Описание CD

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  Исполнитель(и) :
   Cobb, Jimmy  (Drums)
◄◄◄        ►►►

  Наименование CD :
   Cobb's Groove

Год издания : 2003

Компания звукозаписи : Milestone, (ru)

Музыкальный стиль : Hard Bop

Время звучания : 57:39

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Rock (Jazz-Rock)      

Jimmy Cobb's Mob

The nucleus of Cobb's Mob formed while veteran drummer Jimmy Cobb was teaching at the New School. This 2003 studio session features two charter members, guitarist Peter Bernstein and the leader, along with seasoned pianist Richard Wyands, bassist John Webber, and special guest Eric Alexander on tenor sax. Five of the nine tracks are originals contributed by members of the band, starting with "Cobb's Groove," a bluesy hard bop masterpiece by the drummer that stimulates a number of great solos. Wyands' lush ballad "Willow Tree" showcases Alexander's warm tenor. Bernstein wrote three songs, including the turbulent "Jet Stream," the sauntering "Minor Changes," and the funky strut "Bobblehead." Webber's booming bass introduces a delicious take of the standard "Sweet and Lovely," while the subtle treatment of Henry Mancini's lovely ballad "Moment to Moment" adds a slight Latin flavor. Throughout the date the musicians interact rather than just react, with Cobb's just-right percussion holding it all together perfectly.

All Music Guide

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

It is generally acknowledged that the top five drummers to emerge in the heyday of bebop were Kenny Clarke, Max Roach, Art Blakey, Roy Haynes, and Philly Joe Jones. Throw in Shelly Manne and you've got six invaluable sidemen who earned their spurs in the 1940s and all went on to become band leaders in the 1950s and beyond.

Blakey was the most influential in mentoring young musicians in his famed Jazz Messengers. When Blakey died, Arthur Taylor, upon his return from Europe, reestablished his Taylor's Wallers as a group in which young players were nurtured. On Taylor's passing, Louis Hayes began leading a combo that has fostered the careers of talented newcomers.

Taylor and Hayes first came to prominence as sidemen in the 1950s as did Jimmy Cobb, who slid effortlessly into the drum chair, vacated by Philly Joe, in the Miles Davis Sextet and took care of business in his own manner, bonding with Wynton Kelly and Paul Chambers to form one of the premier rhythm sections of that or any other time.

While teaching "Rhythmic Development" in the Jazz Program at the New School in New York, Cobb was impressed by the promise shown by several of his students and enlisted Peter Bernstein and Brad Mehldau to start working with him. "So you found these youngsters in your class," I said to Jimmy. "I think they found me," he replied. It was the beginning of Cobb's Mob.

When Mehldau established himself with his own trio, Rob Bargad did some gigs with the group but, eventually, Richard Wyands got the call and he's been there ever since along with the stalwart John Webber on bass.

Since the inception of Cobb's Mob in the early Nineties, Jimmy has continued to teach and also lend his talents to a variety of groups in New York and on the road including Nat Adderley, Hank Jones and the Great Jazz Trio, Eddie Gomez and Jeremy Steig, the Kind of Blue band, and Nancy Wilson. The Mob is a not a band that works that often but following its first recording, Only for the Pure of Heart (1998), it has appeared at the Cape May Jazz Festival in New Jersey and such New York clubs as Birdland and Smoke.

Bernstein, who has been there from the start, which included Sundays at Birdland when that club was at 105th and Broadway, regards his experience with Cobb as a blessing. "That forward motion-momentum," he begins in lauding Jimmy, "and the joy that he embodies. To play with him and have that feeling underneath you-to learn from a master. He's an inspiration, playing three sets a night and wearing all of us out."

For this recording producer Todd Barkan brought in tenor saxophonist Eric Alexander, a Milestone recording leader in his own right. "Artistically it was a natural fit," says Barkan and, indeed, all the participants have happily shared bandstand experience with Alexander.

Of the nine tracks herein, five come from within the group. Appropriately Jimmy's title number leads off, setting a definite groove into which Alexander jumps feet first. Eric is carrying on a great tenor tradition with a great sense of self. Wily Wyands, savvy veteran, swings with ease, and Bernstein, one of the very best of the younger guitarists to come along in recent years, displays his quicksilver aplomb in getting from note to note and phrase to phrase-a feeling that Dizzy Gillespie so admired in Charlie Parker from the first moment he heard Bird.

Peter told me he has been influenced by horn players at least as much as he has been by other guitarists and that shows here. He also listens closely to singers and that is evident throughout this set in terms of his phrasing on ballads and his sound overall. Helmsman Cobb strokes a solo that makes music without beating you over the head. It is a demonstration of strength with subtlety that takes us seamlessly back into the theme.

