 Исполнитель: Stephen Riley Название альбома: Friday The 13th Год выпуска: 2020 Формат файлов: MP3@320K/s Размер архива: 162,7 MB Скачать с: turbobit/gigapeta/rapidgator
2 Four 10:50
3 Freedom Jazz Dance 8:58
4 Friday The 13th 5:11
5 Hoe Down 6:39
6 'Round About Midnight 7:21
7 Our Man Higgins 8:54
8 Willisee 6:13
9 Gingerbread Boy 5:20
Several subjective connotations are gleanable from the title of saxophonist Stephen Riley’s latest album as a leader for Steeplechase. First, there’s the numerical reference reflecting his thirteenth session as a leader for the Danish label. More transparently, Friday the 13th is a Thelonious Monk composition, at once part of the program and reflective of Riley’s open-ended approach to the pieces selected for the project in sum. It’s also a sardonic (if probably unintentional) metaphor for the past four luckless years of American political life. Riley’s brand of jazz has always been the opposite of that disastrously fractious debacle, and instead ripe with amicable collaboration, inquisitive exploration, and equity-minded improvisation. Only eighteen-months have elapsed since Riley’s band hit the studio, but the gestation period for the date may still feel painfully protracted for anyone familiar with the players. Riley and cornetist Kirk Knuffke have been circling around the promise of a piano-free quartet encounter for years. The tenorist’s early recordings emphasized bass and drums accompaniment and his last added the trumpet of Joe Magnarelli to an already potent crew. Knuffke had something of unrelated dry run eight-years ago in the company of elder Ted Brown, a tenorist whose sound has much in common with Riley by way of Warne Marsh. The two played together on a steady string of projects under the leadership of guitarist Pierre Dørge, and vocalists Allegra Levy and Steve Herring before finally landing in the studio in undiluted association.
The collective strength of the program’s nine pieces makes the delay behind this occasion almost instantly forgivable. Tonally and harmonically, Riley and Knuffke are like siblings separated at birth. Each ekes exacting, breath-suffused phrasing from his instrument that is saturated in striated textures and billowy warmth. The opening tandem salvos on “Love for Sale” are the first of many examples of just how well they mesh in the complementary investigation of a melodic line. “Four” is even more intentionally diffuse on the surface as a loose string of diaphanous solos starting with a richly nuanced Riley soliloquy reveals an umbrella logic in execution grounded by bassist Jay Anderson’s shading and shadow commentary. Knuffke absorbs it all patiently before taking talkative wing himself on the tail end. Eddie Harris’ “Freedom Jazz Dance,” “Oliver Nelson’s “Hoe Down,” and Dewey Redman’s “Willisee” almost sound like classic Ornette Coleman performances in terms of the amount of melodic equilibrium achieved between the players. Drummer Billy Drummond’s propulsive snare rolls kick off the former, supporting a staggered statement of the theme by the horns that’s plump with playful swagger and deceptively slippery in terms of rhythmic center. The Nelson tune is bright and bouncy, too, with a barn dance vamp giving way to another Riley reverie built from cotton candy phrases that glom together into a confectionary aural gestalt. Knuffke and Riley are a directly collaborative pairing now and their partnership politely demands many more dates like this one. ~ Derek Taylor
Bass – Jay Anderson
Drums – Billy Drummond
Tenor Saxophone – Stephen Riley
Trumpet – Kirk Knuffke
Recorded in October 2018.
turbobit скачать
gigapeta скачать
rapidgator скачать
|
|
