Good music is where you find it. Sometimes it's clear as day because the original is so great that there’s simply no doubt; other times it can be obscured by poor interpretation—but dig deep enough and unmistakable qualities are revealed. Over the past 25 years, guitarist Bill Frisell has built a reputation as a significant composer on albums like ‘94’s This Land and ‘01’s Blues Dream. But he’s equally known as an astute interpreter of others' music, as on ‘93’s Have a Little Faith—where he covered everyone from Copland to Madonna—and in performance, where he’s as likely to cover Dylan as Monk.
Frisell’s recent anti-solo approach—and his penchant for everything from the bluegrass of The Willies to the world music of The Intercontinentals—has garnered him fans who relate to his strange skewed lyricism. However, it has also alienated those who wish he’d return to a more clear-cut jazz-centricity. East/West will appeal to both. Nothing less than the best of what Frisell is all about, these two discs—culled from a 2004 stint at Yoshi’s in Oakland and a 2003 run at the Village Vanguard in New York—are as comprehensive a view of Frisell as any one (admittedly double) release is apt to provide.
Few artists can comfortably combine Gershwin and Mancini with Johnny Cash and Willie Nelson, but one of Frisell’s greatest strengths is that he can get to the crux of a song—any song. In a trio setting he can create a rich universe that’s as much about implication as the obvious. The Yoshi’s take on “I Heard It Through the Grapevine” finds Frisell grabbing the defining essentials of the song and gradually evolving them over eight minutes. His control of an array of effects—so well-integrated that they’re like an additional appendage—allows him to create a full sound. Yet what makes even his most oblique phrasing so appealing and eminently approachable is his sense of space. He may be capable of the formidable displays of technique that go a long way to impressing guitar-o-philes, but he’ll never resort to them.
Instead, it’s all about feel. The Yoshi's material, with bassist Viktor Krauss a more in-the-pocket player, is more elemental and groove-based. The New York disc, with Tony Scherr’s more open-minded sensibility, is definitively jazz-oriented, despite ending with Frisell and Scherr on acoustic guitars for “Crazy” and “Tennessee Flat Top.” Both trios, rounded out by drummer Kenny Wollesen, are clearly concerned with respecting the song, be it a cover or one of Frisell’s own.
East/West, Frisell’s strongest release in years, is almost the perfect album—not just in jazz, but in music, period. It serves as confident assurance to his existing fans that his career has been driven by choice and the love of a good song. It's also the perfect introduction for a newcomer who wants to know why he’s considered one of the most original voices in jazz. Indeed, good music is where you find it.
Re: Кто слушает джаз? Автор:pempeДата: 18.09.05 16:51:06
Though he's passed through several phases during the last two decades, guitarist Bill Frisell has manifested an uncanny ability to transport listeners across gaps in time, space, and style. His jump-cut playing with Naked City did this in a blunt and abrupt fashion; recordings from his country-tinged period tugged at the very roots of American string music; and his 2003 Nonesuch recording, The Intercontinentals, leapt boldly across international boundaries.
In a similar fashion, the double live set East/West, assembled from recent dates in New York and Oakland, respectively, is a flying carpet all its own. But what is striking is how very effectively the recording accomplishes this feat, given its extended duration and the fact that these sixteen pieces were spliced together from several days' worth of live performances. If nothing else, you have to credit Frisell with consistency—an attribute that also applies to his trio mates, Kenny Wollesen (drums), Tony Scherr (bass on East), and Viktor Krauss (bass on West).
This music displays several uncommon characteristics: it conveys a deep respect for memory, both musical and cultural; it's somewhat pastoral and imbued with a related organic fertility; and it's saturated with resonant tones. Whether the backbeat or the downbeat takes the pole position depends on whether a given piece may be based in rock/blues/country or jazz (almost all the former). Frisell definitely has an ear for dissonance, but he mostly prefers to use it as a spice, rather than a main ingredient.
The West disc has the most coherent flow. It gets off to a comfortably familiar start with “I Heard It Through the Grapevine,” then digs deep into driving, rocking blues on the next piece. So far, so good, so American... but then a six-minute slice of mutated West African blues shows up in the form of “Boubacar” just down the road. This ultra-resonant piece works the backbeat in a much more relaxed, meditative fashion.
