[TR24][OF] Michael Dease - Father Figure - 2016 (Post-Bop)

Michael Dease - Father Figure Формат записи/Источник записи: [TR24][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 2016 Жанр: Post-Bop Издатель (лейбл): Posi-Tone Records Продолжительность: 62:11 Наличие сканов в содержимом раздачи: Только обложка альбома Источник: WRZmusic Магазин: qobuz.com Треклист: 01. Church Of The Good Hustler (6:29) 02. Brooklyn (5:05) 03. Cry Of The Wolf (5:42) 04. The Pursuit For Inspiration (5:00) 05. Confirmation (5:18) 06. Riff Raff (5:58) 07. Annette's For Sure (5:00) 08. Marian The Librarian (6:58) 09. Wingspan (6:06) 10. Till There Was You (4:41) 11. Father Figure (5:56) Personnel: Michael Dease - trombone Behn Gillece - vibraphone Glenn Zaleski - piano Endea Owens - bass Luther Allison - drums Markus Howell - alto saxophone (1, 4-7, 9) Immanuel Wilkins - alto saxophone (1-3, 5) Rec.: Acoustic Recording, Brooklyn, NY, October 2, 2015.     Review by David A. Orthmann Never underestimate a jazz musician's capacity for drawing on material from vastly different sources, deflating the ostensible dissimilarities, and producing vibrant sounds that don't hew to convention or expectations. From the music's early years, resourceful artists have been confounding audiences and critics alike by putting their stamp on anything that strikes their fancy, from gutbucket blues to pop ditties to art songs, and everything in between, ultimately leaving no stone unturned. Michael Dease's Father Figure, the trombonist's third disc for the Posi-Tone imprint in as many years, offers interpretations of Charlie Parker's "Confirmation" and Meredith Willson's "Marian The Librarian." Between Dease's arrangements and a fine band of young players, the bebop standard and the fluffy, endearing show tune from The Music Man sound as if they were meant to be on the same recording. As if growing from the rich, buttery tone of the leader's trombone, the record gravitates toward a genial side of hard bop and favors a clear sense of direction over an excess of blowing. Smart, unfussy and pleasurable heads include spot-on tempos that are anchored by the outstanding young bassist Endea Owens. Dease's "Church Of The Good Hustler" possesses a jaunty, jazz march feel that's enhanced by drummer Luther Allison's sprightly buzz rolls. Alto saxophonist Markus Howell's wistful waltz, "The Pursuit For Inspiration," features a nice blend of the two horns and tasteful comments by pianist Glenn Zaleski and vibraphonist Behn Gillece. Dease's take on "Till There Was You," another song from the The Music Man, mixes a straightforward, heart-on-his-sleeve rendering of the melody with variations—an extended note here, a playful phrase there—that add another layer of sincerity to his interpretation. Though tight ensemble playing is the record's most winning characteristic, there's no shortage of standout performances. Howell confidently strides through "Confirmation," displaying an impressive command of the bebop lexicon, tying together ideas in fresh ways, and packing a visceral punch in part by putting just the right amount of emphasis on each phrase. Gillece, a Posi-Tone regular as a co-leader, leader and sideman, digs deep for three gripping blues choruses on Grachan Moncur III's "Riff Raff." Zaleski's variegated "Marian The Librarian" improv retains the tune's fanciful flavor while shooting flares of soulful jargon, executing relatively brief sequences of grounded single note lines, and offering the occasional outre chordal burst. On the title track, Dease weaves a grab bag of sounds into a coherent statement, sounding gruff and grumpy one moment, silky smooth the next, quoting Bud Powell's "Persian Thoroughfare" at the onset of one chorus and Charlie Parker's "Buzzy" on another. Chock full of Dease's good choices—in personnel, material, arrangements, tempos, and length of solos, Father Figure is companionable and stimulating from start to finish. David A. Orthmann, allaboutjazz.com     Review by Dan Bilawsky Paying it forward is simply a given in jazz. Long before the music was welcomed in ivory tower institutions and codified for classroom consumption at all levels, seasoned musicians were sharing their hard-earned knowledge with aspiring youngsters on bandstands and in basements, serving as guides, exemplars, nurturers, and teachers all at once. Those experienced players were musical father figures, helping the next generation(s) along on their quest to join them, and that's a role that trombonist Michael Dease aspires to on this, his third date for Posi-Tone and his seventh release in total. Dease's paternal instincts have, no doubt, grown by leaps and bounds since he took on a larger role in jazz education at Michigan State University and became a father himself. Both experiences feed into Dease's need to do his part to bridge the gap between generations and bolster the ranks of those on the rise. Or at least that's what this album seems to say. Rather than build a band solely around known quantities for this date, Dease decided to tap into the youthful stream of musicians out there who are ready and eager to make their move. All of his choices in that department prove wise. Bassist Endea Owens is the biggest revelation here, possessing a wonderfully wide beat, an incredibly fine-tuned internal compass, pitch-perfect intonation, and solid technique. Then there's drummer Luther Allison, a player fully capable of working well in mellow and molten environments, and alto saxophonists Markus Howell and Immanuel Wilkins, strong-minded horn men who work well together and apart. Add to that list two established musicians—vibraphonist and label mate Behn Gillece and pianist Glenn Zaleski—and you have a solid band ready for action. The eleven tracks presented by that band touch on the old and new. There are originals, songs from The Music Man, winners from the likes of trumpeter Claudio Roditi and the late pianist-educator Mulgrew Miller, and classics from the respective books of saxophonist Charlie Parker and trombonist Grachan Moncur III. This crew proves adept at handling all of it. They mine bluesy veins ("Church Of The Good Hustler," Moncur's "Riff Raff"), bop along with the best of them (Parker's "Confirmation"), swim in strong Brazilian currents (Roditi's "Annette's For Sure"), and capture the pure beauty embedded in the music ("Till There Was You"). Everybody gets a chance to shine, but it's Dease who shines brightest. His buttery tone, monster chops, and impeccable sense of musicality lead the way. He sets the bar high here, as any father figure would, and his bandmates rise to the challenge. Dan Bilawsky, allaboutjazz.com Контейнер: FLAC (*.flac) Тип рипа: tracks Разрядность: 24/88,2 Формат: PCM Количество каналов: 2.0     Лог проверки качества foobar2000 1.3.9 / Dynamic Range Meter 1.1.1 log date: 2018-08-05 13:23:25 -------------------------------------------------------------------------------- Analyzed: Michael Dease / Father Figure -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR11 -0.98 dB -13.36 dB 6:29 01-Church Of The Good Hustler DR11 -0.98 dB -14.48 dB 5:05 02-Brooklyn DR11 -0.98 dB -13.45 dB 5:42 03-Cry Of The Wolf DR11 -0.98 dB -13.71 dB 5:00 04-The Pursuit For Inspiration DR10 -0.98 dB -12.99 dB 5:18 05-Confirmation DR12 -0.98 dB -14.75 dB 5:58 06-Riff Raff DR11 -0.98 dB -13.01 dB 5:00 07-Annette's For Sure DR11 -0.98 dB -13.81 dB 6:58 08-Marian The Librarian DR11 -0.98 dB -13.62 dB 6:06 09-Wingspan DR12 -0.98 dB -15.61 dB 4:41 10-Till There Was You DR12 -0.98 dB -14.73 dB 5:56 11-Father Figure -------------------------------------------------------------------------------- Number of tracks: 11 Official DR value: DR11 Samplerate: 88200 Hz Channels: 2 Bits per sample: 24 Bitrate: 2813 kbps Codec: FLAC ================================================================================