared musical experience from which to draw. The album, Moran's first in four years, will be released on EMI's Blue Note Records.
"Ten is our first record that doesn't rely on a concept to drive it. The only concept is us as a band today," says Moran. "As our band has evolved over ten years, there's a certain ease that we now function within, an ease to let the music be. On some of my earlier recordings, I was making sure I exposed my ideas as a thinker. Now we refrain from jumping through every musical window of opportunity, but only jump through the good windows."
Befitting the man who Rolling Stone called "the most provocative thinker in current jazz," Moran draws the material for Ten from a wide variety of sources. "Blue Blocks," which opens the album with a bluesy cascade of chords, comes from Live: Time, a piece commissioned by the Philadelphia Museum of Art that was inspired by the quilters of Gee's Bend, Alabama. The elegiac "Feedback Pt. 2" was part of a piece commissioned by the Monterey Jazz Festival for which Moran drew inspiration from Jimi Hendrix's performance at the 1967 Monterey Pop Festival and used samples of the guitarist's feedback.
"RFK In The Land Of Apartheid" is the main theme from a film score that Moran composed for the documentary RFK In The Land Of Apartheid about Robert Kennedy's 1966 visit to South Africa and his famous "Ripple Of Hope" speech. "Pas De Deux" comes from Moran's first-ever dance collaboration with choreographer Alonzo King's Lines Ballet company. "Old Babies" gives us another window into one of the most profound influences on Moran these days, his twin sons Jonas and Malcolm, born in 2007.
In addition to songs by Leonard Bernstein ("Big Stuff") and minstrel pioneer Bert Williams ("Nobody"), there are also compositions by three of Moran's foremost influences: Thelonious Monk, Andrew Hill, and Jaki Byard. "Crepuscule With Nellie" was featured in Moran's multimedia concert event In My Mind: Monk At Town Hall, 1957. "Play To Live" is a piece Moran co-wrote with his teacher Hill, who died of lung cancer in 2007.
Jason Moran's 2010 effort Ten features more of the jazz pianist's smart and forward-thinking jazz. Backed by bassist Tarus Mateen and drummer Nasheet Waits, Moran reveals himself once again to be a nimble improviser with an ear toward atmospheric and often fractured hypnotic post-bop jazz on tracks like the lilting "Blue Blocks" (commissioned by the Philadelphia Museum of Art) and "RFK in the Land of Apartheid," along with ruminative numbers buoyed by the band's laid-back blues inflections and ever-so-subtle funk grooves. Other tracks, such as "Feedback Pt. 2" and "Old Babies," reveal Moran's more experimental edge, mixing sound effects and his son's voices with more straight-ahead jazz stylings that bring to mind both Thelonious Monk and Oscar Peterson. As always with Moran, there is a heavy classical influence, and compositions like his own "Pas de Deux -- Lines Ballet" and his rambunctious take on Leonard Bernstein's "Big Stuff" do evince, much like the rest of Ten, both a romantic and modernist point of view. ~ Matt Collar, Rovi
Jason Moran
Active Decades: '90s and '00s
Genre: Jazz
Styles: Post-Bop
Brooklyn resident Jason Moran brings a distinctly artistic touch to his jazz compositions and piano playing. The impressionistic approach of visual and musical artists like Jean-Michel Basquiat and Maurice Ravel inspire Moran's playing and writing style, on both his own compositions and his work with jazz contemporaries like Cassandra Wilson, Steve Coleman, Greg Osby, and Stefan Harris. Moran's debut album Soundtrack to Human Motion appeared in 1999; Facing Left followed a year later. In 2001 he released Black Stars, which featured his trio, comprised also of bassist Tarus Mateen and drummer Nasheet Waits, joined by saxophone legend Sam Rivers. A year later he took a much different approach on Modernistic, offering an album of solo piano recordings. Since that time, Moran released the live album The Bandwagon in 2003 and Artist In Residence in 2006
---Heather Phares, All Music Guide |
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