TARTALO ·
08-Фев-14 09:17
(спустя 2 дня 12 часов, ред. 08-Фев-14 09:17)
Большое спасибо!!! Вот кое что из Сети об альбоме:
George Cables
Icons and Influences
HighNote ***1/2
Anyone in the know knows about George Cables. The former Jazz Messengers, Joe Henderson, Dexter Gordon and Art Pepper sideman has a substantial discography as a leader as well dating back to the 1970s, a body of work that also includes much more recently Morning Song and
My Muse already for Joe Fields’ HighNote label. And Cables is also, these days, a crucial element in what for many is the supreme heritage hard bop band on the planet, The Cookers.
The New Yorker turns 70 in 2014, and the pianist turns his attention on this his latest work, an album about sheer piano affinity and the pianist as above all a member of the band. It′s a solid trio affair with, joining him, bassist Dezron Douglas of The New Jazz Workshop and ex-Stan Getz drummer Victor Lewis, who returns from 2012′s My Muse, with tributes to two fallen jazz piano masters who passed away within the last year, Cedar Walton and Mulgrew Miller, in the opening tracks. Also included on Icons and Influences recorded in Brooklyn in September 2013 are absorbing takes on Brubeck’s ‘The Duke’ (Kevin Whitehead in the notes mentions the fact that Cables rehearsed singers for what became Ellington’s Second Sacred Concerts), Ellington’s ‘Come Sunday’, and Joe Henderson’s ‘Isotope’, plus a Lord Kitchener calypso among the dozen tracks. It’s wonderfully poised, Jamal-esque at times, measured and as sophisticated a piano trio album in the modern mainstream idiom that you’d go a long way to find. The left-hand piano rhythms have a swinging elasticity that’s infectious; and then there’s the melodic imagination at play when Cables lets the improvisation flow, not exactly rhapsodising, more a case of expressing his inner spirit. No one's reinventing the wheel here, part of the pleasure principle at work, yet Cables finds new things to say on the trio's gently tugging version of 'Nature Boy' where subtlety and elegance, watchwords on this album, reign supreme.
Released on 21 January
И еще......
The pianist George Cables’s “Icons and Influences” nods to jazz history with language evolved from bebop and blues. Christopher Drukker
By BEN RATLIFF
George Cables
ICONS AND INFLUENCES
The assumption of most nonclassical music journalism, if I understand it correctly, is that everything new has the possibility to be about you, whereas much that is old may never be about you. If you have ever been puzzled by the jazz audience’s insistence that jazz is always to be understood as a century-long continuity, and not only as one first impression after another, listen to “Icons and Influences” (Highnote), a seriously good trio record by the pianist George Cables. It might help. Mr. Cables is 69, and in the 1970s and 1980s, he worked with Art Blakey, Joe Henderson, Woody Shaw, Bobby Hutcherson and Art Pepper — which is to say he worked along the main artery of the African-American jazz tradition, when much of it still had real feeling of a people’s music, before it became splintered and moved definitively into academies. He sounds like a musician from that time. He insists on complexity and elegance and groove and language evolved from bebop and the blues.
The music on the new record is friendly and well turned out, and at the same time often intense, dense and sad; even in this record’s brightest songs, it has undertones of gospel hymns, safeguarding against the unspeakable. Made with the excellent young bassist Dezron Douglas and the veteran drummer Victor Lewis, “Icons” includes a few of his own pieces for friends and pianists who have recently died, Cedar Walton and Mulgrew Miller, as well as covers suggesting what he loves and knows: Bill Evans’s “Very Early,” Ellington’s “Come Sunday,” Henderson’s “Isotope” and Hutcherson’s “Little B’s Poem.” There is swing and patience and steady-simmer invention and subtlety in Mr. Cables’s playing, concision in his writing, watchful energy in the group’s interaction.
O.K., then: What does this record have to do with you? The phrasing, the relaxed pace and flexibility, the harmonies and the way melody is arranged between piano and bass all suggest the past. But the other aspects, not exclusive to music — the complexity and defiance and sadness — are universal, and permanent.
