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  Наименование CD :
   Dancing On The Tables



Год издания : 1979

Компания звукозаписи : SteepleChase

Музыкальный стиль : Bop, Hard Bop

Время звучания : 39:48

Код CD : SCCD-31125 (716043 112524)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Small Orchestra - Bop)      

Recorded July 3, 4 & August 30, 1979

Originally released in 1979.

Famous for his work as a teenager in Europe playing with veteran American greats, and for his many recordings as a sidemen with the veteran straight-ahead jazz all-stars for the Pablo label (including Oscar Peterson), bassist Niels Pedersen's own projects tend to be more modern than bop-oriented. For this set, Pedersen's quartet includes three rather notable sidemen: the then fairly unknown guitarist John Scofield; drummer Billy Hart; and Dave Liebman on tenor, soprano, and alto flute. The bassist contributed four compositions, which are joined by a Danish folk song. The nearly 15-minute "Dancing on the Tables" (which utilizes some childlike melodies) and the episodic "Clouds" are highlights of the continually intriguing and adventurous program.

All Music Guide

========= from the cover ==========

Music students whose aim In life Is to become instrumental virtuosi tend to seek to excel on the pianoforte, the violin, the cello and, rather more rarely, the guitar. The awkward, cumbersome and unglamorous double bass does not engender much enthusiasm in the average conservatory alumnus - and it is a telling fact that a large number of bass players took up the instrument only because there were no vacancies in the student orchestra for players of the more manageable instruments.

Even the legendary Giovanni Bottesini (1822-89) who is widely regarded as one of the greatest double bass virtuosi of all time. was a reluctant convert to the instrument. When he applied for admission to the Milan Conservatory, he found that the establishment had only one vacancy - and that was for a student of double bass. So that's what Bottesini became and, despite himself, he developed into a peerless practitioner of the instrument.

When Niels-Henning Orsted Pedersen first picked up the double bass more than a century later, it was, similarly, something of a last resort - as I indicated in my notes to his "Trio 1" album (SCS-1083). And he, too, went on to become a virtuoso of the instrument, learning his art in the tough but thoroughly efficacious school of public performance with some of the world's finest jazz musicians.

It is interesting to speculate just what the distinguished classical bass players - Bottesini. Dragonetti and Koussevitzky - would have made of Pedersen's extraordinary expertise on the instrument; I suspect they would have regarded his playing with very much the same degree of awe and admiration as Yehudi Menuhin has for the improvisa-tional flair and fluency of Stepha-ne Grappelli.

The fact that NH0P has achieved such rare mastery of an instrument to which he was not particularly attracted in the first place lends support to the view that where musical creativity and integrity are concerned, the medium is far less important than the message. If the Orsted Pedersen family band had required a trombonist or a glockenspiel player instead of a bassist, I have no doubt whatsoever that NH0P would have taken either instrument in his stride.

As it happened - and to the great delight of a fairly vast number of leading jazz players who have had the good fortune to have him in their rhythm section - Niels-Henning took up the bass and, for my money, became the best bass player in the world. In Down Beat's 27th Annual Critic's Poll this year he was voted only into third place, behind Ron Carter and Charlie Haden, in the acoustic bass section - but, hell, even jazz critics sometimes make mistakes.....

For this date Nils Winther, the head of Steeplechase, decided to augment NH0P's normal trio of bass-guitar-drums by adding a horn player - and he could hardly have picked a more sympathetic or abundantly expressive soloist. Brooklyn-born Liebman is a most sensitive and gifted player on all three of the instruments featured here. Fifteen years of experience with musicians of the calibre of Charles Lloyd, Lennie Tristano, Elvin Jones and John McLaughlin have made Liebman a supremely adaptable and versatile player.

NielsHenning's regular drummer, the masterful Billy Hart from Washington D.C., provides the unerringly apposite rhythmic pulse, and on guitar, in place of Philip Catherine, who was unavailable for the date, NH0P chose the extremely adept John Scofield, a player who has been working with Liebman and who had also impressed Pedersen on a record date they did together a short time before this one, with Lee Konitz and Martial Solal.

Except for the traditional Danish folk song Jeg Gik Mig Ud en Sommerdag, all the music on this album is by NH0P and it is typical of his concern to set the best possible recording standards that he wrote it with his fellow musicians in mind. "The two trio albums I did were planned to feature the bass; but for this one I used a different approach," Niels-Henning explains. "I tried to write specifically for the personnel - I wanted to emphasize the way I play when I'm playing for other people rather than have the bass featured out in front all the time."

