Ten
仕様 | 価格 | 新品 | 中古品 |
CD, CD, インポート, 2010/6/22
"もう一度試してください。" | CD, インポート |
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| — | ¥1,210 |
CD, 限定版, 2014/8/13
"もう一度試してください。" | 限定版 |
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| — | ¥3,000 |
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曲目リスト
1 | Blue Blocks (Jason Moran) |
2 | RFK in the Land of Apartheid (J. Moran) |
3 | Feedback Pt. 2 (J. Moran) |
4 | Crepuscule with Nellie (Thelonious Monk) |
5 | Study No. 6 (Conlon Nancarrow) |
6 | Pas de Deux - Lines Ballet (J. Moran) |
7 | Study No. 6 (C. Nancarrow) |
8 | Gangsterism Over 10 years (J. Moran) |
9 | Big Stuff (Leonard Bernstein) |
10 | Play to Live (Andrew Hill/Jason Moran) |
11 | The Subtle One (Tarus Mateen) |
12 | To Bob Vatel of Paris (Jaki Byard) |
13 | Old Babies (J. Moran) |
商品の説明
Jason Moran & The Bandwagon Celebrate Ten Years With New Album
In 1999, the same year that Jason Moran released his debut Soundtrack To Human Motion, the prodigy pianist and composer also joined New Directions, a band made up of young stars from the Blue Note roster that went on tour in celebration of the label's 60th anniversary. At the core of New Directions was the genesis of a rhythm section--with Moran, bassist Tarus Mateen, and drummer Nasheet Waits--that would go on to become one of the most enduringly creative piano trios in jazz.
Ten years later, the trailblazing trio--which Moran has since dubbed The Bandwagon--headed into Avatar Studios in Manhattan to record Ten, the most assured and focused album of Moran's acclaimed career, a snapshot of a mature band with a decade of shared musical experience from which to draw. The album, Moran's first in four years, will be released on EMI's Blue Note Records.
"Ten is our first record that doesn't rely on a concept to drive it. The only concept is us as a band today," says Moran. "As our band has evolved over ten years, there's a certain ease that we now function within, an ease to let the music be. On some of my earlier recordings, I was making sure I exposed my ideas as a thinker. Now we refrain from jumping through every musical window of opportunity, but only jump through the good windows."
Befitting the man who Rolling Stone called "the most provocative thinker in current jazz," Moran draws the material for Ten from a wide variety of sources. "Blue Blocks," which opens the album with a bluesy cascade of chords, comes from Live: Time, a piece commissioned by the Philadelphia Museum of Art that was inspired by the quilters of Gee's Bend, Alabama. The elegiac "Feedback Pt. 2" was part of a piece commissioned by the Monterey Jazz Festival for which Moran drew inspiration from Jimi Hendrix's performance at the 1967 Monterey Pop Festival and used samples of the guitarist's feedback.
"RFK In The Land Of Apartheid" is the main theme from a film score that Moran composed for the documentary RFK In The Land Of Apartheid about Robert Kennedy's 1966 visit to South Africa and his famous "Ripple Of Hope" speech. "Pas De Deux" comes from Moran's first-ever dance collaboration with choreographer Alonzo King's Lines Ballet company. "Old Babies" gives us another window into one of the most profound influences on Moran these days, his twin sons Jonas and Malcolm, born in 2007.
In addition to songs by Leonard Bernstein ("Big Stuff") and minstrel pioneer Bert Williams ("Nobody"), there are also compositions by three of Moran's foremost influences: Thelonious Monk, Andrew Hill, and Jaki Byard. "Crepuscule With Nellie" was featured in Moran's multimedia concert event In My Mind: Monk At Town Hall, 1957. "Play To Live" is a piece Moran co-wrote with his teacher Hill, who died of lung cancer in 2007.