The ten pieces on East are more fragmentary, though they have their own high points. A timbrally clean take on “The Days of Wine and Roses” takes a little while to get into its groove, but once the rhythm section kicks in, everything starts swinging nicely. Frisell's relatively short phrases have a conversational aspect, making use of irregular spacing and occasional dissonance. The bright fourteen-minute original “Ron Carter” has some nice give-and-take counterpoint. The one and only real low point is the annoying but mercifully brief “Tennessee Flat Top Box,” which takes finger-snapping bluegrass straight into a black hole of noise to wrap the disc up.
Depending on your tastes, especially with respect to loops and effects, the backbeat, blues, and country, you'll get more out of some of these pieces than others. But taken as a whole, this is a creative and consistent collection that begs repeated listens and stands with the very best of Frisell's recorded work.
Note: Eleven additional tracks from these live performances are scheduled to be made available as downloads in November, 2005.
Track Listing: CD1 (West): I Heard It Through the Grapevine; Blues for Los Angeles; Shenandoah; Boubacar; Pipe Down; A Hard Rain's A-Gonna Fall. CD2 (East): My Man's Gone Now; The Days of Wine and Roses; You Can Run; Ron Carter; Interlude; Goodnight Irene; The Vanguard; People; Crazy; Tennessee Flat Top Box.
Personnel: Bill Frisell: electric and acoustic guitars, loops; Viktor Krauss: bass (CD1); Tony Scherr: bass, acoustic guitar (CD2); Kenny Wollesen: drums, percussion.
Live in Zaandam Soft Machine Legacy | Moonjune Records
With a recent surge of interest in the 1970s jazz/rock ensemble Soft Machine encouraged by a wealth of archival recordings, some may view use of the word “Soft” by past members to be opportunistic—but that would be unfair.
2003 witnessed Soft Works, with ex-Softs bassist Hugh Hopper, saxophonist Elton Dean, drummer John Marshall, and guitarist Allan Holdsworth creating a more fusion-centric band. More recently, Soft Bounds—again with Hopper and Dean—has mined a more acoustic and free space with non-Softs pianist Sophia Domancich and drummer Simon Goubert. Polysoft’s Tribute to Soft Machine teamed Hopper and Dean with the French group Polysons, revisiting classic Soft Machine material and coming the closest any group has to true homage.
Other efforts share the common denominator of Hopper and Dean. And despite these various offshoots capturing aspects of the greater whole that was Soft Machine, with the exception of Polysoft they’ve avoided direct reference, performing little, if any, material from Soft Machine’s own discography. Hopper and Dean have moved on, and so these offshoot projects have reflected their growth and interest in a clearer jazz aesthetic than Soft Machine’s high-decibel approach.
Soft Works generated the most buzz, because it was the first time a group of all-Soft Machine alumni had come together for a project. The resulting album, Abracadabra, while good, was also something of a disappointment, largely because Holdsworth’s characteristic perfectionism sucked some of the life out of it.
And so, with Hopper, Dean, and Marshall wanting to continue on and Holdsworth bowing out, guitarist John Etheridge—who coincidentally replaced Holdsworth in Soft Machine—was recruited. The first of two planned recordings (a studio release is due next year), Live in Zaandam finds the newly-minted Soft Machine Legacy approaching music with a more intrepid and open spirit. Etheridge may not have as big a reputation as Holdsworth, but in his own way he’s a more versatile guitarist, having worked in a variety of contexts over the years including a Stephane Grapelli tribute, a project devoted to Frank Zappa's music, and duo collaborations with ex-Police guitarist Andy Summers.
Like Soft Works, Soft Machine Legacy is a more overtly fusion-oriented project than the other offshoots. This time the group also mixes classic Soft Machine material with more recent compositions from each member. Etheridge’s “Ash,” from his 2003 album of the same name, is a strong vehicle for Dean’s lyrical yet free approach and Etheridge’s fleet-fingered runs, while his “Big Creese” rocks more than any prior Soft-related project. The group revisits Dean’s ballad “Baker’s Street,” a twist on Soft Works’ version, “Baker’s Treat.” Hopper’s “1212” shifts rhythmic gears more than once but revolves around a diminished chord vamp where interplay is key, something that's equally vital to the group's extended and more open take on “Kings and Queens,” originally from Soft Machine’s Fourth.
Structure plays an important part in this music, but more as a general framework. Less restrained and more adventurous than Soft Works, Live in Zaandam is the first from a new collective that will hopefully have greater longevity as well.
Track Listing: Ash; 1212; Baker's Street; Kings & Queens; Two Down; Big Creese.
