If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Mark Heliashis big steady bass and organic, his compositions ever-changingcontinues to set the standard for making music that bears shape and direction but also celebrates the freedom to improvise openly and... er... loosely. For ten years he and his powerful trio have refined and broadened the scope of this music so by now the players share an ethos that allows them to explore what making music in a group means. It's three individuals bonded by the passion of collaboration.
Atomic Clock was documented by the brilliant and understanding John Rosenberg at Brooklyn's Barbèsthe recorded sound and the venue giving the musicians the space to dig down and then soar. Helias is in the captain's seat yet he directs the enterprise in an ego-less fashion, thereby coaxing the fullest expressions from the other players. Saxophonist Tony Malaby and drummer Tom Rainey (and original Open Loose tenorist Ellery Eskelin added for one track) explore this music andas Helias describes itboth construct and deconstruct the compositions. Repeated listenings help reveal what at first seems like some free-form wanderingand that's as it should be.
Particularly fetching are several of the slower and more deliberate-sounding tunes. "Chavez, as some Helias-ish notes indicates, suggests a spooky transmogrification from one Chavez into the modern one. "Zephyr is a dark and moody ballad that calls to mind Ornette and his disciple the late Dewey Redman, with whom Helias worked. The leader comes out of the opening statement with a solo that reminds us of his strong individual sound and the fact that it's so beautifully directed towards the totality of the music.
Track Listing: Subway; Chavez; Cinematic; Momentum Interrupted; Modern scag; Atomic Clock; Plantini;
What Up; Zephyr; Many Nows.
Personnel: Mark Helias: bass; Tom Rainey: drums, percussion; Tony Malaby: tenor saxophone; Ellery
Eskelin: tenor saxophone (5).
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!