登録情報
- 製品サイズ : 12.7 x 14.4 x 1.09 cm; 85.9 g
- メーカー : Blue Note
- EAN : 5099945718625
- 製造元リファレンス : 3 3 00457186
- SPARSコード : DDD
- レーベル : Blue Note
- ASIN : B003L7JVFY
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 410,057位ミュージック (ミュージックの売れ筋ランキングを見る)
- カスタマーレビュー:
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Ten celebrates 10 years of Jason's bandwagon band with a release of new songs and arrangements. While previous bandwagon CDs tended to be driven by a concept, this CD is just straight forward playing by the trio. Bandwagon is made of up Jason Moran on piano, Nasheet Waits on drums, and Tarus Mateen on bass. In my opinion Jason is the top jazz pianist playing today. Of course there are many other pianists equally deserving this title, but for my taste Jason is the best. His technical ability is phenomenal. He can solo equally well with both hands, and can solo with both hands at the same time. He has his own distinct style and personality which you can hear not only in his compositions, but also, in his arrangements of standards. His style is modern sounding, primarily post bop, but with a touch of free jazz, and avante garde. From both his playing style and compositions you can tell he is a deep thinker.
This is my favorite Jason Moran CD to date. The CD features 6 songs written by Moran, 1 co-written by Moran and Andrew Hill, 1 by bassist Mateen, 1 by Thelonious Monk, 1 by Leonard Bernstein, 1 by Jaki Byard (a former teacher of Moran), and 2 versions of a song written by Conlon Nancarrow. The CD has a good mix of up tempo songs, and ballads. The only area I see for improvement would be to write some bigger parts for drummer Nasheet Waits. He plays great throughout the CD, but doesn't really get a chance to show off his skills. Typically you see more opportunities for the drummer to show off their stuff in a piano/bass/drums format. Overall a great CD and a must have for fans of the piano/bass/drums format, pianists, and Jason Moran fans.
Song Highlights:
Gangsterism over 10 years - This song has a raucous Wild West swinging feel to it. It is more or less the bandwagon theme song. It features some wild soloing from Moran. During one flurry he probably hits every key on the keyboard.
To Bob Vatel Of Paris - This Jaki Byard song opens with a solo statement by Moran. The song has a very happy, "walk in the park", early 50's bebop sort of mood to it. After Moran's intro the bass and drums come in with a nice walking bass line.
Crepuscule with Nellie - In this Thelonious Monk tune, Jason Moran injects his own personality while still staying true to the original Monk tune. Mateen has a great bass solo in the middle of the tune, where the song almost turns into a blues vamp for a few bars. The song starts of very true to the original, then veers off for a little bit, and comes back to the original with a nice recap statement at the end.
Blue Blocks - This song starts of with a Sunday morning sort of feel, and picks up pace as it goes along. At one point there is a section with a barrage of cascading chords that is just wonderful. The mood again is up-tempo and upbeat. This is another great new composition from Moran.
In many respects this is a typical Moran disc. The opening track "Blue Blocks" puts down a strong marker before the music takes a change in direction with Moran laying down some interesting lines over Tarus Mateen's repeated bass motif. Much of the pleasure from this record comes from the way more traditional material is refracted in the pianist's own image - Thelonious Monk's "Crepuscule with Nellie" being pulled apart and then re-assembled over a honky-tonk figure or the Leonard Bernstein song "Big stuff" which takes it's cues from Lady Day before accelerating into a free-for-all. Even the interpretations of Conlon Nancarrow's "Study no. 6" seem wholly convincing as jazz vehicles, especially the slower version. That said, the most enjoyable tracks are Jaki Byard's "To Bob Vatel of Paris" which shows touches of Earl Hines and the original, joyful hoe-down of "Gangsterism over ten years."
In summary, it might be well to point out something like "The subtle one" is almost Bill Evans-like in it's introspection. Evans, of course, is often perceived as a line in the sand in the history of the development of the piano trio with the group with Paul Motian and Scot LaFaro seen as a beacon for how this kind of group would sound in the future. As loose as Evans' group was, in 2010 the bar has been considerably raised and Moran's trio with Tarus Mateen on bass and Nasheet Waits on drums perhaps represents another such milestone in the history of jazz. In my opinion, I much prefer this approach to jazz although I am a sucker for anyone who combines "outside" playing with elements of more vintage jazz. Evans was just too comfortable sometimes in his approach and this is much more edgy and to my taste. Certainly, this band's ability to swing with no discernable time signature is unparalleled and having seen them play live on several occassions, suggest that "Ten" is a very good representation of what the group is like.
I don't think that the other review is at all representative and feel that another, more positive review was necessary to address the balance. True,some apsects of this disc may represent a challenge to those more in tune with the "plastic jazz" of EST. That is tough! This is the real deal.