Archive for the ‘Luques Curtis’ Category
Gary Burton – Next Generation (2005 – Concord Records)
Mentoring is a significant part of the jazz tradition—established artists have long provided a musical context where young musicians can evolve and assimilate the experience and knowledge of their mentors. Miles Davis did it throughout his career, bringing a number of significant musicians to the fore, including Wayne Shorter, Herbie Hancock, and John McLaughlin.
In a career spanning over forty years, vibraphonist Gary Burton has also proved himself an important mentor. And while he’s helped establish artists like pianist Makoto Ozone and saxophonist Tommy Smith, the most visionary players he’s found have been guitarists—like Mick Goodrick, Larry Coryell, and Pat Metheny—who have gone on to varying degrees of fame but have all emerged as artists of consequence.
Burton’s latest guitar discovery is Julian Lage—a teenager who, at the time of ’04’s Generations, his first recording with Burton—was enthusing about getting his driver’s license. On that disc Lage demonstrated a frighteningly mature musical mind and plenty of promise as a writer.
When Burton retired from his longstanding tenure at Boston’s Berklee School of Music last year and relocated to Florida, he decided it was time to assemble a new group, his first in seven years. And so, along with Lage, he found three young players—26 year-old pianist Vadim Neselovskyi plus bassist Luques Curtis and drummer James Williams, both 21. Sometimes group chemistry evolves, sometimes it just happens, and for Burton’s latest release, Next Generation, he’s formed a collective that, while not as esoteric as his mid-’70s ECM group with Metheny and Goodrick, already demonstrates keen intuition.
Lage continues to grow in leaps and bounds. He’s even more self-assured this time around, with a tone that ranges from the warmth of Jim Hall to something more tart, even a touch distorted. His lyricism and avoidance of chops-laden playing are uncharacteristic of the oft-times brashness of youth. On the closing track, his own bright and joyous “Clarity,” he pulls off something new in Burton’s career—a guitar/vibes duet, with Lage shifting comfortably from lead voice to intuitive support.
While Curtis and Williams are great finds, the other dominant voice—aside from Burton’s own, manifested by a characteristic ability to find the perfect phrase, the most fitting harmonic conceit—is Neselovskyi. More than just a strong pianist, he’s a composer who blends form and freedom in new ways. His two compositions resemble mini-suites—taut arrangements that nevertheless provide a challenging foundation for improvisation. He also has a keen ear for reharmonization; his lightly swinging arrangement of “My Romance” is completely fresh. The changes beneath the familiar melody retain the lyricism of the original but ultimately go in a completely different direction.
In recent years Burton’s albums have been characterized by greater attention to accessibility. But beneath the deceptively easygoing surface lies deeper musical thought, and Burton’s new group on Next Generation rivals some of his classic ensembles from years past.
1.Prelude for Vibes
2.My Romance
3.’Ques Sez
4.Get Up and Go
5.B & G
6.A Dance for Most of You
7.Walkin’ In Music
8.Summer Band Camp
9.Fuga
10.Clarity
Personnel:
Gary Burton: vibraphone;
Julian Lage: guitar;
Vadim Neselovski: piano;
Luques Curtis: double-bass;
James Williams: drums.
Orrin Evans – Faith In Action (2010 – Posi-Tone Records)
Faith In Action is Orrin Evans’ first album on Posi-Tone Records and serves to further enhance the reputation of this New York-based pianist. The album is, in part, a tribute to and interpretation of the music of his friend and mentor, saxophonist Bobby Watson, who contributes five of the twelve tunes. It’s a fine tribute, indeed, and demonstrates Evans’ own talents as a player and interpreter.
Evans’ own compositions have immediate impact—especially the opening “Don’t Call Me Wally,” which is driven not only by Evans’ hard-hitting piano but by some fine rhythm work from drummer Nasheet Waits and bassist Luques Curtis. “MAT-Matt” is complex and changeable, regularly shifting rhythmically and stylistically. In its opening section the band plays freely, before Evans shifts to a repetitive, percussive, style. Before long, the trio enters a hard bop section via a short burst of swinging lyricism, until Waits’ brief solo drum part takes the tune into a slow and reflective ending. The more playful “Two Steppin With Dawn” features drummer Gene Jackson, with Evans returning to a hard-hitting and percussive style. Jackson suits this number admirably, hitting just the right groove to maintain the tune’s dynamism.
Watson’s compositions have the greatest emotional impact, however. “Faith In Action” is a gorgeous tune which Evans interprets with skill and empathy. On “Beattitudes,” Evans performs solo on another beautiful tune, once again finding an emotional connection that is clearly expressed in his playing. Best of all is “Love Remains,” with Waits and Curtis once again outstanding, while Evans is at his most delicate and affecting.
Faith In Action succeeds as a tribute to Bobby Watson, but it also succeeds as a demonstration of Evans’ talents, and as an enjoyable, creative recording by musicians at the top of their game.
(All About Jazz)
Luques Curtis (bass)
Nasheet Waits (drums)
Rocky Bryant (drums) (3)
Gene Jackson (drums) (5,9)
Recorded May 26, 2009 at Acoustic Recording Brooklyn, NY – 2010 – Label: Posi-Tone Records PR8058
Across Rhythm 