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| 5.432 Ft
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| 1. | Night And Day
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| 2. | Chronology
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| 3. | Theme From "Mr.Bean"
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| 4. | The Look Of Love
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| 5. | Have You Met Miss Jones?
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| 6. | In Love In Vain
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| 7. | How High The Moon
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| 8. | You've Changed
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| 9. | Blues Coda
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Jazz / Post-Bop, Jazz Instrument, Piano Jazz
Recorded Live at Smalls, NYC, February 8, 2000
Bill McHenry Sax (Tenor), Liner Notes, Composer, Producer
Burt Bacharach Composer
Cole Porter Composer
Ethan Iverson Piano, Liner Notes, Producer
Hamilton Composer
Howard Goodall Composer
Jamie Saft Mixing
Jeff Williams Drums
Lourdes Delgado Photography
Mariano Gil Design, Artwork
Ornette Coleman Composer
Reid Anderson Bass
Rodgers Composer
Zeke Zima Engineer, Mixing
Iverson, McHenry, Anderson, Williams, four contemporary improvisors put away the sheet music and explore the common vernacular of standards and blues. Direct, compositional, spontaneous, and inspired
Pianist Ethan Iverson and tenor saxophonist Bill McHenry focus on quirky readings of standards in this co-led band, which they've unofficially named "Sub-Standard." The quartet is completed by bassist Reid Anderson and drummer Jeff Williams, both of whom supply a kind of perpetually off-kilter rhythmic feel underneath the two adventurous soloists. The music's in tempo, but not quite -- Anderson rarely walks a bassline, for instance, instead reacting to the entire band in unpredictable ways. Loosely speaking, on records this style has been Iverson's calling card more than McHenry's, although the tenorist has no problem fitting right in. Recorded live at Smalls in New York, the album boasts a good, intimate sound. The band begins with a loopy Latin treatment of "Night and Day," and proceeds to offer similarly off-the-wall readings of "Have You Met Miss Jones" and "How High the Moon," making a point of deforming these played to death vehicles. In a more rueful mood, they render the lesser-known standard "In Love In Vain" and the ballad "You've Changed." McHenry's entrance on the latter is so exquisitely high and soft that it could be mistaken for a flute. The more unusual repertoire choices are Howard Goodal's "Theme from 'Mr. Bean,'" which oddly enough sounds like something Bill McHenry would write, and Burt Bacharach's "The Look of Love," played with a satisfying faithfulness to the written melody. Closing the set is McHenry's "Blues Coda," which, along with Ornette Coleman's "Chronology," represents the most modern portion of the set, at least in authorial terms. But Iverson and McHenry do all they can to make everything -- even the moldiest standard -- sound modern, in their distinctive sense of the term. ~ David R. Adler, All Music Guide
"AMG EXPERT REVIEW: Pianist Ethan Iverson and tenor saxophonist Bill McHenry focus on quirky readings of standards in this co-led band, which they've unofficially named "Sub-Standard." The quartet is completed by bassist Reid Anderson and drummer Jeff Williams, both of whom supply a kind of perpetually off-kilter rhythmic feel underneath the two adventurous soloists.
The music's in tempo, but not quite - Anderson rarely walks a bass line, for instance, instead reacting to the entire band in unpredictable ways. Loosely speaking, on records this style has been Iverson's calling card more than McHenry's, although the tenorist has no problem fitting right in. Recorded live at Smalls in New York, the album boasts a good, intimate sound.
The band begins with a loopy Latin treatment of "Night and Day," and proceeds to offer similarly off-the-wall readings of "Have You Met Miss Jones" and "How High the Moon," making a point of deforming these played to death vehicles. In a more rueful mood, they render the lesser-known standard "In Love In Vain" and the ballad "You've Changed." McHenry's entrance on the latter is so exquisitely high and soft that it could be mistaken for a flute.
The more unusual repertoire choices are Howard Goodal's "Theme from 'Mr. Bean,'" which oddly enough sounds like something Bill McHenry would write, and Burt Bacharach's "The Look of Love," played with a satisfying faithfulness to the written melody. Closing the set is McHenry's "Blues Coda," which, along with Ornette Coleman's "Chronology," represents the most modern portion of the set, at least in authorial terms. But Iverson and McHenry do all they can to make everything - even the moldiest standard - sound modern, in their distinctive sense of the term."
---By David R. Adler (All Music Guide)
Ethan Iverson
Active Decades: '90s and '00s
Born: Feb 11, 1973 in Menomonie, WI
Genre: Jazz
Jazz pianist Ethan Iverson's classically informed writing and playing rivals that of the far more famous Brad Mehldau. Claiming influences as disparate as Stravinsky and Ornette Coleman, the Wisconsin-raised Iverson has displayed great potential at a rather young age. In 1991, he relocated to New York, eventually beginning private studies with Fred Hersch and Sofia Rosoff. He made his recording debut in 1993 at age 20 with School Work, a disc which featured tenor saxophone giant Dewey Redman. Iverson has since worked extensively with Reid Anderson, Mark Turner, Bill McHenry, and Patrick Zimmerli, among others. In addition, he has served as musical director for the Mark Morris Dance Group, and in that capacity has performed with Mikhail Baryshnikov and Yo Yo Ma. In 1998, Iverson's trio released Construction Zone (Originals) and Deconstruction Zone (Standards) in tandem, with the latter being hailed by a New York Times critic as a top-ten pick for that year. A 1999 follow-up, The Minor Passions, featured the famous drummer Billy Hart and was similarly hailed by the Times.
---David R. Adler, All Music Guide |
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