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Don Friedman - Metamorphosis (1966)

metamorphosis_don.jpg 10.73 Kb

Исполнитель: Don Friedman
Название альбома: Metamorphosis
Год выпуска: 1966
Формат файлов: mp3, 320 kbps
Размер архива: 99 mb
Скачать с: ifolder.ru

An excellent if underrated pianist, Don Friedman started off playing on the West Coast in 1956 with Dexter Gordon, Shorty Rogers, Buddy Collette, Buddy DeFranco (1956-1957), Chet Baker, and even the unknown altoist Ornette Coleman. After moving to New York in 1958, Friedman played in many settings, including with his own trio, Pepper Adams, Booker Little (recording with him in 1961), the Jimmy Giuffre Three (1964), a quartet with Attila Zoller, Chuck Wayne's trio (1966-1967), and, by the end of the decade, Clark Terry's big band. He has continued working in New York as both a jazz educator and a pianist with wide musical interests and he was featured on Concord's
Maybeck Recital Hall series (1993).

For Friedman's fifth recording, he is definitely exploring the progressive edges of modern mainstream post-bop. He's more sublimated as a voice, with guitarist Attila Zoller taking a prominent role as frontman, while the performances of bassist Richard Davis and drummer Joe Chambers provide perfect foils for Friedman's swashbuckling creative urges. While the pianist utilizes elements stemming from bop and the avant garde, the melodic and listenable ingredients are juxtaposed with challenging ideas, and the leader acts as a true ringleader in the midst of his three brilliant compadres. "Wakin' Up" starts the six tracks in a quirky, mid-swing waltz; Zoller's signature clipped, staccato leads and the innovative Davis' ruminating bass chords identify a sound prevalent throughout. "Spring Signs" presents a written 16-bar head, then scattered melodic and harmonic shards, and some free improv with instruments countermoving each other. A bop-swing mid-section, bowed long tones as only Davis can conjure, and Zoller rambling on and on roughly signifies this A-B-A composition, which runs 11 and a half minutes. Jimmy Guiffre's churning "Drive" has a design that the writer describes as a difficult piece of music which is embellished, perhaps even expounded upon, by the collective light of these four. The most tunefully attractive "Extension" of Zoller's is again boppish, with guitar and ostinato bass leading the way. It is here that Friedman's gypsy voice comes to the forefront amidst a string of probing, wafting, bright, and beautiful harmonic inventions, with or without guitar, in no time or with meter. "Troubadour's Groovedour" is Zoller's dark 12-tone based musical limerick, with phrases traded equally, swing in 4/4, and leading to a conspiratorial bridge of call and response with guitar and piano only. The finale, Zoller's "Dream Bells," is also a no time tryptych;, angular and Monk-like, it has a contained intensity much like the state of REM. The bowed bass of Davis has spaced-out overtones, and a nifty, multiple-cymbal solo from Chambers is delicate yet direct, in 6/8 or rubato fashion. Certainly Friedman challenges listeners with this music, but he also challenges his own abilities and concepts. For the time period, it is one of the most vital, original, progressive statements, and one that, after all these years, retains a timeless freshness that bears not only a second listening, but consideration as a creative music hallmark.

01 - Wakin' Up Friedman 04:53
02 - Spring Sign Friedman 11:38
03 - Drive Giuffre 04:47
04 - Extension Zoller 09:17
05 - Troubadours Groovedour Zoller 06:44
06 - Dream Bells Zoller 07:30



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