Personnel: Elton Dean: alto saxophone, saxello, Fender Rhodes piano; John Etheridge: electric guitar; Hugh Hopper: bass guitar; John Marshall: drums
Live at Le Triton 2004 Soft Bounds | Musea Records
When the legendary Canterbury group Soft Machine—with a variety of recent archival live releases generating renewed interest—dissolved with a whimper in the late ‘70s, it had arguably gone through more stylistic shifts in its ten-year run than anyone except perhaps Miles Davis. Best remembered for the classic lineup that released Third and Fourth—keyboardist Mike Ratledge, saxophonist Elton Dean, bassist Hugh Hopper and drummer Robert Wyatt—the group's successful cross-pollination of jazz and rock was as much about individual differences, which created incredible musical tension and energy, as it was about shared goals.
Of the four—despite moving on and forging individual careers that honed their specific strengths and musical predilections—history has proven Hopper and Dean to be the two with the most in common. Sure, Hopper tends towards more structured, albeit idiosyncratic and abstruse, composition, while Dean has always leaned towards free improvisation. But somewhere in the middle the two meet, as evidenced by the many times they’ve collaborated in ensuing years. Whether members of groups by other Canterburians, including guitarist Phil Miller’s In Cahoots and drummer Pip Pyle’s Equip Out, or collaborating on a variety of loosely Soft Machine-related projects like Soft Head, Soft Heap, and Soft Works, the juncture between Dean and Hopper seems to be where compositional form provides the framework, but freer improvisation the spark to greater unpredictability.
This ability to intuitively veer between structure and unencumbered interaction is what makes one of their latest projects, Soft Bounds, work so well. Teaming with French pianist Sophia Domancich—who worked with both in Equip Out and released a live album of improvised duets, Avant, with Dean earlier this year—and drummer Simon Goubert, one of the more surprising aspects of Soft Bounds is that it represents the first Soft Machine-related project to tackle material from the original Softs repertoire. Live at Le Triton 2004 features a lengthy look at Hopper’s “Kings and Queens” (originally on Fourth) in addition to one track each by the other members, but the group's known to cover other Softs material during the course of an evening.
There are unequivocal ties to classic Soft Machine, most notably the tightrope between form and freedom. But with the exception of Hopper’s electric bass and Domancich’s Rhodes on the second half of Goubert’s surprisingly Coltrane-esque modal workout “Le Retour d’Emmanuel Philibert,” this is an altogether more acoustic affair where the power comes from the players’ inherent dynamics rather than sheer electric volume. Domancich’s “La Part des Anges”—the longest of the four pieces that comprise the hour-long set—manages to dissolve into maelstrom-like periods of chaos, only to magically find its way back to form.
What's most striking about Live at Le Triton 2004 is its clear reverence for jazz tradition, and not of the fusion variety. Instead, Soft Bounds finds the confluence of post bop, free jazz, European impressionism, and even a certain lyricism, making it one of the best Soft Machine spinoffs to date.
Track Listing: La Part des Anges; Gimlet Abides on the Wagon; Le Retour d'Emmanuel Philibert; Kings and Queens.
Rory Gallagher Big Guns: The Very Best of Rory Gallagher Sony/BMG/Legacy 2005
Rory Gallagher is the unsung hero of contemporary blues-rock guitar. Unlike his peers who compromised their loyalty to the genre for the sake of commercial acceptance Eric Clapton and Jimmy Page for example, the feisty Irishman wouldn’t allow any singles to be culled from his album. In contrast to the stylistic jazz-rock leaps of Jeff Beck, Gallagher remained a steadfast devotee of flinty blues-based rock throughout his career. And unlike the shooting star that was Jimi Hendrix, even though Rory died a premature death—at 51 due to a liver ailment—his career entailed close to thirty years and over a dozen studio and live albums.
Despite the reissue of his entire catalog in the late 90’s and early new millennium, plus a double-disc BBC package compiled by brother Donal (who participated in the production of the new set via Capo Records), the Rory Gallagher discography includes no legitimate authorized anthology of any sort until this recently-released two-CD deluxe package.
Ordained in colorful digi-pak with glossy graphics the detail of which is the work of the devoted fan of the man, Big Guns is the kind of set that serves equally well to introduce the novice to the strengths of Gallagher and provide a handy resource of the fan who simply wants to enjoy his deeply felt music from a different perspective (and savor the alternate takes and unreleased material here). The digital remastering of the tracks in 5.1 surround sound supplies an asset the previous reissues lacked (through no fault of the producers there---that’s just how fast technology improves now to include Super Audio CD sound).
