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| Ondas |
| Mike Nock |
első megjelenés éve: 1981
51 perc |
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| (1990)
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CD |
| 7.157 Ft
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| 1. | Forgotten Love
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| 2. | Ondas
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| 3. | Visionary
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| 4. | Land of the Long White Cloud
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| 5. | Doors
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Jazz / Fusion, Neo-Bop, Post-Bop, Jazz Instrument, Piano Jazz
Recorded November 1981
Anita Shatz Photography
Barbara Wojirsch Design
Eddie Gomez Bass
Frank Albiez Cover Photo, Photography
Jan Erik Kongshaug Engineer
Jon Christensen Drums
Manfred Eicher Producer
Mike Nock Piano
At the time of this recording, New Zealand's Mike Nock was one of the great, unsung pianists in European stlyed jazz. His elegant phrasing and wildly inventive melodicism fly in the face of all notions that claim improvisation must be outside Western musical parameters and structures. On Ondas, Nock has assembled a rhythm section that, while never having played together before shared the ability to create the bedrock, however flexible, for the artist's crystalline compositions and solos. Eddie Gomez was a wise choice for this session because of his experience with Bill Evans, who is an obvious influence on Nock's own composing -- as is Keith Jarrett. His pizzicato flourishes and shifting timbres on "Forgotten Love" and "Visionary," while retaining an elemental sense of meter, are remarkable. Christensen is the greatest of all the drummers in the ECM stable. His style is one of paucity and sparse riffs, but his cymbal "dancing" is a trademark favorite of pianists and saxophonists everywhere. He has the ability to open up time, creating a window for improvisers to stretch each note, each interval, each mode, for all it's worth, suspending notions of time and space for the listener. Evidence is on the title track and "Land of the Long White Clouds." For his part, Nock is a magician of lyrical invention. His compositional architecture is created of minor modes and subtle textures. His chords are small enough to be their own rhythm section and large enough to fit all the notes in between them and the next octave in combinatory gestures of shimmering beauty. He does all of this in a manner in which tension and its resolution are in constant flux, never out of balance with one another. His solo on "Forgotten Love," that is based upon Gomez', is a case in point: towering ivy clusters of notes flex over darkened minor chords, up and through the middle and then upper registers of the instrument before inviting Gomez back in. In all, this is a glorious recording by a crack batch of musicians. It is also a stellar example of what Manfred Eicher's label and production offer to the world. ~ Thom Jurek, All Music Guide
Mike Nock
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 27, 1940 in Christchurch, New Zealand
Genre: Jazz
Mike Nock has long been one of the top modern jazz keyboardists to emerge from his part of the world. Nock began taking piano lessons from his father when he was 11. He began gigging four years later and at 18 moved to Australia. After heading a trio that toured England in 1961, Nock went to the U.S. to attend the Berklee College of Music. After a year he dropped out of school to be the house pianist at a Boston club and had opportunities to work with Coleman Hawkins, Pee Wee Russell, Phil Woods and Sam Rivers among many others. Nock gained some recognition during his period as a member of Yusef Lateef's band (1963-65). He led his own combos, gigged for a short period with the Jazz Messengers and eventually moved to San Francisco where he worked with John Handy. During 1968-70 Nock was involved with fusion, leading the Fourth Way, a pioneer in the idiom. After a few years he became a studio musician in New York (1975-85) and then returned to Australia where he has been busy as both an educator (teaching at the N.S.W. Conservatorium of Music) and as a musician, occasionally revisiting the U.S. As a leader, Nock recorded as early as 1960 (Move which was recorded in Australia) and has made records for Capitol (with the Fourth Way), MPS, Improvising Artists (in a band called Almanac), Laurie, Enja, Timeless, Tomato and ECM.
---Scott Yanow, All Music Guide |
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