(Contemporary Jazz, Modern Creative, Post-Bop) David Binney Sextet (feat. Ambrose Akinmusire, Mark Turner) - Barefooted Town - 2011, WEB, FLAC (tracks), lossless
Треклист:
David Binney - Barefooted Town Жанр: Contemporary Jazz, Modern Creative, Post-Bop
Год издания диска: 2011
Издатель (лейбл): Criss Cross Jazz
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 55:28
Источник (релизер): WEB (я)
Наличие сканов в содержимом раздачи: cover
Треклист:
1 ◂ Dignity
2 ◂ Seven Sixty
3 ◂ The Edge of Seasons
4 ◂ Barefooted Town
5 ◂ Secret Miracle
6 ◂ A Night Every Day
7 ◂ Once, when she was here
David Binney - Sax (Alto)
Ambrose Akinmusire - Trumpet
Mark Turner - Sax (Tenor)
David Virelles - Piano
Eivind Opsvik - Bass
Dan Weiss - Drums
Дэвид Бинни - американский саксофонист, родился в Майами 2 августа 1961 года. Юные годы провел в Калифорнии, в 19 лет уехал в Нью-Йорк, где стал учиться у Дэйва Либмена, Джорджа Коулмена и Фила Вудса. В 1989-ом он получил грант от национального Фонда поддержки искусства, который потратил на запись своего первог альбома "Point Game" (1991, Owl Records). Затем он выступал и записывался с Aretha Franklin, Maceo Parker, Chris Potter, Craig Taborn, с группой Lost Tribe и трио Medeski, Martin & Wood. Бинни неизменно продюсирует все свои альбомы, а в 1998 году основал собственный лейбл Mythology.
Год издания диска: 2011
Издатель (лейбл): Criss Cross Jazz
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 55:28
Источник (релизер): WEB (я)
Наличие сканов в содержимом раздачи: cover
Треклист:
1 ◂ Dignity
2 ◂ Seven Sixty
3 ◂ The Edge of Seasons
4 ◂ Barefooted Town
5 ◂ Secret Miracle
6 ◂ A Night Every Day
7 ◂ Once, when she was here
David Binney - Sax (Alto)
Ambrose Akinmusire - Trumpet
Mark Turner - Sax (Tenor)
David Virelles - Piano
Eivind Opsvik - Bass
Dan Weiss - Drums
Лог Audiochecker
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Started at: суббота, 04. 02. 2012. - 10:15.08 7 files found 1 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\01 - Dignity.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 2 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\02 - Seven Sixty.flac Extracted successfully Conclusion: this track is CDDA with probability 99% Tempfile successfully deleted. 3 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\03 - The Edge of Seasons.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 4 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\04 - Barefooted Town.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 5 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\05 - Secret Miracle.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 6 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\06 - A Night Every Day.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. 7 -===- C:\Users\пользователь\DoctorWeb\Desktop\David Binney - Barefooted Town (2011)\07 - Once, when she was here.flac Extracted successfully Conclusion: this track is CDDA with probability 100% Tempfile successfully deleted. Finished at: суббота, 04. 02. 2012. - 10:20.40 (operation time: 0:05.31)
Reviews
Politics isn't the only thing that increasingly demands clear vision and steadfast commitment (even if it isn't getting it). In the jazz world—where the changing landscape makes getting heard one challenge, acceptance by a broader culture that views "jazz" as a dirty word another—it takes artists with unshakable resolve to stay the course. David Binney has not only honed an instantly recognizable compositional language without the trappings of predictability, he's become a mentor for younger artists, mixing and matching from a gradually increasing cadre of players. Binney continues alternating between releases on his own Mythology label—where the saxophonist has the luxury of time to fashion ambitious work like Graylen Epicenter (2011)—and more reductionist sets for The Netherlands' Criss Cross label, where just one day to record means the altoist has to make, if not concessions, then certainly compromises.
On the basis of Barefooted Town, however, whatever Binney sacrifices to get everything done in eight hours in no way dilutes the strength of his message. It's no lighter on the compositional front than the broader palette of his Mythology recordings are in retaining the kind of open space necessary to maximize the people with whom Binney regularly collaborates.
Binney brings back a number of players with whom he's worked increasingly in recent years, in particular Dan Weiss, who's been on all of Binney's Criss records since 2005's Bastion of Sanity, and for good reason: there seems little this drummer can't do, effortlessly combining cymbal-driven delicacy with more powerful twists and turns on the episodic "The Edge of Seasons." Initially waxing lyric, the 11-minute piece shifts, just as quickly, to an almost funky thematic section of layered meters before opening up to an extended solo from Binney newcomer David Virelles, suggesting that this pianist—largely associated with Cuban music, but clearly possessing a much broader reach—combines lithe linear dexterity with choppy chords informed by his roots, but taken much farther than past collaborators ever made possible.
The three-horn frontline combines, on the inevitably building title track, long-toned melodic baton-passing with unison and occasionally expanding harmony as a foundation for Weiss' equally patient marvel of a constructed solo, with Mark Turner's subsequent spot making this tenor saxophonist's relatively below-the-radar position all the more curious.
More than just a distinctive writer, Binney proves similar virtuosic mettle on "Secret Miracle," sharing the solo space with trumpeter Ambrose Akinmusire on another piece that, despite its mathematical idiosyncrasies, flows naturally; its melody so singable that Binney adds his voice to the mix, as he does at the end of the title track.