Gallagher’s music was a direct and logical extension of the electrified likes of Muddy Waters when he moved from the Mississippi delta to the windy environs of Chicago. Little wonder the Irishman’s participation on the blues buddha’s London Sessions is some of the most prominent and empathetic. Even with his early power trio Taste (who could use some more extensive archiving themselves), represented here with a handful of tracks, the guitarist/songwriter didn’t rely all that heavily on pure riffing: like the title song of this collection and “Bad Penny,” the material is built on guitar figures inimitably his own.
Tough muscular progressions, such “Daughter of the Everglades,” lend themselves not just to extended live improvisation, but, importantly, the artful embellishment via fills and harmonics, that make for complete studio takes which stand on their own merits
The virtues that further legitimize Gallagher’s originals include a plainspoken language in the lyrics like that of “Kickback City.” Never one to descend to cliché in any form, Rory instead restores the truth to common phrases such as “They Don’t Make Them Like You Anymore”), Gallagher had a broad enough grasp of his roots (see 2003’s Wheels Within Wheels) to include the acoustic folk textures that often decorated songs such as Leadbelly’s “Out on the Western Plain” with such subtlety. The electricity in his amplifiers was just a means to the end of resounding impact for Gallagher: as “Goin’ to My Hometown” will attest, the real power came from Rory’s own passion for what he did, whether he had a solid or hollow body instrument in his hands. Taste’s “Born on the Wrong Side of Time,” demonstrates how absolutely haunting Gallagher could be, while “A Million Miles Away” is similarly affecting, in large part because of the clarity and detail contained in the mix of bass/drums/piano.
The inclusion of Lou Martin and his keyboards had as much (or perhaps more) to do with having another musicians to play with as add color to his group’s sound (hear especially “Calling Card”), but the presence of a fourth man served both purposes; as displayed on the bass and drums workout during “Bullfrog Blues, ” Rory Gallagher commanded as much heartfelt commitment from his sidemen as he did from his audience.
For all the grit at his command—”an essential component of his personality—”his music contained a melodic most clearly evident in his slide playing that, as sharp-edged as it was, epitomized the bittersweet vulnerability that was on display in songs like “Shadow Play.”
The antithesis of flash and celebrity, customarily dressed in flannel shirt and jeans, Rory Gallagher, stormed the stage and inhabited it as if a man possessed. And possessed he was by a devotion to the blues that perhaps has no equal among contemporary guitarists and musicians. Just short of two hours, this set of CDs is a potent antidote to celebrity superficiality as it ever was.
Visit Rory Gallagher on the web.
Tracks: CD1: Big Guns; What's Going On; Tattoo'd Lady; Bad Penny; Shadow Play; Kickback City; Bourbon; Sinner Boy; Used to Be; Goin' to My Hometown; Bullfrog Blues; Messin' With the Kid. CD2: The Loop; Born on the Wrong Side of Time; A Million Miles Away; Calling Card; Out on the Western Plain; Lonesome Highway; Just the Smile; I'm Not Awake Yet; Daughter of the Everglades; I'll Admit You're Gone; The King of Zydeco; They Don't Make Them Like You Anymore.
Personnel: Rory Gallagher: guitar, harmonica, brass and vocals; Gerry McAvoy: bass; Richard McCrackin’: bass; Brendan O’Neill: drums; John Wilson: drums; Rod de’Ath: drums; Ted Mckenna: drums; Wilgar Campbell: drums;Lou Martin: keyboards; John Cooke: keyboards; Mark Feltham: hamonica; Geraint Watkins: piano and accordion; John Earle, Ray Bevis, Dick Perry: brass; Lonnie Donegan: guitar and vocal on “Hometown”
2 john lee hooker Согласен, струна-дудка-бубн это стержень, и ася прелесть в том как они между собой якшаются. Но когда нехватка рук ног или умения, приходится НТП зазывать.