Certainly Niels-Henning gives generous solo space to Liebman and Scofield and, equally certainly, his back-up playing is consistently and phenomenally brilliant. I can think of no one who could play better walking bass than NH0P does from the fourth chorus of Scofields solo on Dancing On The Tables - and nobody who could better the beautifully articulated 16thnote runs that Pedersen executes on Clouds.

This album also adds further lustre to NH0P's reputation as a composer with a pronounced streak of romanticism and a natural gift for fashioning themes that are appealingly melodic. His compositions are often tinged with that wisful and haunting melancholy that characterizes so many of the Nordic folk songs that he heard as a boy at his father's school.

Dancing On The Tables is a delightful tune whose exuberant, chirpy theme beautifully matches the spirit of the title. It was inspired by a kind of composite recollection of children's tunes and by NielsHenning's working with South African pianist, Dollar Brand. Billy Hart sets the tempo with an 8-bar intro, accenting the fourth beat of each bar. then Liebman, Scofield and Pedersen. in unison, preset a 24-bar "sketch" of the theme. This is followed by a full. 32-bar chorus of the catchy tunes played in harmony. NielsHenning's four solo choruses are, as ever, remarkable for the continuous flow of musical ideas, but he gives the lion's share of the solo space to Scofield and Liebman. who get nine choruses apiece and make the most of them. For Scofield's first three choruses, Pedersen uses an implied samba rhythm - then really stokes up the temperature by switching to a propulsive four-in-the-bar from chorus four.

Scofield acquits himself most impressively, really getting "inside" the sequence, and Liebman, abrasive and authoritative on tenor, contributes a solo which bristles with ideas and has his strong musical personality stamped all over it. Liebman and Hart then swap eights and fours while the string section lays out, and then, after Billy Hart's lightning thunder, the jaunty theme is reprised to put the seal on nearly 15 minutes of finely integrated group jazz.

NH0P's brief solo fragment, Future Child is a tribute to the infant his wife was expecting at the time of the recording (confidently predicted by dad to be a third daughter) and has a most engaging simplicity. It is beautifully played, of course. The piece is a sequel to Pedersen's tribute to 7-year-old Kristine (to whom Kristine, which Niels-Henning recorded with Kenny Drew (SCS-1002 / SCCD-31002), was dedicated) and 4-year old Anna (who is celebrated in My Little Anna on the - Jaywalking album (SCS-1041)).

The third track - "I Went For A Walk On A Summer's Day" - is redolent of drowsy afternoons by shimmering, limpid pools and is imbued with that minor-key sweet-sadness that is so characteristic of Scandinavian folk tunes. This title, on which Liebman plays pastoral alto flute, begins with a languid introduction and then comes the traditional melody which Liebman plays in unison with Niels-Henning. The piece concludes with bass and flute weaving intermeshing lines.

Evening Song has Hart briskly accenting the offbeat to give the piece that kind of limping lope that NH0P seems to relish. Liebman. back on tenor, contributes a solo perfectly in keeping with the mood of the composition, Scofield has one of his most inspired outings of the date and the leader, mellowly eloquent, pulls it all together.

Clouds, which opens in a distinctly funky vein, has Liebman's soprano in unison with the guitar, then with chord backing from Scofield and boo-galoo drums from Hart, Niels-Henning takes an intrepid solo which uses the lower regions of the bass to good effect. Scofield follows with a thoughtful blend of chord work and fast, single-note lines and then comes Liebman. ranging effortlessly all over the soprano in an improvisation which is free in the best and most creative sense. The follows an all-in melee before the final fade-out.

This is a supremely musical album which will afford a lot of listening pleasure to a lot of people. By some not very noble tradition, liner notes are supposed to be innocent of any suspicion of adverse criticism and their authors salve their consciences by arguing that while they didn't tell the whole truth, they didn't actually lie. Happily this album is one of those rare productions about which I can honestly say that, had I been asked to review it instead of writing the liner. I would not have changed a word.

- Mike Hennessey (Jazz Journal International)


  Соисполнители :

Billy Hart (Drums)
David Liebman (Flute, Soprano Saxophone, Tenor Saxophone)
John Scofield (Guitar)


№ п/п

Наименование трека

Текст

Длительность

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   1 Dancing On The Tables         0:14:49 Pedersen
   2 Future Child         0:01:37 -"-
   3 Jeg Gik Mig Ud En Sommerdag         0:03:33 Traditional
   4 Evening Song         0:09:30 Pedersen
   5 Clouds         0:10:19 -"-

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Последние изменения в документе сделаны 20/10/2016 22:09:04

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