"I Miss You, My Love" is a most attractive melody by Steve Satten, played with a blithe spirit by all at a perfect, springy, medium tempo. Wyands, a native of Oakland, California who met Cobb in San Francisco in the early Fifties, when Jimmy was accompanying Dinah Washington, came to New York in '58. He penned the moody "Willow Tree" in the Sixties without knowing that Fats Waller had written a similarly-named piece. "I heard it in my mind when I was asleep," he says of his own arboreal creation, "and wrote it down a few weeks later."

Richard replanted it in 2001 and a beautiful tree it is. Some enterprising pianist, perhaps Wyands himself, will now be able to present a "Willow Tree" medley to great effect. Here its melody is tenderly caressed by Alexander and Bernstein before the composer begins his ruminations. Peter is next, "singing" on his guitar. Eric closes it out lambently with eight bars of the head and tag. "Willow Tree" has an Ellingtonian aroma.

The arrangement of "Sweet and Lovely," according to Bernstein, "just evolved." Webber's ostinato underlines parts of the melody statement. The pace takes Gus Arnheim's standard up from its usual ballad tempo and the solos flow with fine-wine liquidity. Before the final theme the ensemble uses a riffreminiscent of Monk's "Thelonious" to frame Cobb's apt comments.

Jimmy asked Bernstein to "bring in some tunes" for the date. The first is the self-explanatory "Minor Changes," a blues Peter first did on one of his own CDs back in '94. It's a minor blues that would fit perfectly in Horace Silver's book. At eight minutes it is the longest track in the set but with the soulful aura that is created, who's counting? Webber, a solid supporter throughout the entire CD, solos thoughtfully here; and Cobb gets to contribute his epigrammatic "fours." The blues are truly brewin' and steepin' and stewin' but, with this cast, the blues are never too far away even when the structures are not of the 12-bar variety.

Bernstein's "Bobblehead" may be characterized as a boogaloo bossa. You can move and groove to it, either sitting or standing; or just He back and enjoy it as it undulates along, decorated by soul-warming solos.

As Tadd Dameron once said when conducting his ensemble in one of his compositions: "Make those phrases flow. When I write something it's with beauty in mind. It has to swing, sure, but it has to be beautiful."

"Jet Stream," Bernstein's third contribution, fulfills that Dameronian credo with flying colors. After solos by Peter, Eric, and Richard, the first two named engage in a colloquy of eights and fours with Cobb that stream back into the theme. Note Peter's quote from Sonny Rollins's "Pent-Up House" at the onset of the fours.

Henry Mancini wrote the kind of songs that jazzmen can embrace wholeheartedly. Although the best players can fashion gold out of dross, it is inevitably better if they can wrap their chops around a number that is both melodically and harmonically appealing. "Moment to Moment" is just such a song. Jimmy liked it from the time he heard Eric play it when both of them were working with harmonicist / vibist Hendrik Meurkens. Following an effective introduction by Wyands, Alexander is the main man in this version, handling the haunting melody at both ends and maintaining that mysterious Latinate mood in his improvisation, abetted by the rhythm section and, in the solo department, Bernstein.

Frank Foster's lively waltz, "Simone," closes things out in elegant style with short, gleaming improvisations by the three main soloists. After the theme is reintroduced, Cobb swings the 3/4 like the percussion dance-master that he is.

The first time I saw Jimmy Cobb in action was at Birdland in the early Fifties. Pee Wee Marquette introduced him as "Wildwood," for reasons unknown to me. All I could think of was Wildwood, New Jersey. More than 50 years later I asked Jimmy about the reference. He told me he had been playing down in Wildwood with Earl Bostic and Pee Wee was just jiving around. It could have been worse, given the way the diminutive emcee usually mangled musicians' real names-if they didn't tip him.

A couple of years later, perhaps when Jimmy was with Dinah Washington, I learned his name. His special qualities as a drummer made him easy to remember thereafter.

All the musicians in Cobb's Mob agree that playing in this group is a pleasure, or as Wyands sums it up succinctly: "It's always a ball-a great time." Alexander nails Cobb's feeling when he recalls listening to personal tapes made during live performances with Jimmy in Europe. "I might feel I could have played better," says Eric, "but because of him it still sounds good."

-Ira Gitler

  Соисполнители :

Eric Alexander (Tenor Saxophone)
John Webber (Bass)
Peter Bernstein (Guitar)
Richard Wyands (Piano)

№ п/п

Наименование трека



   1 Cobb's Groove         0:07:04 Cobb
   2 I Miss You, My Love         0:05:29 Satten
   3 Willow Tree         0:05:28 Wyands
   4 Sweet And Lovely         0:06:28 Amheim, LeMare, Tobias
   5 Jet Stream         0:05:57 Bernstein
   6 Moment To Moment         0:05:54 Mancini, Mercer
   7 Minor Changes         0:08:07 Bernstein
   8 Bobblehead         0:06:51 -"-
   9 Simone         0:06:20 Foster


 T   'щелкнуть' - переход к тексту композиции.

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