Re: Кто слушает джаз? Автор:pempeДата: 12.09.05 22:13:35
2 john lee hooker Задали кучу интересных вопросов-мыслей, попробуем поделиться своими. 1. С развитием технологий пропал монополь ECM, Blue Note, Verve, Concord. Cегодня куча компаний специализируются в около джазовой музики - А440, ESC, Heads Up и др. в которых издается "средний уровень", так что маститым приходится делать бабки на старом материале. 2. Джаз как и остальная музика развивается, так на смену стандартам приходят современные звучния, что на мой взгляд наоборот отодвигвет джаз от элитарности. Согласен - иногда ущерб чистоте звука, но еще великий новатор Майлс Дэвис добавив к дудкам гитарку взвил новый джазовый винт. Свой вклад дает и электроника. Уже Майлс Дэвис в альбуме Doo-bop ввел элементы рэпа. И так уж просто - пришел сыграл. Халтуры везде усть, но хочется всегда искать позитив.
Re: Кто слушает джаз? Автор:pempeДата: 12.09.05 21:03:01
"If a person wants to adhere to a human being before God, maybe they're permitted to grow more in their appreciation, but now it's time to look up, to know greater matters in your soul and advance in your greater appreciation."
Alice Coltrane now devotes much of her time to a Vadantic center near her southern California home which practices a mixture of Indian and Christian beliefs. She has retired from commercial music making, and now her only musical outlet is recordings of music, traditional compositions as well as her own, that are supplied to religious institutions for use during meditation. If she questions the canonization of her late husband, however, the power of music for her is beyond doubt.
"Music is spiritual," she said. "It's invisible and that's where your faith comes in. It can be seen. It has shape. It has form. Music comes from within your heart, within your soul."
As for A Love Supreme - recorded after Alice and John were together but before she had joined his band, the composition, she said, seemed a statement divinely inspired.
"He said this was something that had been in his heart a long time, and then one day all of the music came out at once," she said. "It was such a beautiful offering to the people and to God."
It's an offering that has touched many musicians in their quest to find a voice.
Trumpeter Roy Campbell - who leads the band Shades and Colors of Trane and who has realized the remarkable task of playing Coltrane's "sheets of sound" on his trumpet - said that the discovery of A Love Supreme led him out of the dark days of drug abuse during his college years. A friend loaned him the album and helped to lift him from drugs and depression - a struggle with which Coltrane himself had been involved just two years prior to recording the album.
"When I first heard A Love Supreme and read what he had said [in the album's liner notes], that really changed my life," Campbell said. "During that time, people knew I needed something to bring me back, to bring me into focus.
"It's a call to worship, an invocation," he said. "You feel like you're going to heaven, and when you hear that bass line you feel like you're going to do some heavy activities. And then when that saxophone comes in, you feel like you're leaving all your earthly possessions."
A Love Supreme was recorded in December, 1964, and released the following year - a year during which Coltrane accomplished more than most musicians do in a lifetime. Under an unusual agreement with Impulse!, Coltrane would have free reign over "experimental" works as long as he delivered commercial albums, including marketable standards. As a result, he pushed his 4-album-a-year contract (unthinkable in today's world) to the hilt, releasing two versions of the landmark Ascension, the then-untitled Transition, the beautiful Om and Kulu Se Mama, and the powerhouse Meditations, as well as crowd (or suit) pleasers The John Coltrane Quartet Plays and New Thing at Newport, (which might have been a knock-off had it not been for its sponsoring of young up'n'comer Archie Shepp). The saxophonist, as it happened, had only two more years on earth, and was pushing it for all he was worth.
"Coltrane came out with Ascension, and when I first heard it, it was too much for me," said keyboardist/composer Amina Claudine Myers, who has built much of her work from her coming-of-age in the Baptist church. "I would say 'Oh, it's giving me a headache.' After two more hearings, I loved it. And then I went to see him and the music was so spiritual, it was so uplifting - it was fantastic.
"Coltrane affected me consciously and unconsciously," she said. "He gets to the root of you, he was just so happening - everything that happened in the universe."
While close to 40 years ago, Coltrane's masterpiece might have had a Christian base, to Myers, it's only about faith in something greater, something higher.
"To me, it's all the same - the one god, even though he has many names," she said. "I'm a Christian because I was raised it, but I have many beliefs." As for people who don't feel the spiritual connection to music, who aren't devout in their beliefs in a higher power, Alice Coltrane said that inspiration can still be found within the music.
"Aren't we all at our own evolutionary stage of life?" she asked. "Where we are musically, academically, spiritually - we're all responding according to where we stand. Some people may gather more, may gain more, but we're all progressing. We're all moving in an evolutionary path."
