Dramatic modern mainstream jazz contains curious harmonic concepts and rhythmic variety. Leading with tenor and soprano saxophones, Tim Ries provides six original pieces and two standards, from which his ensemble extracts the essential elements. A leading section member with the bands of Maynard Ferguson and Maria Schneider, Ries holds a master's degree in performance and composition from the University of Michigan. At 41, he's at a crossroads; where his writing and leadership mean as much as his searing solo work.
Organ and guitar give the septet a contemporary sound. The horns blend with an overly consonant mixture that cries out for variety. Everyone solos at some point in the program, creating punctuation for Ries' format. The Rolling Stones' "Moonlight Mile" stands apart as a beautiful ballad, while "What is this Thing Called Love" sashays pertly with unexpected pleasures. The leader's originals weave exotic themes with tension and release patterns. The counterpoint presents a mood, while each soloist supplies a matching interpretation. Ries has already proven that he's a superb saxophonist, and he wears that hat proudly on this session. His latest album presents another side of the artist: his suite-like modern mainstream compositional style, which earns him high marks.
Track Listing: The Sinner and the Saint, What Is This Thing Called Love, Copake, 4637, A Simpler Time, Hart's Beat, Alternate Blues, Moonlight Mile
Personnel: Tim Ries (tenor & soprano sax), Greg Gisbert (trumpet & flugelhorn), Michael Davis (trombone), Ben Monder (guitar), Stacey Shames (harp on tracks 3 & 6 only), Larry Goldings (organ & piano), John Patitucci (bass), Billy Drummond (drums)
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.