The horns rarely stray from playing unison—doing otherwise might dilute the intrinsic strength of Binney's constructed themes—with the exception of "A Night Every Day," where overlapping lines create shifting harmonies, and the intertwining duality of the powerful opener, "Dignity." Binney may create music of no small compositional complexity, but at its core is a lyricism so strong that, amidst impossible to ignore ensemble and solo performances, Barefooted Town's greatest strength may well be in its unforgettable melodies, which remain unforgettable, long after it's over. ~ John Kelman, allaboutjazz.com
David Binney’s ambitious release on his own label earlier this year, Graylen Epicenter, drew even more praise than usual from critics and fellow musicians. And this new one from Criss Cross is another winner for the much admired but largely unsung alto saxophonist and composer.
The top-flight, mostly younger players Binney has assembled for Barefooted Town—Ambrose Akinmusire on trumpet, Mark Turner on tenor saxophone, David Virelles on piano, Eivind Opsvik on bass and Dan Weiss on drums—seem happy to keep the emphasis on Binney’s complex compositions rather than their own soloing prowess. There is impressive blowing throughout the disc, especially on the high-energy opening pieces “Dignity” and “Seven Sixty.” Akinmusire and the saxes cut loose on “Secret Miracle,” and Weiss maintains a protean brilliance throughout. But the focus stays remarkably centered on ensemble work and Binney’s music. Virelles takes a strong solo on “The Edge of the Seasons” and adds luster to the quieter, more balladic “A Night Every Day,” for example, but dutifully repeats a chord throughout the title cut for hypnotic effect. And Akinmusire has no problem allowing his trumpet to be employed simply for color elsewhere.
Binney’s compositions, meanwhile, are serious without being off-putting. He supplies his own wordless vocals on three of the tracks, weaves melodic patterns with his three horns and supplies them with complicated unison lines, and shifts among tricky meters at will. For all the complexity and experimentation, however, his work maintains both passion and an engaging lyricism. This isn’t casual listening, by any means. But it is a reminder that forward-looking writing can be palatable. ~ Bill Beuttler, JazzTimes
On the basis of Barefooted Town, however, whatever Binney sacrifices to get everything done in eight hours in no way dilutes the strength of his message. It's no lighter on the compositional front than the broader palette of his Mythology recordings are in retaining the kind of open space necessary to maximize the people with whom Binney regularly collaborates.
Binney brings back a number of players with whom he's worked increasingly in recent years, in particular Dan Weiss, who's been on all of Binney's Criss records since 2005's Bastion of Sanity, and for good reason: there seems little this drummer can't do, effortlessly combining cymbal-driven delicacy with more powerful twists and turns on the episodic "The Edge of Seasons." Initially waxing lyric, the 11-minute piece shifts, just as quickly, to an almost funky thematic section of layered meters before opening up to an extended solo from Binney newcomer David Virelles, suggesting that this pianist—largely associated with Cuban music, but clearly possessing a much broader reach—combines lithe linear dexterity with choppy chords informed by his roots, but taken much farther than past collaborators ever made possible.
The three-horn frontline combines, on the inevitably building title track, long-toned melodic baton-passing with unison and occasionally expanding harmony as a foundation for Weiss' equally patient marvel of a constructed solo, with Mark Turner's subsequent spot making this tenor saxophonist's relatively below-the-radar position all the more curious.
More than just a distinctive writer, Binney proves similar virtuosic mettle on "Secret Miracle," sharing the solo space with trumpeter Ambrose Akinmusire on another piece that, despite its mathematical idiosyncrasies, flows naturally; its melody so singable that Binney adds his voice to the mix, as he does at the end of the title track.
The horns rarely stray from playing unison—doing otherwise might dilute the intrinsic strength of Binney's constructed themes—with the exception of "A Night Every Day," where overlapping lines create shifting harmonies, and the intertwining duality of the powerful opener, "Dignity." Binney may create music of no small compositional complexity, but at its core is a lyricism so strong that, amidst impossible to ignore ensemble and solo performances, Barefooted Town's greatest strength may well be in its unforgettable melodies, which remain unforgettable, long after it's over. ~ John Kelman, allaboutjazz.com
David Binney’s ambitious release on his own label earlier this year, Graylen Epicenter, drew even more praise than usual from critics and fellow musicians. And this new one from Criss Cross is another winner for the much admired but largely unsung alto saxophonist and composer.
The top-flight, mostly younger players Binney has assembled for Barefooted Town—Ambrose Akinmusire on trumpet, Mark Turner on tenor saxophone, David Virelles on piano, Eivind Opsvik on bass and Dan Weiss on drums—seem happy to keep the emphasis on Binney’s complex compositions rather than their own soloing prowess. There is impressive blowing throughout the disc, especially on the high-energy opening pieces “Dignity” and “Seven Sixty.” Akinmusire and the saxes cut loose on “Secret Miracle,” and Weiss maintains a protean brilliance throughout. But the focus stays remarkably centered on ensemble work and Binney’s music. Virelles takes a strong solo on “The Edge of the Seasons” and adds luster to the quieter, more balladic “A Night Every Day,” for example, but dutifully repeats a chord throughout the title cut for hypnotic effect. And Akinmusire has no problem allowing his trumpet to be employed simply for color elsewhere.
Binney’s compositions, meanwhile, are serious without being off-putting. He supplies his own wordless vocals on three of the tracks, weaves melodic patterns with his three horns and supplies them with complicated unison lines, and shifts among tricky meters at will. For all the complexity and experimentation, however, his work maintains both passion and an engaging lyricism. This isn’t casual listening, by any means. But it is a reminder that forward-looking writing can be palatable. ~ Bill Beuttler, JazzTimes