Re: Кто слушает джаз? Автор:pempeДата: 12.09.05 21:02:50
Alice Coltrane walked out onstage, joining an ensemble led by her son Ravi on a recent and historic night at Joe's Pub. The bassist Darryl Hall played an immediately recognizable four-note line and the group (also featuring drummer E.J. Strickland) launched into the only reasonable song they could have chosen for the evening, if one that many in the packed room might well have thought would be too much to ask for. Meanwhile, a continent away stands a church that has taken the author of that composition, Alice's late husband John, as a patron saint. And while claiming a saint outside the proper channels - the pope is unlikely to recognize Trane anytime soon - is an unorthodox move, if anyone in jazz is a contender for sainthood, well, they picked the right man.
The night at Joe's Pub marked the release of a two-disc reissue of John Coltrane's signature 1965 record, A Love Supreme, and a book chronicling the making of the classic record. The album is not just a brilliant achievement by one of America's most important musicians. It's not only an apogee in the development of jazz, standing as one of the watermarks during a vital time when jazz was being stripped of such notions as theme-solo-theme, chordal progressions and even successive solos. It is quite simply one of the major statements of faith in a higher power in recent history. Removed from its importance in the jazz pantheon, the album is a bowing before God in a country and during a century when such statements were decidedly unfashionable.
The tradition into which Trane entered in the 1940s, and to which he was devoted until his death in 1967, was at least in part a religious endeavor. At that time, much of the source material was still gospel and spiritual songs, blues and slave songs, much of the inspiration coming from the church. Coltrane was hardly alone in bringing this foundation to the fore; Duke Ellington composed masses, Pharaoh Sanders and Albert Ayler professed their faith in no uncertain terms, and countless others blurred the lines within Black American music. But with A Love Supreme, Coltrane made a statement. It's not the stuff of a jamboree or an evangelist tent, but a dignified, pronounced and above all serious work. It's hard to imagine even the most cynical remaining untouched. In the introduction to A Love Supreme: The Story of John Coltrane's Signature Album, author Ashley Kahn goes even further in stating the case that cannot be overstated:
"It's difficult to write of Coltrane and not sound heavy-handed. As enticing as the inevitable Trane/train metaphors may be, so are the Christ-like parallels. The saxophonist's life of self-sacrifice, message of universal love, death at an early age - even his initials - amplify the temptation." Needless to say, none of those are points Kahn was the first to notice. The casting of Coltrane as Savior has been taken, perhaps, to the extreme at a small, storefront church in San Francisco. Calling itself the St. John Coltrane African Orthodox Church, the congregation holds jam sessions after sermons and takes Coltrane as their patron saint. The walls are decorated with mock stained-glass windows featuring Trane, an eternal flame leaping from the bell of his horn. If it's all a little extreme, it still shows the esteem in which the man is held.
It's an extreme into which his widow, however, politely does not buy. While she worked with the congregation, which was founded in 1969, during the ‘70s, she said the focus on her husband - or any human - led her to part ways with the church.
"You can believe in who you wish," she said. "It's something in your heart. So when people say, 'Oh, he was like an angel', I don't take it away from them because who knows the set of experiences that can bring about a religious experience?
Re: Кто слушает джаз? Автор:pempeДата: 12.09.05 20:13:45
Оьмечаю две подборки лучших на мой вкус ударников, одна роковых, вторая скажем джазовых
John Bonham Terry Bozzio Ginger Baker Keith Moon Mike Portnoy Cozy Powell Danny Carey Ian Paice Bobby Rondinelli Lars Ulrich Neil Peart Carl Palmer Virgil Donati Ansley Dunbar Bill Ward
Vinnie Colaiuta Dave Weckl Steve Gadd Billy Cobham Bill Bruford Dennis Chambers Steve Smith Bobby Previte Peter Erskin Simon Phillips Rod Morgenstein Stanton Moore Chad Wackerman Chester Thompson Gary Husband
Re: Кто слушает джаз? Автор:pempeДата: 11.09.05 21:29:40
2SergeK Тогда берем относительного старичка (50 лет) Wayne Horvitz с командой Zony Mash или барабанщиком Bobby Previte, видел ихний концерт - Wayne монстр.
Re: Кто слушает джаз? Автор:pempeДата: 11.09.05 14:57:28
2Kalina когда 14-и летний юнец выпускает добротный пост-бобовый альбом со своими композициями его иначе как гением и неназвещь. Поменциал есть, а жизнь покажет как кам дальше. То что в дебютном альбоме играют John Patitucci и Michael Brecker - показатель профессиональности Элдара.