Archive for the ‘Joe Farnsworth’ Category
Steve Davis Vibe Up! – (1998 – Criss-Cross)
Steve Davis’ fourth Criss Cross set as a leader has a different instrumentation than his previous sets. The trombonist is teamed with vibraphonist Steve Nelson and guitarist Peter Bernstein in a sextet/septet that also includes pianist David Hazeltine, bassist Peter Washington, drummer Joe Farnsworth, and (on three of the eight songs) altoist Mike DiRubbo. Davis, who in addition to being a Curtis Fuller-inspired trombonist is an underrated composer, wrote five of the eight songs and the band also plays Thad Jones’ “The Summary” and one song apiece from Peter Bernstein and Leonard Bernstein (“Somewhere”). Despite the unfamiliar material, the swinging hard bop style is quite accessible to straight-ahead jazz listeners and the blend between the trombone, vibes, and guitar is quite attractive. All of Steve Davis’ Criss Cross sets are well worth acquiring.
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1. Vibe Up! (Steve Davis)
2. It’s The Little Things That Count (Steve Davis)
3. Somewhere (Leonard Bernstein)
4. Blue Domain (Steve Davis)
5. The Summary (Thad Jones)
6. Three-Way Street (Peter Bernstein)
7. Tournesol (Steve Davis)
8. Mode For Damo (Steve Davis)
Steve Davis (Trb)
Steve Nelson (Vibr)
Peter Bernstein (Guitar)
Mike DiRubbo (Alt Sax)
David Hazeltine (Piano)
Peter Washington (Bass)
Joe Farnsworth (Drums)
Recorded December 19, 1998 in Brooklyn, NY, USA by Max Bolleman
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Grant Stewart: In The Still Of The Night (2007 – Sharp Nine)
The field of saxophonists is crowded today, which is undoubtedly why we aren’t better acquainted with Grant Stewart, a 35-year-old Canadian who favors the kind of old-school hard bop that made household names of Joe Henderson and Dexter Gordon. Though he’s young, Stewart already has several fine discs under his belt, having made his debut with no less than Brad Mehldau as one of his sidemen. But now Stewart has gone and done it—he’s released a perfect album of classic-style jazz.
In the Still of the Night evokes the best Blue Note records of the 1950s and ’60s. Sure, there’s a lot of head-solo-solo-solo-head format here, but Stewart’s adherence to convention should not be confused with lack of originality—check out, for instance, the hair-on-the-neck-raising two-bar phrase he blows just as he starts his solo on “If Ever I Would Leave You.”
His work on a speedy take of the title track is flawless—he plays behind time, he plays against time, all the while spilling forth a flurry of notes. His warm, brawny tenor is glorious on “Autumn in New York,” as his solo spirals further and further from the theme while his quartet (featuring pianist Tardo Hammer, bassist Peter Washington and drummer Joe Farnsworth) takes the tempo from ballad to burner and back. Stewart’s supporting cast is just that—this is his showcase, after all—though Hammer gets in some nice solos, including a great one on Thelonious Monk’s “Work.” Half a century after hard bop’s heyday, Grant Stewart is one practitioner who finds new ways to express himself through it.
JazzTimes
1 In the Still of the Night Porter 6:32
2 Theme for Ernie Lacey 6:42
3 Wives and Lovers Bacharach, David 7:47
4 Autumn in New York Duke 8:30
5 If Ever I Would Leave You Lerner, Loewe 7:54
6 Work Monk 8:03
7 Lush Life Strayhorn 8:37
8 Loads of Love Rodgers 6:18
Personnel:
Grant Stewart (Ten Sax)
Tardo Hammer (Piano)
Peter Washington (Bass);
Joe Farnsworth (Drums)
Original Release Date: 2007 – Label: Sharp Nine
Jim Rotondi: Blues for Brother Ray (2009 – Posi-tone)
Veteran trumpeter Jim Rotondi has been a fixture in the New York jazz scene for more than two decades. His clear, bold sound and polished soloing have been on display in such diverse groups as Lionel Hampton’s and Bob Mintzer’s big bands, as well as the powerhouse sextet, One For All, of which he is a co-founder. His most recent release, Blues for Brother Ray (Posi-Tone) celebrates the work of his early musical mentor and former boss, Ray Charles.
For jazz fans familiar with Rotondi’s playing, this album may surprise with its relaxed feel. The name of the game here is simplicity. Tracks such as “One Mont Julep” and “Lonely Avenue” deliver simple blues heads in unison, backed by sparse and repetitive accompaniment. Looking at the track listing, full of songs from Charles’ repertoire, this should not be surprising. Rather than viewing this album strictly as a jazz recording, it may best be seen as a jazz instrumental interpretation of soul and blues.
As such, this album is a success. Heads are delivered tastefully, and do not stray far from the feel of the originals with the exception of Rotondi’s fiery arrangement of “Georgia On My Mind,” taken at a tempo more akin to that of the fast-paced jazz standard “Sweet Georgia Brown.” The rhythm section offers disciplined accompaniment; Peter Bernstein’s guitar and Mike LeDonne’s organ never step on each other’s toes, and Joe Farnsworth’s drumming has an optimistic bounce.
The simple forms of this album’s music might allow for a lot of freedom in soloing, but their straightforwardness also demands restraint when it comes to harmonic experimentation. Navigating this line beautifully is Mike LeDonne, whose organ solos chirp, growl, and scream in exciting waves of inspiration, though never sounding unconvincing in the songs’ context. This is especially the case with his solo on “Makin’ Whoppee,” a virtuosic romp.
Eric Alexander’s saxophone style is best featured on “Cry Me A River,” perhaps because of the agitated modal swing context – his aggressive style sounds a bit impatient on simpler tunes such as “What’d I Say.” Rotondi is solid throughout, his tone full of belly and especially reminiscent of Freddie Hubbard. His soloing unfolds convincingly, blending bebop and blues language into cohesive statements.
A highly accessible album, I would recommend Blues for Brother Ray to jazz fans and casual listeners alike. If you were ever unsatisfied with the role of horns on Charles’ own albums, this recording gives you a chance to hear skilled improvisation over some of his charts by five quality instrumentalists.
Jacob Teichroew (About.com Guide to Jazz)
Across Rhythm 